FRINGE WORLD Festival 2015 - Impact Report by Fringe World Festival

IMPACT REPORT

The1Perth Cultural Centre, photo by Cam Campbell.

CONTENTS WELCOME

FRINGE WORLD FESTIVAL 2015 AT A GLANCE

THE WORLD FRINGE ALLIANCE

AUDIENCE PROFILE

AUDIENCE GROWTH

CULTURAL VISITATION

CULTURAL OUTCOMES

SOCIAL OUTCOMES

PARTICIPATING ARTISTS

PARTNERSHIP ACTIVITY

MEDIA & MARKETING REACH

ECONOMIC IMPACT

REPORT METHODOLOGY

OTHER FRINGE ACTIVITIES

PERTH PROGRESS & FRINGE WORLD

FRINGE WORLD FUTURE

FRINGE WORLD FESTIVAL 2015 AWARDS

FRINGE WORLD TEAM

FRINGE WORLD PARTNERS

62 2

WELCOME THERE’S BEEN BUZZ AROUND FRINGE WORLD SINCE THE INAUGURAL EVENT IN 2011 AND EVERY YEAR SINCE, THE FESTIVAL HAS PRACTICALLY DOUBLED IN SIZE. Over four years, FRINGE WORLD has become the third largest Fringe festival on the planet. Other festivals have taken over half a century to grow to similar scales. The 2015 FRINGE WORLD Festival featured over 2,600 participating artists from around the world presenting close to 3,500 individual performances across the smorgasbord of ticketed and free programs on offer with record free and ticketed attendance of more than 660,000. FRINGE WORLD is now the largest annual performance platform in Western Australia with the 2015 Festival delivering over $4 million net box office to artists and importantly 71% of the participating artists were from WA. The story of FRINGE WORLD’s success is about the spirit and enthusiasm of the WA community – our generous audiences, the Festival’s forward-thinking government

and corporate partners and our talented Westralian artists. The positive results captured in our annual Impact Report across social, cultural, civic, place-making, economic and vibrancy terrains describe the exponential value that investment in FRINGE WORLD generates. FRINGE WORLD is an initiative that has contributed to changing Perth’s perception of and engagement with arts and culture. The Festival has activated, enlivened and introduced the city’s urban spaces and venues to a mainstream and broad audience, helping to shift and evolve how we perceive ourselves in the global community and how we value and live in our fine city. Every year since inception, the Festival has grown, developed and improved. FRINGE WORLD is proud of its strong reputation and strives to deliver an even greater customer experience for its partners, audiences and participants every year. We look forward to doing it all again with you for another 31 Days of Perthect in 2016.

“

Since its inaugural season in 2011, FRINGE WORLD has quickly become a highlight on Western Australia’s calendar of major cultural and arts events. The State Government, through Lotterywest and the Department of Culture and the Arts has been a proud supporter of FRINGE WORLD since its inception, and it has been a pleasure to see the strength of the public response, with this year’s festival set to draw even bigger audiences to an expanded program.

”

Hon. Colin Barnett MLA Premier of Western Australia

FRINGE WORLD Festival Guide 2015 Hon. Colin Barnett MLA Premier of Western Australia opening the 2015 Fringe World Festival, photo by Court McAllister.

AUSTRALIAN PREMIERES

36% COMEDY 19% CABARET

2% 2%

4% 4%

16.5% 9.5%

4% FREE & COMMUNITY EVENTS 4% CIRCUS

16.5% THEATRE 3% VISUAL ARTS 8.5% MUSIC & MUSICALS 2% DANCE & PHYSICAL THEATRE 5% CHILDREN’S EVENTS 2% FILM & MULTIMEDIA

49%

INCREASE FROM FRINGE WORLD FESTIVAL 2014

71% 18% 11%

FROM

ARTISTS & PARTICIPANTS

of artists and participants would recommend Perth as a place to visit

INDIVIDUAL PERFORMANCES & EXHIBITION DAYS

19%

2,626

WA PREMIERES

94% 113 VENUES 3,464 36%

THE ARTISTS

WESTERN AUSTRALIA

FROM

183 64 118

WORLD PREMIERES

INTERSTATE

FROM

556 EVENTS MIX OF GENRES

FRINGE WORLD FESTIVAL 2015 AT A GLANCE 5

THE PROGRAM

OVERSEAS

94% $51,002,924 $70,894,065 ECONOMIC IMPACT

of artists were satisfied with their experience during FRINGE WORLD Festival 2015

GROSS VISITOR EXPENDITURE

TOTAL GROSS ECONOMIC MOVEMENT

CALCULATIONS ON PAGE 46

AUDIENCE & ATTENDANCE

660,093

ATTENDANCE AT FREE AND TICKETED EVENTS

258,438

ATTENDANCE AT TICKETED EVENTS

AUDIENCE GROWTH

2012

2013

2014

$6.4 million SPENT AT THE BOX OFFICE

DOUBLE

THE BOX OFFICE SPEND FROM FRINGE WORLD 2014

64% AVERAGE SESSION CAPACITY ATTENDANCE

$27.80 AVERAGE TICKET PRICE

MEDIA COVERAGE

$5,870,145

WORTH OF MEDIA COVERAGE

REACHING AN AUDIENCE OF

49,129,169 SOCIAL MEDIA 43,187

SUBSCRIBERS

660,093

372,431

215,956

151,773

TOTAL ATTENDANCE AT FREE & TICKETED EVENTS

Over

2015

98% 77%

of the audience plan to attend FRINGE WORLD Festival again in 2016

say that FRINGE WORLD has contributed to them feeling safer in Northbridge and the Perth city centre

27,387

FACEBOOK FANS

5,648

INSTAGRAM FANS

78%

INCREASE*

73%

INCREASE*

157%

INCREASE*

HOLLYWOOD FRINGE

EST. 2008

28 VENUES

(2014 FESTIVAL)

NEW YORK FRINGE EST. 1997

205 EVENTS 1,200 PERFORMERS 75,000 ATTENDEES (2014 FESTIVAL)

There are over 300 Fringe Festivals happening around the world. The World Fringe Alliance is a select group of nine of the best and FRINGE WORLD is proudly one of the invited member festivals. Through the Alliance, FRINGE WORLD is able to connect Western Australian artists with international and national touring opportunities. As these comparative facts show, FRINGE WORLD is the fastest growing Fringe in the alliance and the third largest in terms of audience reach. 77

EDINBURGH FRINGE EST. 1947

3,193 EVENTS 299 VENUES OVER 2.18 MILLION TICKETS SOLD (2014 FESTIVAL)

GRAHAMSTOWN FRINGE EST. 1974

400 EVENTS 225,538 ATTENDEES OVER 7 MILLION RAND TICKET SALES (2014 FESTIVAL)

AMSTERDAM FRINGE EST. 2005

80+ EVENTS 40 VENUES (2014 FESTIVAL)

PRAGUE FRINGE

EST. 2001

36 SHOWS

(2014 FESTIVAL)

FRINGE WORLD FESTIVAL, PERTH EST. 2011

556 EVENTS 2,626 ARTISTS 113 VENUES 660,093 ATTENDEES AT FREE & TICKETED EVENTS 258,438 TICKETS SOLD over $6.4 MILLION TICKET SALES (2015 FESTIVAL)

ADELAIDE FRINGE EST. 1960

BRIGHTON FRINGE EST. 2006

787 EVENTS 176 VENUES 405,857 ATTENDEES AT FREE & TICKETED EVENTS

1,058 EVENTS 4,000+ ARTISTS 376 VENUES 540,860 TICKETS SOLD $13.3 MILLION TICKET SALES (2015 FESTIVAL)

(2015 FESTIVAL)

“

It’s called FRINGE WORLD but it is far removed from the fringes, having firmly established itself at the centre of life in Perth after another record-breaking and energetic Festival...It took just two weeks for the Fringe to surpass its entire ticket sales for last year, with many audiences trying the program of affordable, accessible arts and live entertainment for the first time. Editorial

The West Australian

Some 9 Like it Yacht, photo by Rachel Barrett.

”

AUDIENCE PROFILE “

... Fringe represents a chance to engage with audiences across all demographics.

FRINGE WORLD OFFERS SOMETHING FOR EVERYONE AND ENGAGES WITH THE WIDEST DIVERSITY OF POPULATION OF ANY WA EVENT, REACHING BOTH ARTS MARKETS AND MAINSTREAM AUDIENCES. The Festival has broad engagement across both age and geographic parameters. As the total attendance at the Festival has grown, the FRINGE WORLD audience has broadened and become more equally represented across the age range spectrum, whilst still retaining the strongest representation with a youthful audience aged 24-35. The 2015 Festival had a Children’s Event program that was well received and 16.3% of the 2015 surveyed audience attended an event with a child under the age of 18.

Aleisha Orr

WA Today

”

FRINGE WORLD TICKETED ATTENDANCE BY AGE

2013

2013, 2014 & 2015 COMPARISON

2014

< 17

18 – 23

24 – 29

30 – 35

36 – 41

42 – 47

48 – 53

Editorial, ‘Fabulous month brings arts in from the Fringe’, The West Australian, 23 February. A. Orr, Locals Fake Up on stage for Fringe World, WA Today, http://www.brisbanetimes.com.au/entertainment/locals-fake-up-on-stage-for-fringe-world-20150206-1381k2.html

54 - 59

27,643

14,092

8,919

30,743

13,993

9,359

33,844

20,546

12,222

32,552

18,772

11,451

28,677

17,343

12,332

42,627

27,001

20,370

45,986

30,794

24,994

15,759

11,431

10,240

517

394

220

2015

60+

82%

NET PROMOTER SCORE

“

The audiences were as diverse as the performers, though

perhaps not as colourful. There is much anecdotal evidence of elderly people venturing into Northbridge for the first time in years, with the bawdy comedy and burlesque shows as popular as swingtime bands and theatre. And families with children were out in force too, flocking through the Perth Cultural Centre and the Pleasure Garden hub in Russell Square.

Net Promoter Score (NPS) is a performance metric used to rate a company’s customer service and how likely a customer would be to recommend a company to people they know. The 2015 audience survey results saw FRINGE WORLD achieve a NPS of 82%, an increase from 78% in 2014. Audiences have a memorable and overwhelmingly positive experience at FRINGE WORLD and the Festival’s track-record at achieving high NPS results validates the ongoing potential for audience growth through positive word-of-mouth.

”

FRINGE WORLD AUDIENCE CURRENT OCCUPATION Professional (56%)

Home Duties (4%)

Office/Admin (15%)

Technical (3%)

Other (10%)

Unemployed (1%)

Student (6%) Retired (5%)

Editorial, Fabulous month brings arts in from the Fringe, The West Australian, 23 February 2015

Editorial

The West Australian

PERTH METROPOLITAN AUDIENCE RANGE 2015 ATTENDANCE BY GROUPED POSTCODE

ROCKINGHAM

COCKBURN & KWINANA

WANNEROO

CANNING & GOSNELLS

FRINGE WORLD CONTINUES TO ENTERTAIN A DIVERSE AND PRIMARILY DOMESTIC MARKET.

ARMADALE & SERPENTINE-JARRAHDALE

19%

STIRLING

BELMONT & KALAMUNDA

MUNDARING & SWAN

11%

PERTH & VINCENT

EAST FREMANTLE & FREMANTLE

11%

JOONDALUP

7% MELVILLE

The total attendance to the 2015 Festival almost doubled from 2014, but the visitor origin remained consistent.

SOUTH PERTH & VICTORIA PARK

10%

CAMBRIDGE, CLAREMONT, COTTESLOE, MOSMAN PARK, NEDLANDS, PEPPERMINT GROVE & SUBIACO

BASSENDEAN & BAYSWATER

Whereas 11% of Festival participants came from overseas, the percentage of surveyed audience who live overseas remained at the modest 2014 level of 0.5%. Comparatively, 3% of the surveyed audience live elsewhere in WA, 0.7% live elsewhere in Australia and the remaining audience visitors live in the City of Perth or the Perth Metropolitan Area (95.7%). Suburbs where the Festival experienced growth included Stirling, Fremantle/ East Fremantle, Melville, Wanneroo, Rockingham and Armadale/Serpentine. We welcomed intrastate guests from a number of towns including Broome, Toodyay, Karloo, Southern Cross and Narrogin. It is significant to note that the Festivalâ&#x20AC;&#x2122;s ticket purchasers came from households in every postcode in the Perth metropolitan area.

AUDIENCE GROWTH A MIX OF LOYAL RETURN AUDIENCE AND EAGER FIRST-TIMERS CONTINUES TO FUEL THE GROWTH OF FRINGE WORLD. 73% of unique customer accounts to fringeworld.com.au were newly created this year. Combined with the healthy returning audience, an even higher positive NPS result and the fact that 22.7% of the surveyed audience identified as attending FRINGE WORLD for the first time in 2015, a bright future for FRINGE WORLD is indicated in terms of market engagement moving forward.

“What would you have done if you had not made this trip to FRINGE WORLD Festival?”

Stayed at home (68%) Something else in Perth (28%) Other (4%)

ATTENDANCE PATTERNS FRINGE WORLD encourages audiences to experience as many shows as possible at a variety of venues during 31 Days of Perthect. The affordable ticket price and high volume of shows each night means it’s easy to binge on Fringe. The surveyed audience visited the Festival on average 5.6 times and according to the ticketing data, the average number of tickets sold per customer was 4.73. These figures are consistent with the 2014 results. The most popular reasons the audience attended FRINGE WORLD included to be entertained (81%); to enjoy the Festival atmosphere (67.7%); to see a specific show/event (42.7%); to spend time with a friend, family member or partner (38.5%); to be exposed to an artistic/cultural experience (27.2%); and because the event was good value (23.3%).

73%

10%

er accounts new custom d.com.au to fringeworl

75%

of the surveyed audience attended in 2014 and at least one previous FRINGE WORLD Festival

of the surveyed audience have attended every FRINGE WORLD Festival

23%

of the surv eyed aud ience had attended never a FRINGE WORLD Festival b efore

D. Zampatti, Just follow my lead, The West Australian, 8 January 2015 https://au.news.yahoo.com/thewest/entertainment/arts/a/25934858/just-follow-my-lead-folks/

â&#x20AC;&#x153;

Perth is a different city when Fring e World is on. David Zam

The West

The Urban Orchard, photo by John Leonard.

â&#x20AC;?

patti

Australian

Fringe 15 World Mermaids, photo by Jarrad Seng.

CULTURAL VISITATION FRINGE WORLD’S PRINCIPLE AIMS INCLUDE INCREASING ACCESS TO ARTS EVENTS AND ENCOURAGING GREATER CULTURAL PARTICIPATION IN THE FUTURE, THROUGH ATTRACTING AUDIENCES THAT ARE NOT REGULAR CULTURAL CONSUMERS.

AVERAGE CULTURAL VISITATION OVER A YEAR Over the past 12 months, how often did you attend any arts or cultural events? Never (1%)

45.5% of the 2015 surveyed audience can be described as regular cultural consumers, stating they attend cultural events regularly (at least once a month). The remaining 54.5% can be classified as non-regular cultural consumers, attending cultural events only a few times in the last year, or not at all.

1-2 times a year (12%) 3-4 times a year (41%) At least once a month (40%)

By comparison, three years ago the percentage of nontraditional arts consumers at the Festival was lower with 44% identifying as not regular arts attendees. That the Festival has steadily increased its attractiveness to non-traditional arts consumers, whilst overall attendance at the Festival has grown, combined with the result that 68.2% of the surveyed audience stated that they would have stayed at home had they not attended a FRINGE WORLD event, it is a safe conclusion that FRINGE WORLD is contributing to the growth in WA arts and cultural event attendance.

S. Bevis, Festival’s local acts love the spotlight, The West Australian, 23 January 2015

At least once a week (6%)

“

[FRINGE WORLD] is a wonderful time of year because there

is so much on and people who don’t normally come to the theatre are drawn in,” Mt Lawley dramatist Zoe Holly-oak said. ... “You don’t need a huge budget and a huge cast to make great theatre,” she said.

”

Stephen Bevis

The West Australian 16

2% OTHER

26% DANCE

26% COMMUNITY

LITERATURE

31%

17% SUBIACO ARTS CENTRE

CIRCUS

18% QUARRY AMPHITHEATRE

34%

23% THE BAKERY

VISUAL ARTS

25% THE BLUE ROOM THEATRE

37%

26% PERTH INSTITUTE OF CONTEMPORARY ARTS

CABARET

28% SOMERVILLE AUDITORIUM

62%

29% ROOFTOP MOVIES

THEATRE

32% PERTH CONCERT HALL

65%

38% FREMANTLE ARTS CENTRE

COMEDY

39% STATE THEATRE CENTRE OF WA

70%

43% HIS MAJESTY’S THEATRE

FILM

49% DE PAREL SPIEGELTENT

72%

56% ART GALLERY OF WA

MUSIC

58%

What kind of arts and cultural events did you attend in the last twelve months?

CROWN THEATRE (BURSWOOD THEATRE)

Which of the following performance venues have you been to in the last two years?

61%

IN THE LAST 12 MONTHS

PERTH ARENA

OVER A TWO YEAR PERIOD

79%

AUDIENCE VISITATION TO CULTURAL EVENTS

THE PLEASURE GARDEN

AUDIENCE VISITATION TO PERFORMANCE VENUES

When asked which performance venues they had visited over the last two years,

The responses to this question were very similar to results recorded in

the largest response was FRINGE WORLD’s The Pleasure Garden (79%) followed by

previous years. The surveyed audience’s top three cultural events they

Perth Arena (61.4%).

like to consume are music (71.6%), film (70.3%) and comedy (65.4%).

D. Hatch, Theatres look to emulate success of Fringe, The West Australian, 9 March 2015

“

If the quarter of a million tickets sold to this year’s Fringe World Festival tells us anything, it is that Perth audiences are keen to experience live performing arts. There are many reasons for Fringe’s success: the transformed Northbridge atmosphere, the diversity of shows. But the combination of cheap tickets and shorter performances is arguably a major factor — the festival allows consumers to taste-test a variety of theatrical experiences for a relatively small outlay. Daniel Hatch

From A Small Distant World, photo by Daniel Grant.

The West Australian

”

CULTURAL OUTCOMES FRINGE WORLD INCREASES ACCESS TO ARTS EVENTS BY ENSURING THAT THE FRINGE EXPERIENCE IS DISTINCTIVE, INNOVATIVE, AFFORDABLE AND INCLUDES A LARGE AMOUNT OF FREE PROGRAMMING. INCREASE ACCESS TO ARTS EVENTS With the average FRINGE WORLD ticket price a bargain at $27.80 and over 54 free events on offer, the 2015 Festival continued to offer a very large audience broad access to the arts. The most popular free programs included the FRINGE WORLD Mermaids (24.5%), free events held in the Perth Cultural Centre (24.2%), iiNet Riickshaws (10%) and the Curtin Garden Library in The Pleasure Garden (10.2%). Some free events already occurring in the city are promoted through the FRINGE WORLD Festival program. The City of Perth Twilight Hawkers Market is one such event, attended by 29.8% of the surveyed audience, and 13.6% attended the Chinese New Year Fair in Northbridge.

The vast majority of the audience felt that the Festival had enabled them to see high quality performances they would otherwise not see. The majority also agreed or strongly agreed that the Festival gave them the opportunity to discover new talent, styles or genres. It’s positive to note that alongside total attendance to the 2015 Festival almost doubling from 2014, the cultural outcomes from the survey remained practically unchanged from the 2013 Impact Report. ENCOURAGE GREATER CULTURAL PARTICIPATION IN FUTURE An overwhelming 98.4% of audience members surveyed said they were planning to attend the FRINGE WORLD Festival again in 2016. More generally, a vast majority (95%) felt more inclined to attend arts events in the future. Audiences also reported feeling more inclined to see less-well known events after having attended the Festival. FRINGE DISTINCTIVENESS & QUALITY Only 1% of the surveyed audience disagree that FRINGE WORLD showcases innovative work from around the world. The vast majority 86.2% think the Festival is unique in relation to other events that the audience has experienced.

T. Beggs, FRINGE WORLD VIP Launch – Absolutely, Perth Culture, 26 January 2015 http://www.perthculture.com/fringe-world-vip-launch-absolutely-perthect/

93% believe FRINGE WORLD enables them to see high quality performances they would otherwise not see

95% indicated their FRINGE WORLD visit had made it more likely that they would attend more arts events in the future

89% of the audience will take greater risk and see less well-known arts events in the future

93% think FRINGE WORLD showcases challenging and innovative performances from around the world

86% believe FRINGE WORLD events are unique in relation to other events they have experienced

“

FRINGE WORLD has ething become som enon in of a phenom years since r u o f t r o h s the o Perth, the t n io t p e c in its anisers g r o l a iv t s e f envy of worldwide.

”

Tabetha Beg

Perth Culture

La Soirée, photo by Jarrad 20 Seng.

SOCIAL OUTCOMES THE SOCIAL BENEFITS OF FRINGE WORLD INCLUDE ACTIVATION AND ANIMATION OF PERTH CITY AND ITS SURROUNDS, INSPIRING AN IMPROVED IMAGE OF PERTH AND FOSTERING SOCIAL COHESION.

IMPROVED IMAGE OF PERTH

ACTIVATION OF PERTH CITY AND SURROUNDS

As the statistics below attest, FRINGE WORLD has registered an enduring positive transformation in public perception and has added to the value of the Perth brand locally, nationally and internationally. These results and the positive sentiment from the audience have either remained unchanged since 2013 or increased positively.

Mirroring the program’s breadth, the Festival venue footprint extended even further into the wider Perth community in 2015. There were 113 venues in the 2015 Festival and significant programs of events held in Fremantle, Victoria Park, Mandurah, Midland and Scarborough. Established venue producers such as The Blue Room Theatre and others in the Perth Cultural Centre continued to have a strong presence in the Festival. The popularity of the FRINGE WORLD platform also enticed new and emerging independent producers to develop satellite programs and dip their toes in the Fringe waters. Fringe fans were encouraged to seize the opportunity that FRINGE WORLD offers and go on a Perthect adventure in their hometown by visiting as many venues as possible.

Fringe enriches and transforms not only a population’s experience and expectations of the arts, but also its sense of identity and social cohesion.

97%

94%

WORLD feel FRINGE making to es ut rib cont Perth city d an ge Northbrid vibrant e or centre a m place

92%

GE WORLD agree FRIN rth as a promotes Pe obally gl is at th city d te ec nn co

are more likely to visit the city in the future after their visit to FRINGE WORLD

98%

believe FRINGE WORLD is an important ad dition to Wes tern Australia’s cu ltural life

97%

RLD FRINGE WO agree that g in ak m to contributes city a as l ia ec Perth sp

91% think FRINGE WORLD increases pride in Perth as a city

“

The West Australian spent Saturday night

in Northbridge and Perth and found efforts to

SHOWCASING PERTH’S VIBRANCY & CREATIVITY

INCREASED COMMUNITY COHESION

“FRINGE WORLD Festival is an event that showcases Perth’s vibrancy and creativity.” AGREE (96%)

“FRINGE WORLD Festival is an event that brings the whole community together.” AGREE (90%)

UNSURE (3%)

UNSURE (8%)

DISAGREE (1%)

DISAGREE (2%)

attract a different kind of crowd were paying off, bouyed at this time of year by the popularity of Fringe World. Families, twenty-somethings out for a big night and couples, some young and others with silver in their hair, shared the crowded streets. Many said they had avoided the area for years. Anecdotal evidence the streets are safer than they used to be is backed by WA Police figures that show in the six years from 2009 to 2014 the number of assaults in Northbridge fell 50 per cent. In Perth the fall was 18 per cent.

”

INCREASED FEELINGS OF SAFETY “FRINGE WORLD Festival has contributed to me feeling safer in Northbridge and the Perth city centre.” AGREE (77%) UNSURE (19%)

22% increase from 2012

DISAGREE (4%)

Kate Emery

The West Australian

K. Emery, How we learnt to love the new Northbridge, The West Australian, 2 February 2015

PEDESTRIAN STUDY In our ongoing commitment towards reporting comprehensive and robust Festival data in this Impact Report, we have supplemented our existing analytical tools with data obtained through a partnership with leading-edge analytics company, Inhouse Group, who completed an iinsights™ Pedestrian Study of the Festival’s two main sites; The Pleasure Garden and the Perth Cultural Centre in Northbridge. iinsights™ sensor-based technology works by passively capturing and monitoring anonymous wireless signals emitted from visitors’ mobile devices to deliver actionable visitor intelligence. We can reveal the following results of this Pedestrian Study: 1 in 8 people walking by the Perth Cultural Centre were ‘converted’ to a visitor for more than 30 minutes. This confirms that the Festival is a key driver for passers-by to engage with activated urban spaces. The average visit dwell time to the Perth Cultural Centre or The Pleasure Garden was 56 minutes. Many people, especially Fringe newbies, visit the Festival to soak up the atmosphere and enjoy a drink or meal with friends or family. They might not purchase an event ticket in the first instance, but by testing the Fringe waters at these sites they are encouraged to dive in and experience more next time around. 7pm was the busiest time for visitors to the Perth Cultural Centre or The Pleasure Garden. Fringe fans love to start their night early, grabbing a bite to eat somewhere nearby the venue then checking out one or more shows in the evening. 24% of visitors to either of the two sites were seen more than once. We know from with the survey results that the audience visited the Festival on average 5.6 times. These two results combined reaffirm the Festival’s success at driving audiences to ‘binge on fringe’ and enjoy multiple shows and visit multiple venues during 31 Days of Perthect.

“

But it is the social

glue that matters immensely here. The Fringe has brought people together in a spirit of celebration and inclusion that goes beyond dollars. The Fringe simply has been great fun. Our city has never looked nor felt so good.

Editorial

”

The West Australian

Editorial, Fabulous month brings arts in from the Fringe, The West Australian, 23 February 2015 S. Bevis, Festival’s local acts love the spotlight, The West Australian, 24 Jan 2015

â&#x20AC;&#x153;

Despite all internation the al acts rolling fringe through Perth, loca l artists re main the heart and soul o f the massive e vent. Stephen B

The West

Crowd in The Pleasure Garden, photo by Jarrad Seng.

evis

â&#x20AC;?

Australian

â&#x20AC;&#x153;

As well as attracting big name international performances like La SoirĂŠe, the fringe also unearthed

and promoted the creativity and artistry all around us but often overlooked during the rest of the year. With half the acts and 71 per cent of the performers from WA, many of the people putting on shows would be our relatives, neighbours, friends and others not so many degrees of separation removed from most of us. It is this community engagement and sense of shared fun that has helped the Fringe capture the public imagination. Editorial

The West Australian

Bacchanalia, photo by Chris Benson. 25

â&#x20AC;?

participating artists

“

THE GROWTH AND SUCCESS OF FRINGE WORLD IS IN LARGE PART DUE TO THE PASSION OF OUR DIVERSE AND TALENTED PARTICIPANTS AND THE ENTHUSIASM OF PERTH AUDIENCES TO SAMPLE ALL THAT THE ARTISTS HAVE TO OFFER.

The Fringe World Festival gives our company

exposure to local audiences on a huge scale that we would not be able to achieve alone. Local audiences who don’t always realise that many troupes live here in Perth and perform all year, which has a flow on effect to our work for the rest of the year.

Kelly Cook

”

Director, Twisted Vaudeville Circus

Editorial, Fabulous month brings arts in from the Fringe, The West Australian, 23 February 2015.

FRINGE WORLD is now the largest performance platform in Western Australia with the 2015 Festival delivering over $4 million net box office to artists. As an open access event, FRINGE WORLD allows anyone from anywhere in the world to register and be a part of the Festival. Participants take the risk in developing and bringing their show to Fringe and staging it at a venue that they either find themselves or are matched to by the Festival’s boutique venue matching service (55.3% of surveyed participants performed/ exhibited in a matched venue). Every artist has unique goals and measures of success for their experience at any fringe and the open-access format means that the artists grow and utilise their entrepreneurial talents to self-market their event to the significant audience that FRINGE WORLD has stimulated. Many artists view FRINGE WORLD as a platform for sharing new work or as an opportunity to self-produce events for the first time. Healthy competition in the marketplace and a high quality of acts in the Festival means that both the artists and audience benefit.

ARTIST BENEFITS FRINGE WORLD is proudly artist-friendly, offering artists low registration fees and great artist services. The overwhelming response from artists has been positive with only 1.5% stating that they donâ&#x20AC;&#x2122;t intend to participant in the 2016 Festival. Additionally, 85.5% of participants were satisfied or extremely satisfied with the general level of support given to them as participants. Some of the artist services that FRINGE WORLD provides participants include:

All FRINGE WORLD events are eligible for the FRINGE WORLD Awards, which feature cash prizes, touring support to partner festivals and the prestigious Martin Sims Award, that is presented annually to a work of new Western Australian theatre.

ARTIST PASS Participating artists receive an Artist Pass, enabling them to access ticketed events for free (if the session hasnâ&#x20AC;&#x2122;t sold out). Free access to events is a benefit not offered by most fringe festivals.

AUDIENCE EXPOSURE

The 2015 Festival recorded over 10,000 free attendances at events with an Artist Pass, equating to an average of 3.8 complimentary tickets per artist.

FRINGE WORLD has successfully developed the largest arts audience of any event in Western Australia.

The Artist Pass therefore delivers an average per artist saving of $106 (based on the 2015 average ticket price of $27.80).

BUDGIE SMUGGLER

The Pass also enables artists to redeem food and drink discounts at a variety of Festival and participating hospitality providers.

Participants receive free entry into the Artist Club: The Budgie Smuggler. The Budgie Smuggler is the late-night hang out for artists, where they can enjoy quirky entertainment, cheap drinks and eats and a relaxed environment to meet and mingle with other artists.

MARKETING SUPPORT Participants tap into the massive FRINGE WORLD audience via the significant marketing and promotional campaign that the Festival delivers, including participant opt-in benefits like advertising and marketing distribution campaigns.

AWARDS

Over

10,000

FREE ATTENDANCE BY ARTISTS TO TICKETED EVENTS

ORIGIN OF ARTISTS

ARTIST OVERVIEW

We’re very proud of how FRINGE WORLD has enabled local artists to raise their game and become more professional and geared for the world stage. 71% of the 2,626 participating artists were from Western Australia.

FRINGE WORLD participants are as diverse as the events they presented. 66.9% of the participants were aged 35 years or younger with artists ranging in age from under 18 to 60 and above.

WESTERN A AUSTRALI

71%

INTERST ATE

18%

OVERSEAS

11%

FRINGE WORLD is an attractive performance platform for emerging artists along with seasoned professionals. 33.7% of those surveyed have been active less than five years, though at the opposite end of the spectrum 38.4% have been performing or participating for a decade or more. For many participants (54.6%) FRINGE WORLD has been their only fringe festival experience as they identified as having not participated in any other fringe before. In 2015, the number of artists visiting Perth specifically for FRINGE WORLD (24.3%) was more than double that of artists visiting Perth on a tour of multiple festivals around Australia (10.4%). These results indicate that FRINGE WORLD is seen as an important stop on the global festival circuit and is a key driver for artists when considering touring opportunities.

FRINGE WORLD FESTIVAL 2015 ARTIST AGE RANGE <17

18 – 23

12%

24 – 29

32%

30 – 35

22%

36 – 41

14%

42 – 47

48 – 53

54 – 59

60+

183 64 118

WORLD PREMIERES AUSTRALIAN PREMIERES WA PREMIERES

“

FRINGE WORLD has been a succesful and financially viable opportunity for Kinetica and each year we have been involved we have made a profit.

Kinetica

”

FRINGE WORLD Festival Participant

Dado’ 29s Doorway Cabaret, photo by Jarrad Seng.

FRINGE WORLD EXPERIENCE PERTH AND FRINGE WORLD HAVE DEVELOPED A REPUTATION ON THE INTERNATIONAL FRINGE CIRCUIT AS A PLACE WHERE THE PEOPLE ARE FRIENDLY AND WELCOMING AND THE AUDIENCES GENEROUS AND RESPONSIVE. Positive endorsement by participants has been consistently high since the inaugural Festival in 2011. 95.4% of the 2015 surveyed participants recommend FRINGE WORLD Festival to other artists and 51.8% of participants had participated at FRINGE WORLD in one or more previous years, a further endorsement of the positive experience and repeat-business that the Festival has engendered.

94%

of FRINGE WORLD artists would recommend Perth as a place to visit

88%

of FRINGE WO RLD artists agree that th e Festival’s atmosphere a nd buzz makes Perth an exciting place to visit

Almost all of those surveyed (94.4%) would recommend Perth as a place to visit, whilst 88.1% of artists agree that the Festival’s atmosphere and buzz makes Perth an exciting place to visit. Artists also believe that the Festival provides an opportunity to showcase the work of emerging artists (86.6%), meet other artists (83.3%) and view work they would otherwise not get to see (83.3%). The artists experience of FRINGE WORLD rated positively against other Festivals, with the majority (91.7%) rating its quality equal or better than other fringe festivals in Australia. The Festival rates well against peers abroad, with 93.7% of those surveyed rating its quality equal or better than comparable fringe festivals overseas.

92%

te LD artists ra R O W E G IN of FR qual l’s quality e the Festiva ge n other frin a th r e tt e b or Australia festivals in

87%

of FRINGE WO RLD artists believe that th e Festival provides an o pportunity to showcase the work of emerging art ists

ARTIST DEVELOPMENT A key aim of the Festival is to assist in the growth of WA as a hub for the development of distinctive, enriching work that is both unique to WA as well as geared for the world stage. Artists participate in FRINGE WORLD for a range of reasons, as illustrated below. Importantly, 87.6% of surveyed participants indicated they had achieved their primary aims, with 31.3% indicating they had achieved their aims completely.

ARTISTS’ REASONS FOR PARTICIPATING IN FRINGE WORLD FESTIVAL 2015 TO EXPOSE THEIR WORK TO A NEW AUDIENCE

72%

TO DEVELOP THE PERFORMANCE/PROJECT

46%

JUST FOR FUN

37%

TO GAIN ACCESS TO ARTISTIC NETWORKS

35%

TO MAKE MONEY

30%

AS A ‘TESTING GROUND’ BEFORE TAKING THE WORK TO OTHER FESTIVALS

20%

TO ACCESS MEDIA AND PROMOTIONAL NETWORKS TO GAIN ACCESS TO FUNDING BODIES

14% 3%

Presenting work at FRINGE WORLD also leads to other performance and project opportunities in the 12 months following the Festival with 64% of stating that they believe their participation in the Fringe would lead to future opportunities in Perth, while 36.8% saw it as a pathway to other opportunities around Australia. The Festival has also provided Western Australian artists with a platform for touring their works around the world. FRINGE WORLD welcomes an ever-growing exchange with World Fringe Alliance festivals, including the National Arts Festival South Africa, from which seven productions toured to Perth in 2015. Western Australian artists are returning the favour, with many planning to tour to Grahamstown in 2015, as well as Edinburgh Fringe and Prague Fringe, in addition to those that have already performed at Adelaide Fringe over February and March this year. Winners of the 2014 Martin Sims Award, Holland Street Productions, toured their musical theatre work Point & Shoot: A New Musical to the 2015 Brighton Fringe (and won the prestigious Argus Archangel Award), after successful seasons at Sydney Fringe, Melbourne Fringe and Brisbane Festival and a packed encore season at FRINGE WORLD in 2015. In 2015, FRINGE WORLD embarked on a new partnership with Melbourne Fringe to present a Tour Ready Award. This partnership resulted in FRINGE WORLD welcoming one-woman extraordinaire Tessa Waters and her show WOMANz to Perth, while Melbourne Fringe awarded new WA work FAG/STAG an opportunity to take part in their Festival later in 2015.

Squidboy stars in Little Pleasures, photo by John Leonard. 32

The 33Pleasure Garden, photo by Jarrad Seng.

partnership activity THE 2015 FESTIVAL FEATURED A RANGE OF NEW PROGRAMS AND ACTIVITIES THAT WERE DELIVERED WITH THE SUPPORT OF KEY PARTNERS. FRINGE WORLD partners support the Festival’s vision towards delivering sustained benefits for the Western Australian community. The Festival codeveloped programs that achieve this vision and engaged the massive FRINGE WORLD audience with our partners’ brand. The activities varied from specialty programs to services that enhanced the festival-goers experience

FRINGE WORLD CONCIERGE SERVICE: POWERED BY WOODSIDE This boutique ticketing service enriched the Festival’s box office experience and enabled CBD Fringe fans to purchase tickets and receive advice and tips on the program. The activity was achieved with long-term partner Woodside.

Photo by John Marshall

IINET RIICKSHAWS Over 4,000 people enjoyed an iiNet Riickshaw ride along James Street at the 2015 Festival. This new initiative was a popular and relaxing way to travel in style between The Pleasure Garden and the Perth Cultural Centre in Northbridge.

Photo by John Marshall

Photo by John Marshall 34

SCRATCH’N’WIN GREAT BIG SCRATCHIE With Community Partner Lotterywest we presented this fun game at The Pleasure Garden. Lotterywest is able to support events like FRINGE WORLD Festival thanks to the sale of products such as Scratch’n’Win.

CURTIN GARDEN LIBRARY Patrons to The Pleasure Garden loved spending a relaxed arvo or evening reading and enjoying a beverage at the Curtin Garden Library, presented by Curtin University. Books were gifted to the Library and donated to charity at the end of the Festival. Photo by Chris Benson

BROOKFIELD BUNNIES Stormie Mills’ big pink bunnies were a massive hit and Perthites loved playing hide and seek with them at Brookfield Place. The Festival also presented 60-Second Fringe with Brookfield, where bite-sized portions of Fringe fabulousness surprised audiences every Thursday night during the Festival.

THE GOLD DIGGER The Comedy Central program at The Gold Digger was presented thanks to a new long-term collaboration with The Perth Theatre Trust. The custombuilt venue was housed in the courtyard of The State Theatre Centre.

Photo by Jason Matz

LITTLE CREATURES HOWLING WOLVES MARGARET RIVER Thirsty fans enjoyed the free wine tastings in The Pleasure Garden and an in-store promotion with participating stores gave Howlers the opportunity to win a VIP spiegeltent party at FRINGE WORLD.

Fringe Pink was even more present in 2015 thanks to the cute Little Creatures hand waver flags and bright aprons worn by bar staff. The Stables Bar in the Perth Cultural Centre was transformed with red and pink, making it the Little Creatures destination at FRINGE WORLD.

THE WEST AUSTRALIAN The Festival’s long-term media partner produced the magazine lift-out ‘31 Days of Perthect, Guide to FRINGE WORLD’ along with the micro site thewest.com.au/fringeworld15 that was the home of FRINGE WORLD reviews, star ratings, news, interviews and videos.

MEDIA & MARKETING REACH FRINGE WORLD FESTIVAL’S 2015 MEDIA CAMPAIGN GENERATED A TOTAL MEDIA VALUE OF $5,870,145 + GST ACROSS PRINT, ONLINE, TV, SOCIAL AND RADIO PLATFORMS. The media coverage that was generated reached a cumulative potential audience of 49,129,169 (inclusive of social media but not including online audiences). The Festival’s total media value generated and cumulative potential audience figures have consistently increased since 2013 by between 30%46% annually. For the first time since FRINGE WORLD has been reporting its media impact, both the cumulative potential audience and total media values now include the Festival’s social media value i.e. the standard equivalent advertising value for Twitter and Facebook (the figures do not include Instagram as the platform doesn’t yet have a standard advertising model). Valuing social media is an emergent field and because of these limitations combined with variations in user privacy settings, the true value of the Festival’s social media coverage is under reported.

The Gold Digger at the State Theatre Centre of WA, photo by John Leonard.

CAMPAIGN HIGHLIGHTS The 2015 marketing and communications campaign ran for three months from 11 December 2014 (program announcement) to the last day of the Festival (22 February 2015) and encompassed print materials, advertising, website, digital and social media. The FRINGE WORLD Facebook Page continues to engage a healthy number of Facebook users. During the campaign period there was an average organic reach of 31,000+ Facebook users per day, totalling over 2.3 million post views over the course of the campaign. The Festival’s Facebook Likes grew over 28% within the same period. On Instagram, the Festival fans grew 157% to 5,648. During the campaign period there were 1,393 posts tagged with #31daysofperthect and over 14,280 posts have been tagged with #fringeworld since 2013.

The Festival e-news subscribers grew 78% and during the campaign period 431,492 emails were sent. During the campaign period the Festival website had 5,501,811 page views (45% increase from 2014) and 832,679 sessions (69% increase from 2014) and an average session duration of 5.34 minutes. The APN Outdoor advertising campaign reached 74.3% of Perth’s 18+ population with a total reach of 1.1 million people who saw the advertising an average of 4.1 times. The top ways that were identified by the surveyed audience as how they found out about the Festival were: seeing a print advertisement or reading an article about the Festival or a Festival event (69.9%), FRINGE WORLD Festival Guide (printed) (67.4%), friend recommendation/word of mouth (39.3%), social media (36.6%), The West Australian’s lift-out ‘31 Days of Perthect, Guide to FRINGE WORLD’ (21.3%) and other advertising including radio and outdoor (23.8%).

Examples of social media posts about FRINGE WORLD.

ECONOMIC IMPACT “

Australian Hotels Association spokesman Paul Brockshlager said the festival brought a different demographic to Northbridge, including families. “Fringe World has been a real key element adding to the revitalisation of Northbridge,” he said. “It’s significant because it brings a whole array of customers who wouldn’t otherwise be there.”

”

Claire Moodie

ABC News

FRINGE WORLD DELIVERS A SIGNIFICANT LEVEL OF ECONOMIC STIMULATION WITHIN THE CITY OF PERTH, DRIVEN BY THE DIVERSE AND PRIMARILY DOMESTIC AUDIENCE ALONGSIDE PARTICIPANTS WHO COME FROM INTRASTATE, INTERSTATE AND OVERSEAS. The Festival has stimulated large visitation to Perth City and Northbridge by new markets from across the metropolitan area that would otherwise not be spending within the CBD and surrounds. In 2015 FRINGE WORLD audiences spent an estimated $43.1 million dollars while attending events, including pre and post event expenditure in restaurants and bars and accommodation. In addition to direct spend within the Perth economy associated with the production of the Festival and the spend by the 840 national and international visiting artists and technicians participating in the Festival, the indirect effect on the Perth economy generated by FRINGE WORLD, after application of relevant gross value added multiplier, was over $70 million dollars.

76% of the audience ate in the area before or after attending a FRINGE WORLD Festival show

68% of the audience had a drink at a bar, nightclub or café in the area before or after attending a FRINGE WORLD Festival show

C. Moodie, Fringe World to attract record numbers, fuels rivalry with Perth International Arts Festival, ABC News, 19 January 2015 http://www.abc.net.au/news/2015-01-19/ fringe-world-to-attract-record-numbers-fuelling-festival-rivalry/6025476

BUSINESS IMPACT

CASE STUDY: LOCAL BUSINESS

The response from surveyed business echoes the audience response with regards to social impact, with 100% of surveyed local businesses agreeing that FRINGE WORLD has contributed to making Northbridge and the Perth city centre a more vibrant place. Of the surveyed local businesses 85.7% agree that FRINGE WORLD has a significant positive impact on their business. 50% indicated that their level of trading increased and 66.7% that their diversity of clientele was higher than normal during FRINGE WORLD. 75.5% of the surveyed audience indicated they eat in the area before or after attending a FRINGE WORLD venue and 68.4% have a drink at a bar/nightclub/café. The surveyed audience indicated their spend prior to and after attending FRINGE WORLD events occurred in the following areas as per the chart below.

EXPENDITURE BY SUBURB

Audiences: Where was the majority of your expenditure made?

Northbridge (62%) Perth CBD (21%) Other (5%) Fremantle (3%) Mount Lawley (3%) Leederville (2%) Midland (2%) Scarborough (1%) Victoria Park (1%)

Bivouac Canteen & Bar Bivouac Canteen & Bar has established itself as one of Perth’s best eateries and its close proximity to the State Theatre Centre and The Blue Room Theatre mean it’s a firm favourite with fringe audiences. When asked about the impact FRINGE WORLD has on Perth culture and society Bivouac said that the Festival has a significant positive impact on the community.

“In the four years we have been involved in fringe we have seen a cosmic shift in the participation and attendance of shows, a softening in the attitudes towards the challenging issues that some of the shows present, increased discussion and engaging in the content of the shows.” Bivouac said that the Festival inspires and encourages younger artists to follow in the footsteps of the performers they see at the Festival. According to Bivouac, Northbridge has a “special fringe buzz going on” during the Festival and it attracts plenty of ‘first timers’ to the area who are surprised and amazed how clean, safe and active the streets are.

“In speaking with other business owners, including outside of food and beverage, I believe there is a positive impact on their business through sales and new customers,” Bivouac commented. “It [FRINGE WORLD] has a very significant positive impact on our business as we are always busier through the Festival and see plenty of first time customers through our doors. We have noted that in each of the first four years our trade has increased 10 – 15% [during the FRINGE WORLD Festival period].”

VISITOR GROSS EXPENDITURE

Using our public survey data, the gross daily expenditure during the average trip to the FRINGE WORLD Festival was calculated for each type of visitor based on location of origin.

In this section are the calculations made in order to estimate the gross expenditure by the Festival’s audience; a key component in FRINGE WORLD Festival’s overall economic impact. Of the audience surveys collected, the vast majority were completed by visitors who lived in the Perth metropolitan area (95.8%). Location

No.

City of Perth

704

14.4%

Elsewhere in the Perth Metro Area

4001

81.4%

Elsewhere in WA

149

3.0%

Elsewhere in Australia

0.7%

Overseas

0.5%

DAY VISITORS VS STAYING VISITORS As per survey responses from previous years, most respondents were FRINGE WORLD ‘day visitors’ from Perth. It is worth noting that across festival years, there is an ever slightly upward trend in ‘day visitors’ from outside Perth CBD. Type of Respondent

TOTAL

Day visitors (from City of Perth)

14.1%

Day visitors (from elsewhere in Perth Metro Area)

79.7%

Day visitors (from outside Perth)

1.9%

Staying visitors (from City of Perth)

0.3%

Staying visitors (from elsewhere in Perth Metro Area)

1.9%

Staying visitors (from outside Perth)

2.1%

AVERAGE DAILY/NIGHTLY EXPENDITURE PER PERSON, OUTSIDE FRINGE WORLD SPEND Type of Respondent

Total average daily spend

City of Perth

$81

Elsewhere in the Perth Metro Area

$84

Elsewhere in WA

$184

Elsewhere in Australia

$231

Overseas

$175

To reach a gross visitor expenditure figure for the Festival duration, these daily averages were then multiplied by the average number of days (or paying nights in the case of accommodation) spent across the whole FRINGE WORLD Festival by each type of respondent.

NUMBER OF DAYS/ NIGHTS ATTENDED Type of Respondent

Ave. number of days attended

City of Perth

7.0

Elsewhere in the Perth Metro Area

5.4

Elsewhere in WA

3.5

Elsewhere in Australia

6.9

Overseas

8.2

We are seeing visitors from overseas spending more days/nights visiting FRINGE WORLD Festival venues than ever, averaging 8.2 visits to the Festival during their stay in Perth, up from 5.9 visits last year.

Data on the total number of tickets sold overestimates the number of unique visitors, since most attend more than one event, over a range of days. To estimate the number of unique festival visitors, the gross number of tickets sold plus estimated free attendance were split into different types of visitors (based on location) using the proportions from the audience survey. These attendance figures by location type were then divided by the average number of events each type of visitor reported attending in the survey to reach an estimated number of unique visitors of each type. The number of unique visitors by type is shown in the following table, with a total unique visitation of 119,795 for purposes of economic impact analysis. A key step in examining overall economic impact is to assess the proportion of expenditure made by visitors that would have been spent in Perth in any case. To account for this, we apply a downwards additionality adjustment to the average $ expenditure per person figures based on statistics derived from survey answers. Once gross visitor expenditure had been calculated for the average trip days in each category, it was then multiplied by the unique visitor numbers in each category to reach an estimated total gross visitor spend of over $43 million, with over 76% spent by Perth based day trippers to the Festival. This is just over 1.6 times higher than 2014â&#x20AC;&#x2122;s figure of $26.9 million.

ESTIMATED TOTAL GROSS SPEND Estimated unique visitors

Average days

Average spend per day

Additionality adjustment

Total spend

% of overall spend

City of Perth

13,577

7.0

$81

34.9%

$5,011,502

11.6%

Elsewhere in the Perth Metro Area

99,489

5.4

$84

27.3%

$32,808,209

76.2%

5,657

3.5

$184

0.8%

$3,613,963

8.4%

Elsewhere in Australia

670

6.9

$231

0.3%

$1,064,709

2.5%

Overseas

402

8.2

$175

0.2%

$575,716

1.3%

Type of Respondent

Elsewhere in WA

TOTAL

119,795

$43,074,099

PERFORMER EXPENDITURE Although FRINGE WORLD is not actively targeting interstate or international audiences, the Festival has made attracting independent visitation from interstate and overseas artists a key priority since inception. From originally having 145 visiting international and interstate performers and production personnel in the first year of the Festival, this number has grown steadily to reach the 2015 level of 840 participating visitors. We have endeavoured to increase average travelling artist season lengths to help ensure they get the most out of their FRINGE WORLD Festival participation. Based on the average stay of 8.1 nights per intrastate participant, 7.3 nights per interstate participant and 7.9 nights per international participant, visiting Festival participants spent an estimated 6,369 nights in Perth during their stay in 2015. We look at expenditure by four different categories of performers: local performers from within Perth Metropolitan area, performers from within WA (intrastate), performers from elsewhere in Australia (interstate) and those from outside of Australia (international). To approximate the expenditure of performers from Perth Metro area, we use the box office payments made to local performers as well as fees paid to Perth artists for contributions to free programs. Since these performers are Perth-based, we have assumed that the bulk of their fees generated through the Festival will end up being spent in the Perth economy. As this revenue has been included in the FRINGE WORLD expenditure figures they are not considered further here. Based on our participant survey data, we calculate average daily expenditure for intrastate artists at $216, interstate artists at $137 and

$179 for international artists. These figures are in-line with those used by the Australian Department of Resources, Energy and Tourism to calculate tourism expenditure. Travel expenditure for performers is not included in estimated performer expenditure, since the bulk of this expenditure will be on travel from elsewhere in Australia or from overseas, accruing to airline and travel operators based outside of Perth.

VISITING PERFORMER EXPENDITURE CALCULATIONS Total days/ nights

Total average daily spend

Total expenditure

Perth

n/a

Elsewhere in WA

705

$216

$152,280

Elsewhere in Australia

3,460

$137

$474,020

Overseas

2,204

$179

$394,516

Type of performer

TOTAL VISITING PERFORMER EXPENDITURE

$1,020,816

ORGANISER EXPENDITURE This expenditure includes all spending on staff, office running costs and suppliers. The totals for each of these categories of income and expenditure are displayed in the Organisational Expenditure chart. Category

Amount

Total expenditure on WA artists

$1,294,896

Total expenditure on staff

$3,849,448

Total expenditure on festival office costs

$402,362

Other expenditure related to staging the festival

$1,361,303

TOTAL ORGANISER EXPENDITURE

$6,908,009

TOTAL GROSS EXPENDITURE

COMPARISON OF TOTAL VISITOR GROSS EXPENDITURE 2014 v 2015 Type of respondent

Combining the total estimated gross expenditure by visitors and performers at the FRINGE WORLD Festival with the expenditure by festival organisers (which includes expenditure by festival management on suppliers, staff and office costs), we reach a total gross expenditure figure of $51,002,924. Source of expenditure Audience

Overall amount $43,074,099

Performers

$1,020,816

Organisers

$6,908,009

TOTAL GROSS EXPENDITURE

$51,002,924

VISITOR GROSS EXPENDITURE VS TOTAL GROSS EXPENDITURE Calculated gross expenditure totals for FRINGE WORLD Festival 2015 is up to 60% higher than last year, with each expenditure component having increased in practically equal measures. Last yearâ&#x20AC;&#x2122;s balance of expenditure sources is maintained this year. It is clear that the audience is a major contributor (84%) to total Festival associated gross expenditure. The performers contribute 2% of the total with the organisers accounting for the remaining 14% ($9.6m).

City of Perth + Perth Metropolitan Area

Total 2014 spend

% of overall spend

Total 2015 spend

% of overall spend

$24,244,161

90%

$37,819,711

88%

$1,876,160

$3,613,963

Elsewhere in Australia

$519,028

$1,064,709

Overseas

$213,379

$575,716

TOTAL VISITOR EXPENDITURE

$26,852,728

82%

$43,074,099

84%

TOTAL GROSS EXPENDITURE

$32,696,363

Elsewhere in WA

$51,002,924

COMPARISON OF VISITOR GROSS EXPENDITURE WITH MULTIPLIER AS A PROPORTION OF TOTAL VISITOR GROSS EXPENDITURE 2014 v 2015 % of overall spend

Source of expenditure including Gross Value Multiplier effect

Total 2014 spend

City of Perth + Perth Metropolitan Area

$33,699,384

74%

$52,569,398

74%

$2,607,862

$5,023,409

Elsewhere in Australia

$721,449

$1,479,946

Overseas

$296,597

$800,245

PERFORMERS

$600,769

$1,418,934

ORGANISERS

$7,521,884

17%

$9,602,133

14%

Elsewhere in WA

TOTAL VISITOR EXPENDITURE

$45,447,945

Total 2015 spend

% of overall spend

$70,894,065

MULTIPLIED TOTAL EXPENDITURE AND FTE JOBS CREATED In determining the economic movement triggered by FRINGE WORLD, we measure the knock-on effects of gross expenditure, since part of the money spent in shops, on suppliers etc. will then be re-spent by those shops and suppliers on other things and so on. We therefore apply a Gross Value Added multiplier of 1.39, taken from Multipliers for Culture-related Industries by the National Centre for Culture and Recreation Statistics of the Australian Bureau of Statistics (ABS).1 This takes the total multiplied expenditure to $70,894,065. The individual multiplied figures are reproduced below. We also apply a Full-Time Equivalent (FTE) employment multiplier of 22 jobs per $1m spent per annum to the Total Gross Expenditure figure with multiplier (again in keeping with ABS standards), to convert this expenditure into jobs created by the spending associated with FRINGE WORLD. These figures of $70.9m and 1,560 FTE jobs represent over a 55% increase compared to the 2014 totals of $45.4m and 999 FTE jobs generated in WA.

Audience

Total gross expenditure

Total gross value added (with multiplier)

$43,074,099

$59,872,998

Performers

$1,020,816

$1,418,934

Organisers

$6,908,009

$9,602,133

Total

$51,002,924

$70,894,065

Extracting the exclusive economic expenditure of visitors, both participant and audience, to FRINGE WORLD from elsewhere in WA, interstate and overseas is noteworthy when considering ‘new’ visitation to Perth metropolitan area, rather than total visitation to the City of Perth through the FRINGE WORLD Festival.

INTRA / INTER / OVERSEAS VISITOR (IIOV) EXPENDITURE CALCULATIONS Type of visitor

Total unique visitors

Average days

Average spend per day

FTE jobs from gross expenditure

Total spend

Intrastate Audience

5,657

3.5

$184

$3,643,108

Interstate Audience

670

6.9

$231

$1,067,913

Overseas Audience

402

8.2

$175

$576,870

Intrastate Artist

8.1

$216

$152,215

Interstate Artist

474

7.3

$137

$474,047

Overseas Artist

279

7.9

$179

$394,534

TOTAL

7,569

$6,308,687

1.39

$8,769,075

MULTIPLIED TOTAL

SPEND IN PERTH PER DOLLAR INVESTED Figure/ration Total IIO Visitor Expenditure (IIOV)

MULTIPLIED TOTAL EXPENDITURE Source of expenditure

INTRASTATE, INTERSTATE AND OVERSEAS VISITOR GROSS & MULTIPLIED EXPENDITURE

Amount $8,769,075

Total Gross Expenditure (TGE)

$51,002,924

Total Gross Value Added (TGVA)

$70,894,065

Investment by WA government (state and local)

$1,370,507

Intra & Interstate & Overseas (IIOV) spent per $1 invested

$6.40

Gross amount spend (TGE) per $1 invested

$37.21

Gross revenue generated (TVA) per $1 invested

$51.73

1,560

1. Cultural Ministers Council: Cultural Data Online (2011), ‘Multipliers for culture-related industries’, Retrieved May 6, from http://culturaldata.arts.gov.au/publications/statistics_working_group/other/multipliers_for_culture-related_industries

ECONOMIC IMPACT CONCLUSION

RETURN ON INVESTMENT IN FRINGE WORLD The following shows the Total Gross Expenditure and (multiplied) Gross Value Added for each dollar of funding by the Western Australian government (both state and local). This equates to a ratio of 1:51.7, almost double 2014’s ratio of 1:28.9. EFFECT ON WA ECONOMY PER DOLLAR INVESTED Figure/ration

Amount

Total Gross Expenditure (TGE)

$51,002,924

Total Gross Value Added (TVA)

$70,894,065

Investment by WA government (state and local)

$1,370.507

Gross amount spent (TGE) per $1 invested

$37.21

Gross revenue generated (TVA) per $1 invested

$51.73

“

The return on investment for this

year is bound to be higher [compared with 2014], adding evidence to the argument that the arts can be an effective tool in any stimulus package.

”

Editorial

The West Australian

Editorial, Fabulous month brings arts in from the Fringe, The West Australian, 23 February 2015

The economic impact of FRINGE WORLD activity within the City of Perth as well as the broader Perth and Western Australian economy is interesting to consider, as too the ‘return on investment’ related to the cumulative contribution from various State Government agencies. It is important of course not to perceive the value of the enterprise solely in economic terms. Ultimately, FRINGE WORLD’s positive impact generates short and long term benefit for the people of Western Australia in terms that are complementary to those of the economic rationalist, but not central. FRINGE WORLD has proved itself to be a cultural enterprise that is successful in its business sense, savvy in its market stimulation and driven by an entrepreneurial spirit. The most important ongoing legacy of its activity will not be headline contribution to the economy however, but rather the continual improvement of the cultural life of WA in ways no other enterprise is above to achieve.

REPORT METHODOLOGY The primary source of evidence supporting the findings of this Impact Report is derived from public and participant surveys including: • • •

•

The 2015 public attendee survey (conducted online between 16 February to 17 March) that received 4,914 responses; The 2015 online participant survey that received 336 responses from participating artists; The 2015 online local business survey (conducted with a target proportion of businesses located near FRINGE WORLD activity in Northbridge) that received 15 responses; and The 2015 online staff survey that received 149 responses from volunteers and paid Festival staff.

ATTENDANCE CALCULATIONS The reported figure for attendance at ticketed events in 2015 is 258,438. This is comprised of: • 220,730 tickets processed through the

FRINGE WORLD ticket system; • 26,295 tickets purchased on the door at Festival venues including Artist Pass entries; and • 11,413 purchased through external venue ticketing systems such as Ticketek, The Bakery and Rooftop Movies. The reported figure of 258,438 attendance at ticketed events is a 67% increase on FRINGE WORLD 2014 reported figures of 154,366. The reported figure for total Festival attendance in 2015 is 660,000+, an increase of over 78% on 2014’s figure of 370,000+. This figure includes attendance at ticketed events, attendance at free programs, attendance at Festival partnership activations, and festival-goers enjoying The Pleasure Garden and the Festival areas of the Perth Cultural Centre (drinking at the bars and wandering through, enjoying free performances within the hubs).

There were 54 individual free Fringe programs and events including the Chinese New Year Fair, Life’s a Beach, FRINGE WORLD Mermaids, Northbridge Piazza and Perth Cultural Centre screens, visual arts exhibitions, partnership activations and nightly free programs throughout the Perth Cultural Centre and The Pleasure Garden. Free program attendance is estimated for all relevant programs and events utilising daily site or door staff reportage sheets. Figures are cross-referenced with audience survey responses related to free program attendance as well as other relevant comparative data such the Metropolitan Redevelopment Authority ‘Footfall Count Wave’ reportage for the Perth Cultural Centre instigated in September 2012 and February 2013. The reported figure of 660,000+ total attendance is at the conservative lower end of the 660,093 710,834 range.

50Matz. The Urban Orchard, photo by Jason

OTHER FRINGE ACTIVITIES REGIONAL TOURING SINCE FRINGE WORLD GOT GOING IN 2011 WE’VE BEEN ENTERTAINING PEOPLE RIGHT ACROSS THE STATE. As a home-grown festival that’s dedicated to making life better for all Western Australians, it’s an important part of who we are and what we do. Our De Parel Spiegeltent has toured to Karratha for the Red Earth Arts Festival and to Geraldton for G-Fest. We’ve presented headline and highlight fringe shows in partnership with regional arts centres in Albany, Bunbury and Geraldton and produced programs over a number of years at the Shinju Matsuri Festival in Broome. The positive impact that the Festival has achieved regionally has been made possible through the generous support of local partners in each of these communities and through hero yearround FRINGE WORLD partners including

Lotterywest and Woodside. Lotterywest assisted us in acquiring our own De Parel Spiegeltent for the very first FRINGE WORLD program, the same year that Woodside came on board as one of our founding and favourite ongoing partners.

The tour visited eight communities - returning again to Albany and Esperance and touring for the first time to Merredin, Northam, Kalgoorlie, Donnybrook, Bridgetown and Ravensthorpe. Local MPs Hon Wendy Duncan MLA, Member for Kalgoorlie and Hon Terry Redman MLA, Member for WarrenBlackwood attended the shows in their community.

The other key partner in our regional touring is the Department of Premier and Cabinet, who has supported the Outer Fringe since 2013.

Visit fringeworld.com.au/tours for more information about where we are next touring in this great state of Westralia.

In 2015, the Outer Fringe program was a Kids Comedy Gala that saw a top shelf line-up of local, national and international Fringe artists entertaining 800 kids and families in the Wheatbelt and Goldfields, South West and Great Southern Regions. Local theatres, repertory clubs and arts councils were very well supported by local audiences with four of the eight venues selling out before the show day and the other venues well exceeding ticket sale predictions. Mr Snotbottom in Merredin, photo by Grant Stainer.

ROOFTOP MOVIES

Photo by Jarrad Seng.

Rooftop Movies returned to Northridge for its third full season; running from 30 October 2014 to 11 April 2015 on the top floor of the Roe Street City of Perth Car Park. The pop-up space offers movie go-ers an outdoor cinema experience like no other, in the center of the city, complete with a deluxe retro fit-out and eclectic film program. Since its inception in 2012, Rooftop Movies has become a Perth summer staple with a healthy return audience (54%) and growing new audience (46%) getting their fix of balmy summer nights on the rooftop during the 2014/15 Season. Throughout the season, film screenings occurred every Tuesday to Sunday night (unless closed for a function or special event). The venue opens at 6pm nightly before the film commences at 8pm, giving audiences ample time to enjoy the bar and candy bar offerings, or enjoy a pizza from the Dough pop-up restaurant located on-site. The successful Sky High NYE party is an annual feature at Rooftop Movies and in 2014 it was co-headlined by UK producer Alexander Nutt and Fatima. For the duration of FRINGE WORLD, Rooftop Movies once again became a Festival venue, hosting the inaugural Perth Underground Film Festival and return of the ever popular dance party, Hot Dub Time Machine. Rooftop Movies returns in late 2015 for its fourth season and will once again host FRINGE WORLD Festival events in 2016.

98%

of the surveyed audience plan to attend Rooftop Movies again in the future

OVER

29,340 TICKETS SOLD

217

average nightly attendance at film screenings

PERTH PROGRESS & FRINGE WORLD PERTH CONTINUES TO TRANSFORM INTO A MORE CULTURALLY DIVERSE AND VIBRANT CITY. FRINGE WORLD HAS PLAYED A ROLE IN THIS RENEWAL, PARTICULARLY IN ASSISTING TO SHIFT PERSPECTIVES AND PEOPLE’S EXPERIENCE OF NORTHBRIDGE. Alongside the positive survey results, the future potential growth of FRINGE WORLD can be predicted in relation to key projects and facts about Perth and planning that will shape the future of the city. •

• • •

Perth is on track to outstrip the ACT and become the country’s performing arts capital. Figures released by the Australian Bureau of Statistics show that 56.3% of Western Australians aged 15 years or older went to a performing arts event in 2013-14.1 The public realm of Elizabeth Quay will open in late 2015.2 The State Government has allocated $428.3 million to the new museum project, which will be four times the size of the current museum. It’s scheduled to open in 2020.1 The Economist Intelligence Unit’s Global Liveability Index has ranked Perth as the ninth most liveable city in the world. Melbourne was ranked first for the fourth consecutive year. Adelaide was ranked fifth and Sydney seventh.1

•

More than 10,000 apartments added to the inner-Perth market by 2020 — a 56 per cent increase.3 A new report by Master Builders and Y Research found that Perth had 121 apartment projects either under construction, with development approved or actively progressing through the development process in 19 suburbs within 5km of the CBD. These projects, when complete, could add 10,685 apartments to the inner-city market by 2020.3 The Committee for Perth say projections that at least 3.9 million people will call Perth home by 2050 - and possibly as many as 5.4 million - should be a “game changer” in how the city is planned.4

The great change and revitalisation reflected in Perth’s rapidly developing skyline, urban fabric and diversification of entertainment, leisure and cultural options looks set to be progressing in the short, medium and long term. Fringe is an adaptive model of cultural production that thrives in an environment of change and growth. Because most Festival content can be presented in non-traditional arts venues, FRINGE WORLD will inevitably continue to activate, enliven and culturally inhabit both existing and new city urban environments.

2015 Key Facts About Perth & Western Australia, FACTSheet 6, The University of Western Australia and Committee for Perth, Perth. Minister for Planning; Culture and the Arts, Rippling water inspires Elizabeth Quay artwork, 22 June 2015, https://www.mediastatements.wa.gov.au/Pages/Barnett/2015/06/Rippling-water-inspires-Elizabeth-Quay-artwork.aspx 3 M. Lague, Projects taller, apartments smaller, The West Australian, 4 March 2015, https://au.news.yahoo.com/thewest/a/26513957/projects-taller-apartments-smaller/ 4 P. Law, Perth at five million people: Endless suburbia or Australia’s best city, perthnow.com.au, 13 December 2013 http://www.perthnow.com.au/news/western-australia/perth-at-five-million-people-endless-suburbia-or-australias-best-city/story-fnhocxo3-1226783153597 1

•

Although FRINGE WORLD has established the James Street axis as the foundation ‘spine’ between its current two key Festival centres in Russell Square (The Pleasure Garden) and the Perth Cultural Centre, the Festival will naturally grow and adapt in future years to meet the ongoing needs of a shifting city landscape and its populace. Current Festival planning includes some exciting new programs that will potentially activate new Elizabeth Quay sites in the coming years. Growth in other metropolitan and outer metropolitan programs occurring during FRINGE WORLD including Fremantle, Scarborough, Midland and Mandurah will also occur over the coming years and it is expected other local government areas will come on board.

“

Chamber of Arts and Culture chairman Warwick Hemsley said the Fringe Festival’s success sent a message to governments about how important the arts are to the community.

”

Claire Moodie ABC News

WA State Budget 2015-16: “Play, Laugh, Cheer, Wonder”

It has been recognised by media and other commentators that with the ever successful Perth International Arts Festival (PIAF) and FRINGE WORLD Festival running at the same time, Perth can finally begin to make claim to being one of the great Festival cities. The two festivals complement each other, have a cumulative effect and in combination have created a critical mass of activity that has generated excitement and energy at a level that has registered right across the cultural fabric of Perth and its people.

C. Moodie, Fringe World to attract record numbers, fuels rivalry with Perth International Arts Festival, ABC News, 19 January 2015, http://www.abc.net.au/news/2015-01-19/fringe-world-to-attract-record-numbers-fuelling-festival-rivalry/6025476 The Government of Western Australia, 2015-16 Budget At A Glance: Play, Laugh, Cheer, Wonder. 14 May 2015

Sunset Veranda, photo by Labrynth Photography.

fringe world future THE ONGOING GROWTH AND SUCCESS OF FRINGE WORLD WILL DELIVER SUSTAINED BENEFITS TO WA COMMUNITIES. The focus for FRINGE WORLD in the coming years involves stabilizing, consolidating and gearing the Festival for longevity. FRINGE WORLD has achieved rapid growth since the inaugural event in 2011, the Fringe is now well established in Perthâ&#x20AC;&#x2122;s psyche. Our ambition now is to embed FRINGE WORLD in the hearts and minds of all Westralians to a point where life without Fringe would be unimaginable.

This is far from unattainable given the sense of ownership of Fringe on behalf of the audiences, the participating artists and FRINGE WORLD partners whoâ&#x20AC;&#x2122;ve all been part of the Festival DNA from the outset and contributed to its growth and strength year-to-year. Stimulating sustainable growth of the Festival will be the underlying gameplan for the coming years to ensure audiences continue to have a diverse smorgasbord of entertainment to choose from and, critically, that FRINGE WORLD continues to deliver positive benefits for the participating artists.

De Parel Spiegeltent, photo by Cam Campbell.

fringe world awards FRINGE WORLD MARTIN SIMS AWARD Winner: Monroe and Associates

CABARET AWARD

Presented by Howling Wolves Margaret River Winner: La Soirée First Runner Up: Church of Wonders Second Runner Up: All Out of Pride: An Evening of Songs You’re Ashamed to Love WA Winner (joint): Perth Cabaret Collective presents An Old Fashioned Affair and Speak Easy

CHILDREN’S EVENT AWARD

Presented by BDO

Winner: Lords of Strut: The Family Show, and The Bookbinder First Runner Up: Disco Kids Second Runner Up: Anatomy of the Piano WA Winner: The Greatest Children’s Story Ever Written

CIRCUS AWARD

Presented by iiNet

COMEDY AWARD

Presented by Brookfield

Winner: Trygve Wakenshaw: KRAKEN

Winner: Sam Perry Live First Runner Up: Point & Shoot: A New Musical Second Runner Up (joint): Stratosfunk Motown & 60s Soul and Beyond Borders

First Runner Up: Ryan Coffey is Howlin’ Second Runner Up: Best of the Edinburgh Fest WA Winner: Pirate Church: Shitstorm

DANCE AWARD

MELBOURNE TOUR READY AWARD

Presented by Melbourne Fringe Winner: FAG/STAG

THE WEST AUSTRALIAN ARTS EDITOR AWARD

Presented by City of Perth

Presented by 720 ABC PERTH

THEATRE AWARD

Winner: Sex Idiot by Bryony Kimmings

Winner: Carmen Choreodrama

Winner: Fake It ‘til You Make It by Bryony Kimmings & Tim Grayburn (pictured right)

Presented by Curtin University

First Runner Up: Bey Dance Workshop Second Runner Up/WA Winner: Every/ Nowhere

FILM & MULTIMEDIA AWARD

First Runner Up: The Dirty Cowboy Second Runner Up (joint): Amateur Hour and The Worst of Scottee

Presented by Instant Toilets and Showers

WA Winner: Absolutely

Winner (joint): The General - with Live Musical Accompaniment by Viola Dana and Cinema Classics @ The Backlot Perth

VISUAL ARTS AWARD

First Runner Up: Perth Underground Film Festival

FREE AND COMMUNITY EVENT AWARD

Winner: Fright or Flight

Presented by the Metropolitan Redevelopment Authority

First Runner Up: Briefs Second Runner Up/WA Winner: Elements

Winner (joint): Chung Wah Chinese New Year Fair and Mobile Moments 3.0

MUSIC & MUSICALS AWARD

Presented by APN Outdoor

Presented by Little Creatures Winner: Mate First Runner Up: Next Level Bullshit Second Runner Up: Loser Unit Presents

WA EMERGING ARTIST AWARD

SPIRIT OF THE FRINGE AWARD

Winner: Joe Lui First Runner Up: Adrienne Truscott Second Runner Up: CHRISTEENE

INDEPENDENT PROGRAM AND VENUE AWARD

Presented by Lotterywest INDEPENDENT PROGRAM

Winner: The Blue Room Summer Nights First Runner Up: Connections Nightclub Second Runner Up: Bootleg Comedy for Rosie O’Grady’s Northbridge

Presented by Woodside

INDEPENDENT VENUE

Winners: • Mikaela Westall (Moving On Inc.) • Clarence Ryan (Metalhead) • Felicity McKay (Venus in Furs)

Winner (joint): Noodle Palace and Sunset Veranda First Runner Up: Freo Royale Second Runner Up: Midlandia

Fake it â&#x20AC;&#x2DC;til You Make It by Bryony Kimmings and Tim Grayburn, photo by Richard Davenport.

fringe world TEAM The 2015 FRINGE WORLD Team is defined as staff who worked on the Festival’s two main sites (The Pleasure Garden and pop-up venues in The Perth Cultural Centre) along with staff working for Rooftop Movies and The Bakery / The Budgie Smuggler: FRINGE WORLD Artist Club. The 2015 FRINGE WORLD Team consisted of 733 paid staff (casual, permanent or full time) and 507 volunteers. The following is a snapshot of this Team.

BOARD Hon Chairperson Anthony Robinson Hon Vice Chairperson Lindsay O’Sullivan Hon Treasurer Michele Reis Hon Secretary Rebecca Lee Board Member (Voting) John Goodlad Kyle Jeavons Michael Tucak Saffron Solomon Board Member (Non-Voting) Ahmad Abas Bonnie Davies

FRINGE WORLD FESTIVAL TEAM Festival Director

Amber Hasler

CEO Business Manager Administration Coordinator Accounts Coordinator Receptionist

Marcus Canning Kenny Lye Elise Higgins Shashi Settinayake Brianna Wotzko

Program Manager Jessica Darlow Producer: The Pleasure Garden Joshua Barrett Producer: Perth Cultural Centre Toshi Burvill Producer: Venues Simone Ruggiero Producer: Regional Caitlin Pijpers Front of House Coordinator Mon Wajon

Production Manager Production Coordinator Technical Manager Technical Coordinator

Katie Dixon Ben Kontoolas Gareth Simmonds Caitlin Chessell

Marketing Manager Jo Hos Marketing Coordinator Kristine Genovese Kelsey Douglas Marketing Intern Pia Fruin Carey Ooi Box Office Manager Amir Skwarko Box Office Coordinator Bec Nguyen Partnership Servicing Manager Alexa Woldan Partnership Servicing Coordinator Ally Lodge Sponsorship Consultant Georgia Moore Brand Marcus Taylor Studio Papa Publicity Sian Delaney Buzz Marketing IT Consultant John Patterson Videographer Dominic Pearce Website Design Jessee Lee Johns Studio Robot Ticketing 3DResourcing Derek Lavine Bar Services Independent Events Director Marcus Sarich Bar Manager Shiloh Perry Security Services NPB Security David O. Barrett Lazo Njegich Scott Parry Box Office Supervisor Heather Bloor Lauren Croser Maisie Glen Kate Harcus Emily Kingsley

Elena Borello Kelly Downs Mabel Ha Nicola Hopper Aimee Ko

Maiko Moore Kelly Price

Renata Murdoch Simon Squires

Box Office Advisor Alex Brittan Melissa Coci Renae Harmer Cat Holker Samantha Leung Courtney McFadyen Abigail Smith Sian Sugars Natasha Woodcock

Imogen Castledine Warwick Doddrell Lisa Henderson Isabel Inkster Shannan Lim Kelly Miglori Elida Solecio Nicole Tan Emery Nat Woolaston

Front of House Supervisor Andrew Baker Lauren Cleary Kiran Cunningham Pat Dixon Katy Geersen Andrew Hobbs Shannon Kolder Bernadette Lewis Kimberly Moiler Rebekah Ryan Angela Scaturro Robyn Shepherd Jessica Temby Nikolaas Wajon Clayton Zwanenburg Front of House Assistant Max Ashford Rachel Barber Sally Barendse Alyssia Boyer Jess Brooklyn Brooke Capelli Mike Casley Karl Coquemont Daisy Coyle

Adam Birman Barbara Cullity Sarah d’Arcy Carl Galin Sally Hall Julia Kazmierczak Angela La Macchia Fran Middleton Luke Molloy MarcellA Santos Kat Shaw Charlotte Smail Chani VanSwet Brittany Woodhams

Paul Baines Elton Barendse Cassie Barnes Samantha Bradder Kim Cahill Gail Casley Claire Castle Eleanor Jane Cox Marcell Cranny-Connolly

Tony Currie Loz Davies Christine Filgueria Stefan Grafe Michelle Heasman Erin Hurson Pjotr Janssen Nancy Johnston Claire Maclean Madeleine March-Anthony Lilian Moorcroft Kaye Murray Julia Nicholson Alicia Park Mia Pepper Jacqui Reeves Rachel Roberts Corin Rowell Debbie Scaturro Mieke Smetsers Mhairi Stewart Greg Tyrie Ada Wang

Niki Davidson Rachel Fariss Madeleine Fuentes Renee Gruber Phillipa Hudson Jacinta Hutchinson Nikki Johnson Steve Johnston Dianne Magtuto Mel McVee Clare Moran Sue Murray Casey Offer Grace Patorniti Yasmin Powell Amy Roberts Ellie Rogerson Enza Sangiorgio Steve Sertis Cecilia Smith Katherine Turpin Kiah Van Vlijmen

Site Manager Marty Eason Stuart Bownes

Bec Cooen Nicole Hector

Production Team Mark Antonides Bas Jonker Edwin Van Lierop

Luc Brinkhoff Steven Schreuder Pieter Wantenaar

Build Team Casey Ayres Jarrad Black Adam Broadby Nick Cates Nathan DaCunha Emilio Foglio Guillermo Kramer Luke Macmahon Isaac Mialolo Josh Milligan Laurance Risebrow Colleen Sutherland Peter Webb Kaylee Higgott Nicole Marrington

Stephan Bellair Nick Bresanello James Gallagher Tom Chandler Ben Dundas Ben Hayes Anton Kuret Joe Mangold Chirs Miller Nat Nivison Troy Stockly Sam Taylor Karlien van Leeuwen Rosie Hodge April Richards

The Pleasure Garden, photo by Cam Campbell.

Stage Manager Sam Bennellick-Jones Amelia Jackson Ruth Maloney Kennah Parker Hannah Portwine Emily Stokoe

Mia Deamyand Max Mackenzie Samantha Martin Rhianne Perrie Georgia Rann Megan Van Der Weide

Technician Jacob Arnold Chloe-Rose Bergin Zak Burvill Matthew Gorgula Dean Hall William Langdale Devon Lovelady Nick McKenzie Luke Munteanu Josh Pushon William Slade

Hamish Banford Dan Bright Nathan Da Cunha Blake Grandston Ben Henry Amy Lees Christian Lovelady Thomas Moore Jacqui Penn Tracey Shaw Desne Smalberger

The Pleasure Garden Restaurant Staff Bas Bogerd Floris de Jong Coen van Winkelen Jeroen Houwink ten Tim Takkenberg Birgit Trienekens Zarah van der Bie Michel van Loen Photographer Kim Anderson Chris Benson Cam Campbell

Geoff Bartlett Lydia Brisbout Steve Crossley

Mike Flood Dan Grant John Leonard Karen Lowe Jason Matz Jarrad McGuckin Cissi Tsang Bohdan Warchomij Pleasure Pen Host Jessica Gilbert Perrie Taylor

Tenae Francis Laity Lencioni Tori Lill John Marshall Court McAllister Jarrad Seng Kitty Turpin

Andrew Gould

Marketing Casuals Vincent Cargeeg

Ashleigh Perrella

iiNet Riickshaw Drivers Samantha Bolton Sarah Christiner Chloe Flockart Jenni Horton Joe Mooney John Sleeman Tom White

Anna Borsuk Michael Deller Owen Hopwood Priya Howlett Billy Rimmer Richie Walker Haydon Wilson

Buzzcuts Volunteer Reviewer Lucy Ballantyne Chantal Dyball Nina Heymanson Zoe Kilbourn Evie Perry

Sarah Byrne Katherine Gillespie Fiona Hugo Michael Nield Kate Prendergast

Justine Spencer Caroline Stafford Alex Tate Chalkboard Writer Maria Carbone Candice Lamb Matthew Wong

Lucy Rutherford Rhys Tarling Amy Thomasson

Lou Cooper Rosie Martin

ROOFTOP MOVIES

Venue Manager Matt Aitken Stephen Bellair Ainsley Canning Intern Grace Maguire Box Office Geogia Kay Billie Pitman Candy Bar Adrian Crooke Kathryn Lesoway Nat Woolaston Bar Services Independent Events Director Marcus Sarich Bar Manager Kelly Pitman

THE BAKERY / THE BUDGIE SMUGGLER: FRINGE WORLD ARTIST CLUB Bar Manager Assistant Manager Sound Engineer Program Coordinator Bar Staff

Spike Davis Sophie Carroll Luke Gray Luke Rinaldi

Stephen ‘Rayza’ Quinn Lauren Brunswick Sally Hall Warsame Hassan Erica Katkic Kate Miller Harry Miller Brendan Mulvena-Trinder Alison Ramsay Kyran Williamson

Camille Bombelli Mohamed Elshall Amy Hamilton Jazmine Hope-Scuderi Lance Kershaw Jess Miller Chloe Morgan Minh Quang Le Matt Tutt

CONTACT FRINGE WORLD Email hello@fringeworld.com.au Web fringeworld.com.au Phone 0011 +61 8 9227 6288

The Fringe World Festival Box Office, Perth Cultural Centre. Photo by Chris Benson.

fringe world 2015 PARTNERS Government of Western Australia Department of Culture and the Arts

D I G I TA L P R I N T