FRINGE WORLD Festival 2014 - Impact Report

IM PACT REPORT 1

“

The arts have been credited with cleaning up

She praised the use of performance tents, pop-up bars

Northbridge, with police praising the record crowds

and other novel venues that had turned the underused

at the various festivals [Fringe World and the Perth

Russell Square [The Pleasure Garden] into a hub of

International Arts Festival] for their good behaviour.

activity.

Committee for Perth chief executive Marion Fulker

The Chamber of Arts and Culture said the overlapping

compared Perth’s “stunning” transformation with that

festivals showed how Perth’s atmosphere could be lifted

of a middle-aged Anglo Saxon man in a suit morphing

with a little investment, bold programming and a large

into a sassy, confident, skilled and adorned burlesque

serving of arts activity. Both Fringe World and PIAF had

dancer. Major infrastructure projects were the essential

fired the public imagination and fed their appetite for

backbone of any city but the “soft infrastructure” of

diverse cultural experiences, Chamber Chairman Warwick

culture was what brought a place alive, she said. “The

Hemsley said. “The festivals are also great examples of

hard stuff is just one part of the equation - it is the

government and private sector support for the arts...”

things that happen in between where vibrant and

Alex Massey, Stephen Bevis and Liam Croy

spontaneous cities are created,” Ms Fulker said.

1 A. Massey, S. Bevis, & L. Croy, ‘How art helped reclaim the city streets’, The West Australian, 22 February 2014.

The West Australian

”

4

WELCOME

20

SOCIAL OUTCOMES

47

PERTH PROGRESS & FRINGE WORLD

5 FRINGE AT A GLANCE

25

7

WORLD FRINGE ALLIANCE

32

10

AUDIENCE PROFILE & GROWTH

35

15

18

CULTURAL VISITATION

CULTURAL OUTCOMES

43

45

MEDIA COVERAGE

ECONOMIC IMPACT

REPORT METHODOLOGY

OTHER FRINGE WORLD PROGRAMS

52

53

54

55

58

FRINGE WORLD FUTURE

2014 AWARD WINNERS

THANK YOU

FRINGE WORLD BOARD & STAFF

FRINGE WORLD 2 PARTNERS

FRINGE ARTISTS

3

Hon. Colin Barnett MLA Premier of Western Australia opening the 2014 FRINGE WORLD Festival with members of Sugar Blue Burlesque.

Photo by Bohdan Warchomij.

Welcome SINCE ITS KICK OFF IN 2011, THE GROWTH OF PERTH’S FRINGE WORLD FESTIVAL IN SCALE, REACH, IMPACT AND ENGAGEMENT HAS BEEN PHENOMENAL.

community, the enthusiasm of the visiting artists

There are now over 300 Fringe Festivals happening

that travel to Perth to participate, the passionate

around the world. FRINGE WORLD is already

commitment of the team that produces FRINGE

recognised as one of the very best.

WORLD and the tremendous ongoing support of key government and corporate partners.

Driven by dynamism, vibrancy, vitality and verve, it’s a festival that has enlivened Perth’s summer in

As Arts Editor for The West Australian Stephen Bevis highlighted in a story in the lead up

Thanks to the ongoing support of Lotterywest, this

to the 2014 festival, FRINGE WORLD is now

is the third year that FRINGE WORLD has reported

“Perth’s biggest annual arts event.”1 The 2014

the impact of it’s activities across social, cultural,

FRINGE WORLD contributes to Perth’s progress

FRINGE WORLD Festival featured close to 1,800

civic, place-making, economic and vibrancy terrains

as an animated city with an active audience

participating artists from around the world

using tools developed with BOP consulting (UK) in

that is demographically diverse; it’s attracting

presenting over 2,300 individual performances

2012.

international attention as well as people to Perth

new and novel ways that are here to stay.

that weren’t previously interested; it provides the

across the smorgasbord of ticketed and free programs on offer - that more than 370,000

The following ‘At a Glance’ pages summarise

very best of opportunities for local creatives to

audience members enjoyed.

these impact results and key findings from annual

shine at home and on the world stage; it’s having

surveying completed by close to 3,700 audience

a transformative impact on WA culture through its

In terms of size of program, this makes FRINGE

members, participants and local businesses in

broad reach and outstanding value.

WORLD the fifth largest festival in the World Fringe

2014. Further indepth insights and analysis follows

Alliance. In terms of audience reach, it’s now the

further in the report.

As Arts Editor for The West Australian Stephen Bevis reported in another story at the close of

fourth largest. To achieve this scale in three years The results continue to be overwhelmingly positive

the 2014 FRINGE WORLD festival, “The Fringe has

and in many ways speak for themselves about

transformed Perth beyond what hopefully is the

It reflects the generosity of WA audiences towards

the exponential value that investment in FRINGE

point of no return.”2

all things Fringe, the energy of the local creative

WORLD generates.

is an achievement for Perth to be proud of.

4 1

S. Bevis, ‘Cutting it at THE FRINGE’, The West Australian, 22 January 2014.

2

S. Bevis, ‘Festive fare sent Perth’s pulse racing’, The West Australian, 25 February 2014.

5

MIX OF GENRES 14%

18%

THEATRE

CABARET

7%

MUSIC

7%

PERFORMANCE

6%

32%

COMEDY

COMMUNITY

5%

CIRCUS

5%

2%

DANCE

4%

VISUAL ART

MULTIMEDIA

WA PREMIERES

Over

$3.2 million SPENT AT TH E BOX OFFICE

372,431

ATTENDANCE AT FREE & TICKETED EVENTS

$23.69

AVERAGE TICKET PRICE

1,788 PARTICIPANTS 77% 15% 8%

- FROM-

154,366

AT T E N DA N C E AT T I C K ET ED EVE N TS

AUSTRALIAN PREMIERES

WESTERN AUSTRALIA

- FROM-

AT A G L A N C E . . .

INDIVIDUAL PERFORMANCES AND EXHIBITION DAYS

139 23 82

INTERSTATE

- FROM-

418 EVENTS 2,324

WORLD PREMIERES

80 VENUES 94%

OVERSEAS

visiting FRINGE WORLD artists recommend Perth as a place to visit

96%

recommend participating in FRINGE WORLD to other artists

53%

are not regular attendees at arts events

$27,284,936 VISITOR

ST RO N G SOCIA L M E DI A P RESE NCE

EXPENDITURE

> 23,000

see page 43 for calculations

SUBSCRIBERS 93% INCREASE*

D I VERS E AU DI E N C E

67%

of customers to fringeworld.com.au were new

98%

believe FRINGE WORLD is an important addition to WA cultural life

DISTRIBUTED ACROSS ALL AGE GROUPS

0 .3 %

18-23

7 .4 %

24-29

1 9 .9 %

30-35

1 7 .5 %

> 2,200

36-41

1 1 .2 %

57% INCREASE*

42-47

1 2 .2 %

49-53

1 3 .3 %

54-59

9 .1 %

60+

9 .1 %

78%

think that FRINGE WORLD contributes to them feeling safer in the city

94%

think FRINGE WORLD is an event that showcases the city’s vibrancy and creativity

> 16,000

<17

65%

WOULD HAVE STAYED HOME IF THEY HADN’T MADE THE TRIP TO FRINGE WORLD

FACEBOOK FANS 35% INCREASE*

INSTAGRAM FANS *from Dec 2013 - Feb 2014

98%

OF THE AUDIENCE PLAN TO ATTEND FRINGE WORLD AGAIN IN 2015

$45,447,945

total gross value added

ECONOMIC IMPACT see page 43 for calculations

89%

think that FRINGE WORLD increases pride in Perth as a city

65%

would have stayed home if they hadn’t made the trip to FRINGE WORLD

Over

510,000 W E B S I T E V I S I TS

( Dec 2013 - Feb 2014)

$4,499,130

WORT H O F MEDIA COVERAGE, REACHING AN AUDIENCE OF

35,518,900 (Not including online audiences) 6

HO L LY WOOD FRINGE

Est. 2010

278 events 2014 Festival

ED I N BU RG H F RI N GE

Est. 1947

NEW YOR K F R I N GE Est. 1997 199 events

2,874* events

2013 Festival

24,107*

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.

participating artists

1,857,202* tickets sold

2013 Festival

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 fourth largest in terms of audience reach behind Edinburgh, Adelaide and Brighton.

GRAHAMSTOW N F RI N GE

Est. 1974 576 events

211,701

total free and ticketed attendance 2013 Festival

7

AM ST ER DAM F R I NGE Est. 2005 90 events 2013 Festival

P RAGUE F R I N GE Est. 2001 55 events 2014 Festival

BRI GH TO N F R I N GE

Est. 2006 734 events 4,000

participating artists

270,000

F R I N GE WORLD F ESTI VAL, P ERTH

Est. 2011 418 events 1,788 participating

artists

154,366

attendance at ticketed events

total free and ticketed attendance

165,000

tickets sold

2013 Festival

M E L BOU R N E F R I N GE

Est. 1982

Est. 1960 966 events 4,000+

250,000

447,700

*Not a member of the WFA

$27,284,936

Total visiting audience and artist expenditure in Perth

A D ELAI D E F RI N GE

participating artists

2013 Festival

total free and ticketed attendance

2014 Festival

386 events total free and ticketed attendance

372,473

1,900,000

total free and ticketed attendance

$66,300,000

total reported economic impact

tickets sold 2014 Festival

8

9 Lotterywest Mermaid Tales and Pirate Sails. Photo by John Leonard.

Audience Profile FRINGE WORLD ENGAGES WITH THE WIDEST DIVERSITY OF POPULATION POSSIBLE. THIS INCLUDES BOTH TRADITIONAL AND NON-TRADITIONAL ARTS MARKETS.

NET PROMOTER SCORE

This spectrum includes broad engagement across both age and geographic parameters. The Festival’s

According to the results of the 2014

audience distribution in terms of age range has become more uniform over the years as the total

audience survey, FRINGE WORLD

attendance has grown, further demonstrating the broad appeal and extensive reach of FRINGE WORLD.

has a Net Promoter Score (NPS) of

In 2014, many FRINGE WORLD events were targeted specifically at families and young children with 15.7%

78. NPS is a performance metric

of the surveyed audience identifying that they attended an event with a child under the age of 18.

used by large corporate service provision companies to measure how customers rate service and

FRINGE WORLD AUDIENCE AGE RANGE 2013 vs 2014 COMPARISON 2014 2013

how likely a customer would be to recommend a company to people they know. Compared with corporate heavyweight iiNet, who in the first half of 2013 achieved a NPS of 56.7, FRINGE WORLD’s NPS result is outstanding and validates

9. 1%

8. 1%

60 +

59 +

49–53

8. 5%

11 .1%

13 .3%

10 .4%

42–47

5 4–5 8

36–41

12 .2%

11 .2%

11 .2%

18 .5%

3 0 –3 5

9. 1%

2 4 –2 9

17 .5%

22 .7%

19 .9%

9. 3%

1 8 –2 3

5 4–5 9

<17

7. 4%

0. 2%

0. 3%

the positive sentiment people feel towards the festival and the ongoing potential for audience growth through positive word-of-mouth.

Net Promoter System, http://www.netpromotersystem.com/about/measuring-your-net-promoter-score.aspx iiNet, “Record high customers satisfaction gives iiNet plenty to celebrate”, http://www.iinet.net.au/about/mediacentre/releases/07-08-2013-record-high-customer-satisfaction-gives-iinet-plenty-to-celebrate.pdf, 7 August 2013

10

FRINGE WORLD CATERS PRIMARILY TO A DIVERSE DOMESTIC MARKET.

PERTH METROPOLITAN AUDIENCE RANGE ATTENDANCE BY GROUPED POSTCODE

1%

ROCKINGHAM

The total market engagement for FRINGE

2%

1%

ARMADALE, SERPENTINE, JARRAHDALE

WANNEROO

WORLD grew by over 40% between

4%

2013 and 2014. Of metropolitan visitors, 4%

33% work in Perth City and 67% work

COCKBURN & KWINANA

BELMONT & KALAMUNDA

elsewhere. Key areas of geographic

15%

5%

segment growth compared to total

STIRLING

CANNING & GOSNELLS

market engagement included Melville,

5%

Joondalup, South Perth and Victoria Park.

EAST FREMANTLE & FREMANTLE

It is significant to note that almost

13%

5%

every postcode in the Perth

PERTH & VINCENT

MUNDARING & SWAN

metropolitan area was represented in the audience survey.

7%

95.6% of audience surveyed in 2014 live in the City of Perth or the Perth

increase from 2013

0.5% from overseas. These percentages

JOONDALUP increase from 2013

9%

SOUTH PERTH & VICTORIA PARK

have remained unchanged since 2013.

Intrastate visitors came from as far south as Albany and as far North as Broome.

11

11%

7%

Metropolitan Area, 2.9% from elsewhere in WA, 1% from elsewhere in Australia and

11%

MELVILLE

increase from 2013

BASSENDEAN & BAYSWATER

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

decrease from 2013

“

The Fringe’s success in mainstreaming the arts is perhaps its greatest achievement.

Stephen Bevis

Audience in De Parel Spiegeltent. Photo by Karen Lowe.

S. Bevis, ‘Festive fare sent Perth’s pulse racing’, The West Australian, 25 February 2014

”

The West Australian

12

Audience Growth 13.8%

FRINGE WORLD CONTINUES TO GROW A LOYAL RETURN AUDIENCE ALONGSIDE ATTRACTING A NEW AUDIENCE.

attended every Festival (2011-2014)

What would you have done if you had not made this trip to FRINGE WORLD Festival 2014?

88% of ticket sales to FRINGE WORLD 2014 occurred through the fringeworld.com.au ticketing portal and 67% of these were

57.3%

attended in 2014 and one or more previous Festival (i.e.

2011, 2012, 2013)

26.5%

never attended FRINGE WORLD before

67%

new customers to fringeworld.com.au

13

from new customer accounts. Combined with the healthy returning audience, the positive NPS result and the fact that 26.5% of the surveyed audience identified as attending FRINGE WORLD for the first time in 2014, a bright future for FRINGE WORLD is indicated in terms of market engagement moving forward.

“

65% 31% 4%

would have stayed home would have done something else in Perth other

[On finding summer entertainment options]: Those who might not consider

themselves arts consumers should take a chance, snap up some tickets and try something from, say, the Fringe Festival. It’s cheap and most shows are not long, so if something doesn’t tickle your fancy, you can retire to one of the bars or pop-up nosheries, or just soak up the summer evening atmosphere and watch Perth smile.

”

Editorial The West Australian

Editorial, ‘Art entertains, enlightens and brings a new verve to WA’, The West Australian, 3 January 2014.

“

Australian Hotels Association WA chief executive Bradley

Woods said the festival season brought enormous business activity and foot traffic to Northbridge and the city. He said the AHA’s 120 members in the area, which include restaurants, small bars, hotels

ATTENDANCE PATTERNS FRINGE WORLD encourages audiences to “choose

and pubs had received a distinct benefit as the festivals had grown over the past three years. “The festival broadens the diversification

their own adventure” and step outside of their

of visitors to the area,” Mr Woods said. “People that otherwise

comfort zone when booking to see shows. With

wouldn’t patronise Northbridge, because maybe of a longer-term

the affordable ticket price and high volume of shows each night, patrons are encouraged to attend more than one event each visit, and visit

perception that it is not safe, realise and see that it’s actually not too bad.”

more than once.

The surveyed audience visited the Festival on

One such convert is Manning resident Marie Walker, who felt safe

average 5.58 times and according to the ticket-

enough to bring her daughter and mother into Northbridge on

ing data, the average number of tickets sold per customer was 4.7.

The most popular reasons the audience attended FRINGE WORLD included to be entertained (74.5%); to enjoy the festival atmosphere (65.8%); to see a specific show/event (40.1%); to spend time with

Thursday night. The family saw the Fringe World mermaids show, then had drinks at The Pleasure Garden before dinner at the food hall. “I think the more things that are happening on the street, the

more people that are around, the more things there are to do, the safer it is. It’s that passive surveillance factor”, [Mrs Walker said].

a friend, family member or partner (32%); to be exposed to an artistic/cultural experience (25.2%); and because the event was good value (22.4%).

Alex Massey, Stephen Bevis and Liam Croy The West Australian

”

14

A. Massey, S. Bevis, & L. Croy, ‘How art helped reclaim the city streets’, The West Australian, 22 February 2014.

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. REGULAR CULTURAL VISITATION OVER A YEAR

Over the past 12 months, how often did you attend any arts or cultural events?

52.9% of the surveyed audience are not regular cultural consumers as they attended cultural events only a few times a year, or hadn’t attended any arts or cultural events in the last 12 months. 47.1% of the 2014 surveyed audience stated they attend cultural events regularly (at least once a month).

Never (1.5%) 1-2 times a year (11.4%) 3-4 times a year (40%) At least once a month (40.7%) At least once a week (6.4%)

15

Two years ago the 2012 audience survey results were that 44% of the audience were not regular arts attendees. That this percentage has grown steadily to 52.9% in 2014 whilst total numbers engaging have grown significantly, combined with the result that 65% of the surveyed audience stated that they would have stayed home had they not attended a FRINGE WORLD event, it is a safe conculsion that FRINGE WORLD is contributing to the growth in WA arts and cultural event attendance.

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

AUDIENCE VISITATION TO CULTURAL EVENTS IN THE LAST TWELVE MONTHS

3%

OTHER

LITERATU RE 8.6%

COMMU NITY 26.1%

DA NCE 29.4%

CIRCUS 32.5%

CA BA RET 36%

VISUA L A RTS 39%

TH EATRE 61.3%

COMEDY 63.1%

F ILM 70.1%

MUSIC 72.1%

OTH ER

SUBIACO 19.6% A RTS CENTRE

QUA RRY 20.5% AMPITH EATRE

TH E BAKERY 28%

BLUE ROOM 29.5% TH EATRE

SOMERVILLE 31.2% AUDITORIUM

PERTH INSTITUTE OF 31.8% CO NTEMPORA RY A RTS

PERTH CONCERT 33.8% HA LL

ROOF TOP MOVIES 34.1%

F REMA NTLE 37.3% A RTS CENTRE

STATE TH EATRE 38.6% CENTRE OF WA

HIS MA JESTY’S 47.4% TH EATRE

CROWN TH EATRE 51.9%

PERTH A RENA 56%

DE PA REL 57.9% SPIEGELTENT

AUDIENCE VISITATION TO PERFORMANCE VENUES OVER TWO YEAR PERIOD

14.7%

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

When asked which performance venues they had visited over the

ed in the past 12 months, the largest number of respondents answered

last two years, the largest response was FRINGE WORLD’s De Parel

with music (72.1%), followed by film (70.1%), comedy (63.1%) and theatre

Spiegeltent (57.9%) closely followed by Perth Arena (56%).

(61.3%).

When asked what kind of arts and cultural events had been attend-

16

“

Another positive aspect was the presence of a myriad of young attractive volunteers in Fringe T-shirts and occasional eccentric accessories. How wonderful is their presence, boding so well for arts lovers, audiences and performers in the future.

”

Claire Condry AussieTheatre.com

Twists 17 & Turns. Photo by Court McAllister.

C. Condry, ‘Perth Fringe World Festival launched’, http://aussietheatre.com.au/news/perth-fringe-world-festival-launch, 27 January 2014

Cultural Outcomes FRINGE WORLD INCREASE ACCESS TO ARTS EVENTS BY ENSURING THAT THE FRINGE EXPERIENCE IS DISTINCTIVE, INNOVATIVE, AFFORDABLE AND INCLUDES A LARGE AMOUNT OF FREE PROGRAMMING.

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 market engaged increasing by over 40%, the cultural outcomes

INCREASE ACCESS TO ARTS’ EVENTS With the average FRINGE WORLD ticket price a bargain at $23 and a wide selection of free events on offer, the 2014 Festival continued to offer a very large audience broad access to the arts. The most popular free

from the survey remained practically unchanged from the 2013 results.

ENCOURAGE GREATER CULTURAL PARTICIPATION IN FUTURE

programs were held in the Perth Cultural Centre, home

An overwhelming 98% of audience members surveyed

of the Lotterywest FRINGE WORLD mermaids that were

said they were planning to attend the FRINGE WORLD

attended by 45.3% of the surveyed audience.

Festival again in 2015. More generally, a vast majority (91%) felt more inclined to attend arts events in the

Other free events already occurring in the city are

future. Audiences also reported feeling more inclined to

promoted through the FRINGE WORLD Festival program.

see less-well known events after having attended the

The City of Perth Twilight Hawker’s Market is one

festival.

such event and is also very popular with 33.4% of respondents attending the event during the FRINGE

FRINGE DISTINCTIVENESS & QUALITY

WORLD Festival season.

Only 2% of audience disagree that FRINGE WORLD

The vast majority of audience felt that the Festival

showcases innovative work. The vast majority also think the festival is unique.

92%

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

91%

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

80%

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

91%

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

92%

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

18

“

Insp. Craig Parkin, the officer in charge at

“People who come in to the Fringe Festival or PIAF

Perth police station, said he did not allocate any

go to a particular event or two events and then they

extra resources to cope with the thousands of

will go home. There are no alcohol issues associated

extra people on the streets and officers did not

with it and we certainly don’t see any drug issues.”

have to attend a single incident stemming from either Fringe World or the Perth International Arts

Year-round assaults in the Perth subdistrict were

Festival. This was despite alcohol being served at

down 10 per cent and people’s long-held stereotypes

most Fringe venues and two large pop-up outdoor

about Northbridge were wearing thin, he said.

bars in Russell Square [at The Pleasure Garden]

Insp. Parkin, who also lives in the central city, said

and the Perth Cultural Centre...

continued arts investment was a proactive way to enliven the city and make it less attractive for

”We get a lot more people into the city but the

people looking to start trouble.

demographics are generally those who we don’t have to deal with from a policing perspective,” he said [Insp. Parkin].

19 A. Massey, S. Bevis, & L. Croy, ‘How art helped reclaim the city streets’, The West Australian, 22 February 2014.

Alex Massey, Stephen Bevis and Liam Croy The West Australian

”

Social Outcomes

“

The Chamber of Arts and Culture WA reiterate Ms

Hasler’s [Fringe World Director] view that the city become enlivened around festival time, with chairman Warwick Hemsley saying it proved how investment in the arts could benefit the city. “The audience numbers for both

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. ACTIVATION OF PERTH CITY AND SURROUNDS In its third year FRINGE WORLD extended its reach and metropolitan footprint by involving more than 80 venues

these events [Fringe World and the Perth International

across the Perth area, with particular concentration

Arts Festival] demonstrate that Western Australians and

satellite clustering in Fremantle and Midland.

visitors alike have a great appetite for diversity of cultural

The Perth Cultural Centre (PCC) and the Urban Orchard

experiences,” Mr Hemsley said.

Shanna Crispin Business News

”

throughout Northbridge, the Perth CBD with some

continued to be a focal point for Festival activity and attendance. Festival events were hosted in many PCC cultural institutions including the State Theatre Centre, Blue Room Theatre, Perth Institute of Contemporary Arts and the State Library. As with 2013, the rest of the PCC was filled with pop-up venues imported from European festivals.

20 S. Cripsin, ‘Now Subi in the mood for a festival’, Business News, 11 March 2014.

As with 2013, the critical mass of venues and shows within

The positive activation and attendance in the

the space, alongside PIAF’s Festival Gardens, transformed

PCC was a pleasing result given that FRINGE

the entire PCC into a buzzing festival environment for the

WORLD expanded its Northbridge presence in

month of February, where large crowds gathered each

2014 to include The Pleasure Garden festival

night.

hub in Russell Square at the other end of James Street.

The Pleasure Garden hosted six performance

AUDIENCE VISITATION TO PERTH CULTURAL CENTRE VENUES DURING FRINGE WORLD FESTIVAL

venues including The West Australian Spiegeltent and several circus tents. The Dutch pop-up restaurants HOTMAMAHOT and Flat & Funny Pancakes were a delight with audiences who

During FRINGE WORLD Festival, which of these venues in Perth Cultural Centre did you go to?

shared meals with friends, family and strangers on the outdoor jarrah long-tables. People of all ages could freely and safely roam the space and enjoy the free entertainment or purchase a ticket to one of the many nightly shows.

2121

59.5% TH E U RBAN ORCHA RD

45.2% DE PARE L SPIEGE LTE NT

42.4% TH E STAB LES, TH E STA BLES BAR & TE ATRO

39.4% M ERM AID TAN K

37.8% PCC SC RE EN

PE RTH INSTITUTE OF 26.7% CONTEMPORARY A RTS

B LUE ROOM 18% TH EATRE

C IRC US TH E ATRE 15.5%

TH E STATE TH EATRE 11.5% C ENTRE O F WA

WA M USE UM 1 0%

TH E STATE 8 .8% LIBRA RY OF WA

The Festival achieved the same positive transformation of Russell Square as it achieves with the PCC. Thousands of people of all ages and from all over Perth visited Russell Square and experienced the Northbridge precinct in a different light. Only five noise complaints over the month long activation were lodged.

VENUE HIGHLIGHTS Other independently managed Fringe venues in the Perth CBD and wider Perth area also experienced great success across the season.

JumpClimb and Tomas Ford breathed new life into the art deco surrounds of the Piccadily cinema complex through their Noodle Palace venue brand. They also transformed the Midland Junction Arts Centre into Midlandia for the benefit of locals and visitors alike during FRINGE WORLD. The Blue Room Theatre’s ‘Summer Nights’ was again a critical and crowd pleasing program and Chrissie Parrott Arts in Maylands, PS Arts Space in Fremantle and the Melody Smith Gallery in Carlisle were some of the many venues that brought FRINGE WORLD activity to the wider Perth metropolitan area.

IMPROVED IMAGE OF PERTH 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%

feel FRINGE WORLD contributes to making Northbridge and Perth city centre a more vibrant place

As the statistics to the right attest (almost unchanged since the 2013 survey), FRINGE WORLD has already registered a positive transformation in public perception and has added to the value of the Perth brand locally, nationally and internationally.

“

90%

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

89%

think FRINGE WORLD increases pride in Perth as a city

96%

agree that FRINGE WORLD contributes to making Perth special as a city

98%

believe FRINGE WORLD is an important addition to Western Australia’s cultural life

90%

agree FRINGE WORLD promotes Perth as a city that is globally connected

94%

think FRINGE WORLD is an event that showcases the city’s vibrancy and creativity

(Victor) Victoria and Bernadette Byrne (of London duo EastEnd Cabaret), who have returned

to Perth with their new “filthy musical comedy” Dirty Talk, claim local audiences compare favourably to other fringe festivals around the world. “Perth people are just so up for it. They’re just so much fun,” Byrne said. “We go to Fringes all over the world and it’s just that really special excitement in the air

(here).”

”

Kirsty Symonds The Sunday Times

K. Symonds, ‘Fringe dwellers set for a frolic to remember’, The Sunday Times, 26 January 2014.

22

“

SHOWCASING PERTH’S VIBRANCY AND CREATIVITY

The Fringe has transformed Perth beyond what hopefully is the point of no return.

“

Stephen Bevis

FRINGE WORLD Festival is an event that showcases Perth’s vibrancy and creativity.

Agree (94%) Unsure (5%) Disagree (1%)

The West Australian

INCREASED COMMUNITY COHESION

INCREASED FEELING OF SAFETY

FRINGE WORLD Festival is an event that brings the whole community together.

FRINGE WORLD Festival has contributed to me feeling safer in the Perth city centre.

Agree (87%)

Agree (87%)

Unsure (11%)

Unsure (11%)

Disagree (2%)

Disagree (2%)

S. Bevis, ‘Festive fare sent Perth’s pulse racing’, The West Australian, 25 February 2014.

“

“

“

[FRINGE WORLD] is the industry gold standard when it comes to building audiences...

Gabrielle Sullivan Scoop Magazine

The Urban Orchard. Photo by Cam Campbell.

G. Sullivan, ‘Craving audience’, Scoop Magazine, Autumn 2014

24

Fringe Artists

“

Having returned to Fringe

World for the second time, I’m thrilled to say this festival just gets better with age.

Sharon Burgess

”

THE FESTIVAL ATTRACTED A RICH AND DIVERSE RANGE OF ARTISTS, WITH A HEALTHY DOSE OF SEASONED PROFESSIONALS AND RETURNING ARTISTS. THE MAJORITY OF SURVEYED ARTISTS (63%) HAVE PARTICIPATED IN A FRINGE FESTIVAL SOMEWHERE IN THE WORLD BEFORE, AND 46% HAD PREVIOUSLY PERFORMED IN PERTH AT FRINGE WORLD FESTIVAL. The Festival is open access, which means that anyone from anywhere in the world can register to be a part of FRINGE WORLD.

Producer - Lords of Strut,

Abandoman, UK.

Participants take the risk in developing and bringing their show to Fringe and staging it. They take home with them box office earned, networks created and the experience of sharing their work with an engaged and hungry audience.

ORIGIN OF FRINGE WORLD ARTISTS

WESTERN AUSTRALIA 25

77%

INTERSTATE

OVERSEAS

15%

8%

MIX OF GENRES FROM THE 2014 FRINGE WORLD PROGRAM

ARTIST OVERVIEW The Festival attracts artist of all ages, with a majority (55%) falling between 24 and 35 years of age.

Similarly, artists with a range of experiences participated

14%

18%

in the Festival. At opposite ends of the spectrum, 36%

CABARET

THEATRE

of those surveyed have been active less than two years,

7%

closely followed by those who have been performing or

MUSIC

participating for more than a decade (31%).

7%

This broad range is testament to the breadth of the

6%

COMEDY

Festival’s program, which remains an attractive entry

COMMUNITY

point for emerging artists whilst enticing seasoned

5%

CIRCUS

2%

DANCE

4%

VISUAL ART

Festival is what a true fringe is all about. It is accessible and for the artists as well as the audiences. It is festive and fun, aesthetic and

PERFORMANCE

32%

“

Fringe World

Fringe professionals.

5%

MULTIMEDIA

FRINGE WORLD 2014 ARTIST AGE RANGE

well planned, it’s by far my favourite festival.

It has expanded my creative reality and I have really grown on a

<17

0.5%

18 – 23

9.5%

specifically for FRINGE WORLD (24%) was almost

24 – 29

30.5%

double that of artists visiting Perth on a tour

30 – 35

24.5%

of multiple festivals around Australia (13%).

36 – 41

10.5%

These results indicate that FRINGE WORLD is

42 – 47

12.5%

49 – 53

6.5%

Glitta Supernova

54 – 59

3%

60+

2.5%

Pretty Peepers - The

In 2014 the number of artists visiting Perth

now considered an important stop on the global festival circuit and is a key driver for artists when considering touring opportunities.

personal level as well as a

”

creative one.

Untraditional Cabaret

26

FRINGE WORLD EXPERIENCE

Artists also believe that the Festival provides them

PERTH AND FRINGE WORLD HAVE DEVELOPED A REPUTATION ON THE INTERNATIONAL FRINGE CIRCUIT AS A PLACE WHERE THE PEOPLE ARE SUPER FRIENDLY AND THE AUDIENCES GENEROUS AND RESPONSIVE.

with an opportunity to showcase the work of emerging

Positive endorsements swelled in 2014, with 96% of

The Festival rates well against peers abroad, with more

surveyed participants recommending FRINGE WORLD

than 43% of those surveyed rating its quality higher

Festival to other artists.

than comparable Fringe festivals overseas.

Almost all of those surveyed (94%) would recommend

65% of the surveyed participants intend to participate

Perth as a place to visit, whilst 90% of artists agree

in FRINGE WORLD in 2014, with another 32% eager to

that the Festival’s atmosphere and buzz makes Perth

participate if their event is ready in time for the next

an exciting place to visit.

Festival.

“

artists (89%), meet other artists (80%) and view work they would otherwise not get to see (79%). The artists’ experience of FRINGE WORLD rated highly against other Festivals in Australia, with the majority (71%) rating its quality higher than other Fringe festivals in Australia.

Fringe World is a beautiful combination of a well-

organised and professional festival with a real sense of fun surrounding it.

27 Reveal. Photo by Emma Holten.

”

Jon Bennett Fire in the Meth Lab

“

The figures were telling. Hundreds

of thousands of people had seen hundreds of shows across the four weeks, turning over $3.2 million at the box-office. Many shows were sold out and many of those were local productions to boot. While a few acts struggled to get bums on seats, the anecdotal evidence backs preliminary figures that performers were playing to half-full houses on average. That is an extraordinary result for a fringe of such scale. In Edinburgh, for example, attendances average 10 per cent of

”

capacity.

Stephen Bevis

The West Australian

28 Point and Shoot. Photo by John Marshall.

S. Bevis, ‘Festive fare sent Perth’s pulse racing’, The West Australian, 25 February 2014.

ARTIST DEVELOPMENT

Presenting work at FRINGE WORLD also leads to other performance and project

A key aim of the Festival is to assist in the growth of WA as a hub for

opportunities in the 12 months following the Festival. The majority of artists

the development of distinctive, enriching work that is both unique to

(62%) believe that their Fringe World season would lead to future opportunities

WA as well as geared for the world-stage.

in WA, while 34% saw it as a pathway to other opportunities around Australia.

Artists participate in FRINGE WORLD for a range of reasons. When

The Festival has also become a launch-pad for WA artists to connect with the

asked what their primary aims were, the response were as follows: to

global fringe network. In the past year, a large number of local productions

expose their work to a new audience (70%), to develop new work (43%),

have toured to other fringe festivals around the world.

just for the fun of it (40%), to make money (33%), to gain access to artistic networks (27%), as a â&#x20AC;&#x2DC;testing groundâ&#x20AC;&#x2122; before taking the work to

Ten productions in total travelled from WA to Edinburgh Fringe in 2013, including

other festivals (21%), to access media and promotional networks (10%),

2013 Martin Sims Award winner, Minnie & Mona Play Dead, which presented a

and least importantly, to gain access to funding bodies (3%).

successful season at Underbelly, the popular Edinburgh performance venue.

90% of surveyed participants indicated they had achieved their

The 2014 Martin Sims Award winner, Point & Shoot by Holland Street

primary aims, with 39% indicating they had achieved their aims

Productions, will tour to Brighton Fringe in 2015, further expanding the reach of

completely.

WA artists in the international Fringe community.

â&#x20AC;&#x153;

The challenges of presenting at a Fringe Festival are great learning curves and develop better,

adaptable, creative artists. The festival is a chance to reach out to a much wider Perth audience than

29

the standard arts community.

Scott Corbett All the Single Ladies

30 The Pleasure Garden, photo by Jarrad Seng.

31

Media Coverage FRINGE WORLD FESTIVAL 2014’S MEDIA CAMPAIGN GENERATED A TOTAL MEDIA VALUE OF $4,499,130+GST ACROSS PRINT, ONLINE, TV AND RADIO PLATFORMS. This figure represents a 36% increase from 2013. The media coverage that was generated reached a cumulative potential audience of 35,518,900 (not including online audiences), a 46% increase from 2013.

32

SOCIAL MEDIA A strategic social media campaign has formed an important part of the Festival’s marketing strategy from day one.

30.8% of the 2014 surveyed audience identified Facebook or other forms of social media as how they heard about the Festival. Social media forms a key part of word-of-mouth (WOM) promotion and this positive recognition combined with 36% of the surveyed audience identifying WOM as how they heard about the Festival, clearly demonstrates the importance of social media in the ongoing success of FRINGE WORLD marketing strategies.

The Festival uses social media, primarily Facebook, to engage

the number of people (fans and non-fans) who have seen a given post.

FRINGE WORLD Facebook likes grew over 35% within the same period. It is important to note that the average organic reach was almost double the number of fans, which indicates that FRINGE WORLD is successfully gaining attention from a new Social Media audience.

In addition, a revised Instagram strategy saw the number of FRINGE WORLD Festival’s Instagram followers increase by 57% within the same period.

PRINT, ADVERTISING AND PR

with the public and keep fans in the loop about special

The other top ways that were identified by the surveyed

events, discounted ticket opportunities and tips to help them

audience as how they found out about the Festival were:

navigate through the massive program.

seeing a print advertisement or reading an article about the Festival or a Festival event (70.2%); FRINGE WORLD printed

The number of engaged users on the FRINGE WORLD

program (55.9%); and other advertising including radio, digital

Facebook Page (people that like, share, interact etc.) has

and outdoor (41%).

nearly tripled in comparison to the 2013 Festival period.

From 12 December 2013 (program announcement) to the last

FRINGE WORLD attracts a diverse audience from postcodes

day of the Festival (23 February 2014). The FRINGE WORLD

all over Perth. It’s important that the Festival’s marketing

Facebook page had an average organic reach of 31,343

strategy includes mainstream advertising and promotions

Facebook users per day, totaling over 2 million post views

that will reach existing and potential market wherever they

over the course of the campaign. Organic reach is defined as

may be.

33

34 EastEnd Cabaret: Dirty Talk. Photo by Jarrad Seng.

Economic Impact

“

THE ECONOMIC IMPACT OF FRINGE WORLD STEMS FROM THE DIVERSE

Bumper crowds are

turning up to this year’s Fringe World festival and the

AND PRIMARILY DOMESTIC AUDIENCE AND THE PARTICIPANTS WHO ARE A MIX OF INTRASTATE, INTERSTATE AND INTERNATIONAL ARTISTS.

appetite for art is spilling

The Festival has achieved significant impact

over into record sales for

Perth City by new markets from across the

the Perth International Arts

”

Festival.

Stephen Bevis

The West Australian

in stimulating large audience visitation to metropolitan area that would otherwise not be spending within the CBD and surrounds.

In 2014 FRINGE WORLD audiences spent an estimated $26.9 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

35 S. Bevis, ‘Sales close to record as Perth soaks up festivals’, The West Australian, 3 February 2014.

Festival and the spend by the 456 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 $44.8 million in its second year.

BUSINESS IMPACT The response from surveyed business echoes the audience response with regards to social impact, with 100% of 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 87% agree that FRINGE WORLD has a significant positive impact on their business. 73% indicated that their level of trading increased and their diversity of clientele was higher than normal during FRINGE WORLD.

70

Bar

77

Cafe

“

In essence, Fringe World has

a long and happy life here in Perth and has made an impact in not just the areas of performance art but

77% of the surveyed audience indicated they eat in the area before or after attending a FRINGE WORLD venue and 70% have a drink at a bar/

raised the profile of Northbridge

nightclub/café.

and continues to show the world we

The surveyed audience indicated their spend prior to and after attending

are no longer the poor cousin, but

FRINGE WORLD events occurred in the following areas:

the cool kid, that the world wants

Where was the majority of your expenditure made?

as their new BFF.

Northbridge (72.9%) Perth CBD (15.6%) Mt Lawley (3.1%)

Tabetha Beggs Perth Culture

”

Leederville (1.3%) Fremantle (1.8%) Other (5.2%) 36 T. Beggs, ‘ And the winners are… Fringe World Awards Night’, http://www.perthculture.com/ and-the-winners-are-fringe-world-awards-night, 26 February 2014.

VISITOR GROSS EXPENDITURE

From our survey database, the gross daily expenditure during the average trip to the FRINGE

The following are the calculations made in order to estimate the gross expenditure by the Festival’s audience.

Of the audience surveys collected, the vast majority were

WORLD Festival was calculated for each type of visitor based on location of origin.

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

completed by visitors who lived in the Perth metropolitan area (95.6%).

Total average daily spend

City of Perth

$71

Perth

$68

Elsewhere in WA

$176

Elsewhere in Australia

$147

Overseas

$107

Location

No.

%

City of Perth

499

15.9%

Perth Metro

2497

79.7%

Elsewhere in WA

90

2.9%

Elsewhere in Australia

30

1.0%

To reach a gross visitor expenditure figure for the Festival duration, these daily averages

Overseas

17

0.5%

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.

DAY VISITORS VS STAYING VISITORS Similar to 2013 survey responses, most respondents were FRINGE WORLD ‘day visitors’ from Perth, though there is a slight increase in ‘day visitors’ from outside Perth who answered the survey this year.

37

Type of Respondent

TOTAL

Day visitors (from City of Perth)

15.5%

Day visitors (from Perth Metro Area)

78.6%

Day visitors (from outside Perth)

2.2%

Staying visitors (from City of Perth)

0.2%

Staying visitors (from Perth Metro Area)

1.5%

Staying visitors (from outside Perth)

1.9%

NUMBER OF DAYS/ NIGHTS ATTENDED Type of Respondent

Ave. number of days attended

City of Perth

7.1

Perth

5.3

Elsewhere in WA

4.0

Elsewhere in Australia

9.1

Overseas

5.9

Visitors of all origins are spending more days/nights visiting FRINGE WORLD Festival venues than previous years, with visitors from other areas of Australia averaging nine visits to the Festival during their stay in Perth, up from 6.1 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 visitors, the total number of tickets sold plus estimated free attendance, were grouped based on the different types of visitors (based on location), using the proportions from the audience survey.

visitor reported attending, 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 67,333 for purposes of economic impact analysis.

multiplied by the unique visitor numbers in each category to reach an estimated total gross visitor spend of over $26.8 million, with over 75% spent by Perth based day trippers to the Festival. This is a healthy increase on 2013’s figure of $16.2m.

Average days

Average spend per day

8,347

7.1

$71

$4,207,723

16%

55,595

5.3

$68

$20,036,438

75%

2,665

4.0

$176

$1,876,160

7%

Elsewhere in Australia

388

9.1

$147

$519,028

2%

Overseas

338

5.9

$107

$213,379

1%

Elsewhere in WA

TOTAL

a city appealing to educated

businesses which seek to employ them. In the globalised

Total unique visitors

67,333

well-educated workforce is the key to success, and such workers demand stimulating, creative

ESTIMATED TOTAL GROSS SPEND

Perth

forms is central to what makes

knowledge economy, having a

Once gross visitor expenditure had been calculated for the average trip days in each category, it was then

City of Perth

Culture in all its diverse

people and hence to the

These figures on tickets sold by type were then divided by the average number of events each type of

Type of Respondent

“

Total spend

$26,852,728

% of overall spend

100%

environments. A rich and vibrant culture thus also becomes an indirect source of economic success.

”

BOP Consulting

38

PERFORMER EXPENDITURE In terms of attracting visitors and associated ‘new spend’ to Perth and Western Australia, FRINGE WORLD’s great value is in attracting independent visitation from interstate and overseas artists participating in the festival. This number has increased significantly since the festival’s inception.

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 Type of performer

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 456 participating visitors in 2014 who travelled to Perth specifically for FRINGE WORLD. Based on the average stay of four (4) nights per intrastate participant, five (5) nights per interstate participant and eight (8) nights per international participant, visiting Festival participants spent an estimated 2,688 nights in Perth during their stay in 2014.

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 $144, interstate artists at $165 and $158 for international artists.

These figures are in line with those used by the Australian Department of Resources, Energy and Tourism to calculate tourism expenditure.

39 BOP Consulting, ‘World Cities Culture Report’, 2012.

Total nights/ days

Daily spend

Total expenditure

Perth

n/a

n/a

n/a

Elsewhere in WA

144

$144

$20,736

Elsewhere in Australia

1,360

$165

$224,400

Overseas

1,184

$158

$187,072

Total visiting performer expenditure

$432,208

ORGANISER EXPENDITURE Organiser spending has been grouped into four different categories of income and expenditure is presented in the following table.

Category Total expenditure on WA artists Total expenditure on staff Total expenditure on festival office costs Other expenditure related to staging the festival Total

Amount $749,434 $2,943,271 $153,124 $1,565,598 $5,411,427

Staff expenditure above includes all festival production, security, event administration and management personnel whilst programming, marketing and venue costs are included in other expenditure related to staging the festival.

TOTAL GROSS EXPENDITURE

COMPARISON OF TOTAL VISITOR GROSS EXPENDITURE 2013 V 2014

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 $32,696,363.

Type of respondent

Total 2013 spend

City of Perth + Perth Metro

$13,437,888

83%

$24,244,161

90%

Elsewhere in WA

$2,063,338

13%

$1,876,160

7%

$371,544

2%

$519,028

2%

$280,243

2%

$213,379

1%

Elsewhere in Australia Overseas

Source of expenditure Audience

Overall amount

TOTAL VISITOR EXPENDITURE

$26,852,728

Performers

$432,208

Organisers

$5,411,427

TOTAL GROSS EXPENDITURE

$32,696,363

VISITOR GROSS EXPENDITURE VS TOTAL GROSS EXPENDITURE Although more visitors from outside WA are attending FRINGE WORLD, the proportion of new FRINGE WORLD attendees in 2014 who are from Perth is higher than ever. This is reflected in the survey, our ticketing data, as well as the gross expenditure calculations.

Where 83% of 2013’s visitor expenditure was generated by Perth visitors, this year the figure is estimated to be even higher at 90%.

Of 2013’s entire calculated Total Gross Expenditure of $27.7m, Perth visitors spend accounted for 67% of this figure. Of 2014’s entire calculated Total Gross Expenditure of $45.4m, combined City of Perth plus Perth Metro area visitors spend account fo 74% of this figure.

This year, visitor expenditure accounts for more than 90% of FRINGE WORLD’s calculated impact on WA’s economy - up from 83% in 2013, and Perth visitor expenditure is a significant driver in the overall increase.

% of overall spend

$16,153,013

Total 2014 spend

% of overall spend

$26,852,728

INC. VISITING PERFORMERS

$27,284,936

MULTIPLIED TOTAL EXPENDITURE AND FTE JOBS CREATED Lastly, we need to determine the knock-on effects of gross expenditure, since part of the money spent in shops, on suppliers, etc. will then be 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 $44,801,687. The individual multiplied figures are reproduced below.

COMPARISON OF VISITOR GROSS EXPENDITURE WITH MULTIPLIER AS A PROPORTION OF TOTAL VISITOR GROSS EXPENDITURE 2013 V 2014 Source of expenditure including Gross Value Multiplier effect

Total 2013 spend

% of overall spend

Total 2014 spend

% of overall spend

City of Perth + Perth Metro

$18,678,664

67% $33,699,384

Elsewhere in WA

$2,868,039

10%

$2,607,862

6%

Elsewhere in Australia

$516,446

2%

$721,449

1%

Overseas

$389,538

1%

$296,597

1%

74%

PERFORMERS

$519,998

2%

$600,769

1%

ORGANISERS

$4,731,479

17%

$7,521,884

17%

TOTAL VISITOR EXPENDITURE

$27,704,165

$45,447,945

40 1. Cultural Ministers Council: Cultural Data Online, ‘Multipliers for culture-related industries’, http://culturaldata.gov.au/publications/statistics_working_group/other/multipliers_for_culture-related_industries, 23 June 2011

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 $45.4m and 999 FTE jobs represent a 63.8% increase compared to 2013’s totals of $27.7m and 609 FTE jobs generated in WA.

Source of

Total gross

Total gross value added

FTE jobs from gross

expenditure

expenditure

(with multiplier)

expenditure

$26,852,728

$37,325,292

Performers

$432,208

$600,769

Organisers

$5,411,427

$7,521,884

$32,696,363

$45,447,945

Total

999

Extracting the exclusive economic impact 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 Total unique visitors

Average days

Average spend per day

Total spend

Intrastate Audience

2,665

4.0

$176

$1,876,160

Interstate Audience

388

9.1

$147

$519,028

Overseas Audience

338

5.9

$107

$213,379

Intrastate Artist

36

4

$144

$20,736

Interstate Artist

272

5

$165

$224,400

Overseas Artist

148

8

$158

$187,072

TOTAL MULTIPLIED TOTAL

41

Total IIO Visitor Expenditure (IIOV)

Amount $4,226,677

Total Gross Expenditure (TGE)

$32,696,363

Total Gross Value Added (TGVA)

$45,447,945

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

$1,574,224 $2.68

Gross amount spent (TGE) per $1 invested

$20.77

Gross revenue generated (TVA) per $1 invested

$28.87

RETURN ON INVESTMENT IN FRINGE WORLD

INTRASTATE, INTERSTATE AND OVERSEAS VISITOR GROSS & MULTIPLIED EXPENDITURE

Type of visitor

Figure/ration

Investment by State of WA

MULTIPLIED TOTAL EXPENDITURE

Audience

SPEND IN PERTH PER DOLLAR INVESTED

3,847

$3,040,775

1.39

$4,226,677

The above shows the Total Gross Expenditure and (multiplied) Gross Value Added for each dollar of investment by the State of Western Australia, equating to a ratio of 1:28.81, a 56.5% increase on 2013’s ratio of 1:18.41.

ECONOMIC IMPACT CONCLUSION 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 however. 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 able to achieve.

“

The Arts and Culture

sector generates both economic benefits as well as intangible benefits, such as contributing to liveability, providing access to a public good, and assisting “start-up” artists.

”

42 The West Australian Spiegeltent in The Pleasure Garden. Photo by Tenae Francis.

KPMG. ‘Economic Impact of the Victorian Arts and Cultural Sector’, ARTS VICTORIA , kpmg.com.au, 2013

Report Methodology THIS REPORT REFERENCES DATA GATHERED FROM A NUMBER OF KEY SOURCES AND UTILISES METHODOLOGIES AND TOOLS PUT IN PLACE BY BOP CONSULTING (UK).

week of FRINGE WORLD 2012, meeting with a wide

•

Through FRINGE WORLD, audiences are

range of stakeholders and interest groups in order

more likely to engage with many art forms,

to better understand the local and regional context

including discovering new artists, styles and

and the operations of the Festival itself.

genres; and •

Audiences consider FRINGE WORLD to be

BOP are one of the world’s leading organisations

Methodologies established were informed by

unique and distinctive – standing out from

for measuring the economic and social impacts

these interviews and experiences along with desk

comparable events.

of cultural enterprise. They have conducted major

research, survey work and analyses, and guidance

studies for the Arts Council England, the City of

from the Chair and the members of the Impact

The primary source of evidence supporting the

London and a large number of significant festivals

Analysis Advisory Group, which were invaluable.

findings of this report is derived from public and

across the world, most notably, the Edinburgh

participant surveys including:

Festivals Impact Study, which includes the

The findings of the 2012, 2013 and 2014 reports align

Edinburgh Fringe.

with elements captured in the Edinburgh Festivals

face-to-face, conducted between 16 February

Impact Study including key cultural benefits

to 17 March) that received 3,233 public

With the support of FRINGE WORLD, Lotterywest

experienced by both Edinburgh audiences and those

responses;

contracted BOP Consulting to undertake study into

attending the FRINGE WORLD Festival, namely:

the 2012 Festival based on international standards

•

•

Audiences value world class and international

in festival impact assessment. Josephine Burns,

cultural experiences, which FRINGE WORLD

senior director of BOP, visited Perth during the first

provides;

43

•

The 2014 public attendee survey (online and

The 2014 participant survey that received 260 responses from participating artists;

•

The 2014 local business survey (conducted with a target proportion of businesses

•

located near FRINGE WORLD activity in

There were 135 individual free Fringe programs and

INTERNATIONAL COMPARISON

Northbridge) that received 18 responses; and

events including the Chinese New Years Fair, Life’s a

A comparison between findings of the Edinburgh

The 2014 staff survey that received 165

Beach, Crafternoons, Northbridge Piazza and Perth

Festivals Impact Study (2011) and FRINGE WORLD

responses from volunteers and paid Festival

Cultural Centre screens, City of Vincent + WAYJO

audience reportage is of interest. 94% of local

staff.

concerts, 13 different exhibitions and nightly free

audiences to the Edinburgh Festivals stated that

programs throughout the Perth Cultural Centre and

the Festivals contribute to ‘making Edinburgh

The Pleasure Garden.

special as a city’. In comparison, 96% of FRINGE

ATTENDANCE CALCULATIONS The reported figure for attendance at ticketed

WORLD audiences felt the same about Perth.

events in 2014 is 154,366. This is comprised of:

Free program attendance is estimated for all

89% of local audiences at the Edinburgh Festivals

•

136,330 tickets purchased through the

relevant programs and events utilising daily site or

stated their attendance at festivals had increased

FRINGE WORLD ticket system;

door staff reportage sheets.

their pride in Edinburgh as a city. 89% of Perth

•

•

2,564 purchased through Ticketek and

audiences also indicated that FRINGE WORLD had

Eventopia (for shows at the State Theatre

Figures are cross referenced with audience survey

Centre); and

responses related to free program attendance as

15,472 tickets purchased on the door at

well as other relevant comparative data such as

Audiences were also asked in both surveys about

festival venues including Artist Pass entries

the Metropolitan Redevelopment Authority ‘Footfall

the extent to which the Festival contributes to

Count Wave’ reportage for the Perth Cultural Centre

community cohesion. In this case, results for Perth

instigated in September 2012 and February 2013.

FRINGE WORLD are markedly more positive than

The reported figure of 154,366 attendance at ticketed events is a 40% increase on FRINGE WORLD 2013 reported figures of 110,000+.

The reported figure for total festival attendance including free programs in 2014 is 370,000+, an

made them more proud of Perth.

the Edinburgh Festivals: 86% of FRINGE WORLD The reported figure of 370,000+ total attendance

audiences in 2014 felt that the Festival is an ‘event

is at the conservative lower end of the 372,431 -

that brings the whole community together’, while

433,256 range.

62% of audiences across the 12 Edinburgh Festivals agreed with this statement.

increase of over 50% on 2013’s figure of 210,000+.

44

Other Fringe Activities REGIONAL TOURING With the support of key partners the Festival is able to provide the wider WA community with a taste of FRINGE WORLD. A handpicked selection of 24 shows toured regional centres through these programs in 2013 and 2014.

7

R EGI ONAL C E N TR E S

Over

30

ARTI STS

PRESENTING

R E AC H I N G

24

4,937

DI F F E R E N T

AU DI E N CE

S HOWS

M E M BE RS

In late 2013 with the support of Woodside, FRINGE WORLD presented an extended season of shows in Karratha as part of the Red Earth Arts Festival and in Broome as part of the Shinju Matsuri Festival.

Regional touring also occured in February alongside the 2014 FRINGE WORLD Festival, thanks to the generous support of the Department of Premier and Cabinet, WA. Geraldton, Albany, Esperance and for the first time Bunbury audiences sampled a selection of FRINGE WORLD Festival acts, as part of The Outer Fringe Tour.

These tours included something to suit everyoneâ&#x20AC;&#x2122;s taste, with international, national and local artists presenting everything from comedy to dance, cabaret to drama,

45

SPLAT! in Karratha. Photo by Aaron Bunch.

ROOFTOP MOVIES Rooftop Movies is a pop-up outdoor cinema paradise designed to make the most of Perth’s balmy summer nights. Since ARTRAGE created the initiative in 2012 it’s become an iconic Perth favourite and been listed in online travel guides as one of the best outdoor cinema experiences in the world.

Rooftop Movies runs for five and a half months over summer in a custom built environment on the top floor of a City of Perth carpark tower in Northbridge. Screenings run every Tuesday to Sunday night from November through to April and yoga classes are held every weekday morning throughout the season.

Special events and function are also housed and hosted at Rooftop Movies over summer. In 2013 this included Sky High NYE, featuring legendary soul band Lee Fields & The Expressions.

A number of special events and programs also occurred as part of the 2014 FRINGE WORLD Festival, including four sessions of Hot Dub Time Machine and a season of Bohemia Outdoor Cinema by FTI. There are some exciting new plans rolling out for Rooftop Movies in its upcoming fourth season including some extended FRINGE WORLD programs.

30,960 TICK ETS SO L D

98% of attendees are planning to attend Rooftop Movies again in the future

Rooftop Movies, photo by Court McAllister.

OP E N F OR

135 DAYS

97% are likely to recommend Rooftop Movies to friends and family

96% said that Rooftop Movies is unique in relation to other venues/ events that they’ve experienced

46

Perth Progress & Fringe World

“

people - or almost half the

FRINGE WORLD WAS BRED AND BORN IN PERTH’S CURRENT ZEITGEIST OF TRANSFORMATIONAL GROWTH AND RENEWAL AND IS SET TO PLAY AN IMPORTANT ONGOING ROLE IN THE STATE’S CULTURAL VITALITY AS THIS GROWTH CONTINUES INTO THE FUTURE.

population of Perth - came

Some key facts derived from recent Metropolitan

be progressing in the short,

Redevelopment Authority (MRA) publications associated

medium and long term.

More than 800,000

in contact some way with

Perth Festival and Fringe

•

”

Stephen Bevis

The great change and revitalisation reflected in Perth’s rapidly developing skyline, urban fabric and diversification

with Perth’s new Elizabeth Quay waterfront project, are pertinent to consider :

weeks.

people on today’s population; [5]

of entertainment, leisure and cultural options looks set to

the art on offer between the

World over the past five

to over three million – more than 600,000 additional

Fringe is an adaptive model of cultural production that thrives in an environment of change and growth.

•

Perth has been rated as one of the world’s top 10 most

Its open access free market democracy makes it

liveable cities every year since 2004; [1]

responsive to the opportunities presented by a

WA has the strongest economy in Australia and

growing population and a robust economy.

significant growth has been forecasted over the next • •

The West Australian • •

three years; [2]

The fact that most of its content can be presented

More than $250 billion worth of significant projects are

in non-traditional arts venues means the festival

planned or underway; [3]

will inevitably continue to activate, enliven and culturallly

Western Australia attracts more than 2.1 million visitors

inhabit both existing and new city urban environments and

and 50,000 new residents each year; [4]

associated retail and hospitality spaces, providing authentic

There were 180,000 jobs located in the City of

cultural experiences that give new urban fabric a necessary

Perth; [5]

creative patina and humanising factor.

An increase of 25,100 office workers is forecast over the next 10 years; [6]

•

By 2026, the State’s population is expected to grow

47 S. Bevis, ‘Summer of culture a record in ticket sales’, The West Australian, 1-2 March 2014.

[1] Economist Intelligence Unit, Liveability Surveys [2] CBRE Perth CBD Office Market Outlook, Q2, 2013.

[3] Access Economics, Investor Monitor Report, December 2013 [4] International and National Visitors Surveys, Tourism WASeptember 2013.

[5] WA Tomorrow Population Report, 2006-2026. June 2013 [6] ACIL Tasman Property Demand and Resource Production Growth Rsearch Report November 2011.

“

Perth’s arts and cultural sector is flourishing.

With a booming economy and expanding population, Perth’s people have a growing appetite for arts and culture. The local arts and culture scene is in the midst of a period of renewed energy and creativity and the sector has more private sector support and champions than ever before.

Attendance statistics for some of Perth’s major performing arts companies show they are experiencing solid attendance growth which in part has been assisted by investment in new infrastructure. This increase in patronage is bucking national and international trends of audience decline.

The huge success of new performing arts initiatives in Perth such as Fringe World is encouraging a broader range of community participation and developing new arts and cultural enthusiasts.

Perth to become a global leader in arts and culture.

However Perth is still fighting the criticism for lacking vibrancy, sophistication and recreation choice, from its own residents, from national business and academic leaders and from international ‘liveability’ surveys such as the Economist Intelligence Unit and Mercer Consulting, both of which rate Perth relatively poorly against their culture, recreation and environment criteria.

These criticisms and negative perceptions should not be ignored as they have a direct negative impact on our own satisfaction with living in Perth; on Perth’s national and international reputation; and on the region’s ability to attract and retain talented people and investment dollars.

Comittee for Perth

Growing audiences when cities elsewhere are experiencing a drop in patronage, coupled with projections for continued population and economic growth for this region, signifies an opportunity for

Committee for Perth, ‘Examining Perth’s Performing Arts Infrastructure: Actions to position Perth as a global leader in the arts’, June 2013

”

48

“

“...it is great that we and the

Fringe live together.” [PIAF Artistic

The most ambitious and transformational civic projects

now centre, having become over time the mainstream

currently underway, the Perth City Link and Elizabeth

festival simply by the largesse and diversity of its

Quay, are both ultimately concerned with the opening

content, presented in multiple spaces throughout the

up of Perth and the removal of barriers that have for

city environment in response to market opportunities.

decades separated the city centre from the river and The intent from the outset has been for FRINGE WORLD

Director Jonathan Holloway] said

the cultural and entertainment precinct of Northbridge.

the scale and success of Fringe

The current redevelopment of the Old Treasury

as a ‘monster fringe’ in its first decade of growth.

World had not overwhelmed the

buildings (used as a key hub for FRINGE WORLD 2012

The festival has positioned itself as ‘The Boutique Fringe

before development commenced), opposite Council

at the End of the World’ for a reason, and boutique

House is one key private sector development that

refers to quality of experience as much as scale.

Festival [PIAF]. “If anything we have

benefited from each other,” he said.

not to become what’s known in the industry

will transform the surrounding precinct into a thriving civic hub and heart. There are a range of others also

In the future, it will be a key challenge for the Fringe

currently underway throughout the City of Perth.

to maintain the balance between positive growth and assurance of quality in terms of the experience of

“Each has lifted the other’s

game and allowed us our own space to do what we do. We go

As all these major developments and works progress

participating artists and audience alike. For the next

towards completion over 2015 and 2016, the

three years, the balance will be relatively easy to

coordinates and flow of the city will be reorientating

manage however.

dramatically and fast.

Many of the quotes throughout this report speak Although FRINGE WORLD has established the James

strongly to the fact that with the prestigeous and ever

in fairly different directions but

Street axis as the foundation ‘spine’ between its current

successful Perth International Arts Festival (PIAF) and

with the same spirit of joy and

two key festival ‘hubs’ in Russell Square and the Perth

FRINGE WORLD Festival now running at the same time,

Cultural Centre, Fringe will naturally grow and adapt in

Perth can finally begin to make claim to being one of

future years to meet the ongoing needs of a shifting

the great Festival cities.

entertainment.”

Stephen Bevis The West Australian

”

49 S. Bevis, ‘Summer of culture a record in ticket sales’, The West Australian, 1-2 March 2014.

city landscape and its populace.

The two festivals complement each other, have a A general rule of Fringe thumb throughout the world

cumulative effect and in combination have created a

is that if there’s a space available and a market,

critical mass of activity that has generated excitement

then Fringe will fill it. It’s one of the reasons why in

and energy at a level that has registered right across

environments such as Edinburgh and Adelaide, Fringe is

the cultural fabric of Perth and its people.

“

The festivals (PIAF and Fringe)

have rightly garnered praise from many quarters regarding their contribution to the wellbeing and enjoyment of the community. But what I found particularly interesting were the comments by Craig Parkin at the Perth police station regarding the positive effect the events have had on reducing criminal activity in Northbridge. It may not be a case of music calming the savage beast, but there is little doubt that Fringe in particular transformed a number of city spaces that were underutilised or avoided.

Warwick Hemsley Business News

” 50

HOTMAMAHOT Dutch BBQ restaurant at The Pleasure Garden. Photo by Chris Benson.

W. Hemsley, ‘Arts and culture a value spend’, Business News, 10 March 2014.

“

Industries like music, visual and

performing arts, despite their relatively small size in employment terms, are critical for promoting a vibrant culture and engaging lifestyle, helping define Western Australia as a place where people want to live.

For this reason, the arts – at the grassroots level – need to be supported and encouraged to develop as a critical component of WA’s ‘enabling infrastructure’, in support of economic

”

and community development.

SC Lennon & Associates Pty Ltd and CCI Creative Industries Statistical Analysis for Western Australia

51 SC Lennon & Associates Pty Ltd and CCI, ‘Creative Industries Statistical Analysis for Western Australia’, p36, November 2013

PCC Box Office, photo by Cam Campbell.

Future The coming triennium has an underlying agenda for FRINGE WORLD to stabilise and consolidate after a period focussed on rapid growth during the establishment of Fringe in the Perth marketplace.

Consequently, for the next three-year cycle of festival production, the Fringe program and the market that engages with it will be grown steadily rather than charting the dramatic levels that have underpinned the last three years.

FRINGE WORLD 2014 was in many ways both the template and tipping point that will fuel future festivals.

The template in terms of the physical staging of the ‘backbone’ of the festival, namely the occupation of both the Perth Cultural Centre and Russell Square at either end of James Street with custom designed festival hubs housing multiple pop-up venues.

The tipping point in terms of both the numbers and diversity of market now engaging with the Fringe, as well as the range and quality of local, national and international artists now attracted to the festival.

ARTRAGE, the producing organisation behind FRINGE WORLD is now in it’s fourth decade of operation.

It’s an organisation that has evolved and kept pace with the times since it was founded in 1983 and

the coming triennium sees the next phase of organisational change and development.

From 2015, ARTRAGE will be focussing its business exclusively on the FRINGE WORLD Festival and the programs that align most strongly to it.

These programs include Outer Fringe regional touring and Rooftop Movies. From a yearround audience relationship and summer long programming point of view, this has a similarity to the film seasons produced by the Perth International Arts Festival (PIAF) at Sommerville and Joondalup Pines and PIAF regional programs.

The big change for ARTRAGE in this shift is the divestment of its year-round Northbridge venue The Bakery in 2015. The Bakery was founded in 2002 and developed over the years to become the iconic music venue that it is today. In 2014, the owners of the property decided to put the land on the market. An extended lease was negotiated through to March 2015, allowing for FRINGE WORLD’s ‘Budgie Smuggler’ Artist Club to be housed at The Bakery before closure.

Over the last decade The Bakery has played a vital role in ARTRAGE growing its independent business and programming strength and its activity subsidised early FRINGE WORLD production.

When the venue was founded in 2002, ARTRAGE’s turnover was less than $400,000 with over 80% of it triennial funding from the Department of Culture and the Arts.

Today, DCA funding constitutes less than 3% of annual budget and turnover is in excess of $11 million, with a component of this provided by The Bakery. In real terms, the closure of The Bakery alongside other changes in funding and operational costs in 2015 equates to a short-fall variance in annual cash-flow of close to $2 million.

Strategically driven by the need for long-term sustainability for the festival, ARTRAGE will accommodate these changes whilst shifting to an exclusive focus on FRINGE WORLD in the next triennium.

The 2015 - 2017 FRINGE WORLD business plan sets out a resourcing model that is based on 70% of annual income from sales, 15% from corporate sponsorship and 15% from government funding.

In order to meet these targets whilst restructuring ARTRAGE’s business operations, FRINGE WORLD will require increasing levels of private sector support over the triennium and more importantly, confirmed and consistant levels of the government investment necessary to deliver FRINGE WORLD sustainably into the future.

52

2014 Award Winners FRINGE WORLD

MARTIN SIMS AWARD Second Finalist: The Velvet Sting First Finalist: Second Hands

Winner: Point and Shoot

by Holland St Productions

WOODSIDE WA EMERGING ARTIST AWARD Winner: Violette Ayad from My Father’s World LOTTERYWEST INDEPENDENT VENUE AND PROGRAM AWARD Independent Venue Award: JumpClimb and Tomás Ford for Midlandia and Noodle Palace Independent Program Award: Summer Nights presented by The Blue Room Theatre and the Perth Institute of Contemporary Arts

THE WEST AUSTRALIAN ARTS EDITOR AWARD Second runner-up: Swamp Juice First runner-up: Vicious Circles WA Winner: Diva Overall Winner: This is Why We Can’t Have Nice Things

53

WORLD FRINGE ALLIANCE SPIRIT OF THE FRINGE AWARD Winner: The Famous Sharron VINACEOUS CABARET AWARD Second runner-up: EastEnd Cabaret: Dirty Talk First runner-up: Between the Cracks WA Winner: Desperately Young at Heart Overall Winner: Twists & Turns RIVERVIEW HOTEL CIRCUS AWARD Second runner-up: Flight or Flight First runner-up: Kaput WA Winner: Kids Comedy Gala Overall Winner: Briefs: The Second Coming APN OUTDOOR COMEDY AWARD Second runner-up: Titty Bar Ha Ha First runner-up: Comic Strip WA Winner: The Gina R Show (I’ll do it for $2) Overall Winner: Randy is Sober

ROOFTOP MOVIES FILM & MULTIMEDIA AWARD Second runner-up: Tornado Vs. Cobra First runner-up: Bohemia Outdoor Cinema: RAW Winner: Bohemia Outdoor Cinema for ICS Screening: Big Name, No Blanket RTRFM 92.1 MUSIC AWARD WA Winner and Second overall runner-up: The Rhythm Spectacular - The Music of Beyonce First runner-up: The Magnets: All This Time Overall Winner: Sam Perry 720 ABC PERTH PERFORMANCE AWARD Second runner-up: Pretty Peepers - The untraditional cabaret First runner-up: Absolutely Winner: The Man ARTRAGE THEATRE AWARD Second runner-up: Squidboy First runner-up: Gym & Tonic Winner: Point and Shoot LITTLE CREATURES VISUAL ARTS AWARD Second runner-up: Pillars First runner-up: De Collectie Winner: Eat Me

METROPOLITAN REDEVELOPMENT AUTHORITY COMMUNITY AWARD Second runner-up: Twilight Hawker’s Market Joint winners: Pride Fairday & Chinese New Year Fair CITY OF PERTH DANCE AWARD Second runner-up: Two Times First runner-up: Rites Winner: Paperland

2014

Thank You Honourable Colin Barnett MEc MLA, Premier of Western Australia; Minister for State Development; Science.

Honourable John Day BSc BDSc MLA, Minister for Planning; Culture and the Arts. Eleni Evangel MLA, Member for Perth. The Right Honourable The Lord Mayor Lisa Scaffidi. Deputy Lord Robert Butler. City of Perth Councillors: Janet Davidson OAM JP, James Limnios, Judy McEvoy, Jim Adamos, Lily Chen, Reece Harley and Keith Yong. Lotterywest: Jan Stewart, Jacquie Thomson, Jo Wilkie, Mark Teale, Kaia Hammond, Shay Byrne, Jody Nunn and all others at Lotterywest. Huge thanks to the Lotterywest Board. Department of Culture and the Arts: David Ansell, Alan Ferris, Pete Guazzelli, Ricky Arnold, Colin Walker, Rebecca Coakley, Alison Rodriguez and all at DCA. Woodside: Jo Ferrie, Mia d’Adhemar and Violeta Taneska. The West Australian: Stephen Bevis, Ben O’Shea, Nicola Bedwood, Susan Parker and Nathan Pleydell-Bouverie. APN Outdoor: Nick Prosser and Amanda Hinscliff. Little Creatures: Zoe Ottaway, Chloe Foster and Emma Layton. The Department of Premier and Cabinet: Lorissa Kelly, Tanya Young, Dixie Marshall and Rachel Donkin. City of Perth: Gary Stevenson, Garry Dunne, Louise Scott, Lee Cooper, Paola Anselmi, Lisa Schreiber, Margaret Smith, Dewald Gericke, Barry Bennett, Nicholas Heath, Freya Ayliffe, Julia Kingsbury, Rodney Ashton, Mark Close, Gabriel Hodgson, Stan Barclay and all at the City of Perth. City of Perth Parking: Doug Forster, Pat Abernethy, Skye Wayte

and Clara Reyes. Metropolitan Redevelopment Authority: Kieran Kinsella, Veronica Jeffery, Justine Lawler, Daniel High, Daniel Little, Sarah Gazia, Simone Woodard, Aoife O’Leary, Madison Robb and Ciara Clarke. Vinaceous: Nick Stacy and Stephanie Patniotis. Discus: Steve Filear and Anthony Ganley.

Riverview Hotel: David Anthony, Bruno, Eric Maina.

ABC 720 Perth: Kade Sims, Rebecca Speidel and all the presenters and producers. RTRFM 92.1: Peter Barr, Ashlee Wiley, Hannah Rule and Jason Cleary.

The Blue Room Theatre: Kerry O’Sullivan, Susannah Day, Thom Smyth and the rest of the team. PICA: Amy Barrett-Lenard, Richard Mackay-Scollay, and team. State Theatre Centre: Brendon Ellmer, Alice Jorgensen, Lorraine Rice, Graham Piper and team.

Adelaide Fringe: Greg Clarke and team including Belinda Hellyer, Eugene Suleau, Rebecca Meston, Belinda Redman. World Fringe Alliance: Greg Clarke, Adelaide; Anneke Jensen, Amsterdam; Julian Caddy, Brighton; Tony Lankester, Grahamstown; Ben Hill, Hollywood; Elena Holy, New York; Steve Gove, Prague, Christabel Anderson, Edinburgh. Strut’n’Fret: Scott Maidment and team. Black Swan State Theatre Company: Kate Cherry, Shane Colqhoun, Natalie Jenkins and team. CCA Productions: Luke Gray, Dan Bright. ABACUS RentIT. Marion Fulker and all at the Committee for Perth. James Boyd and all at Creative Partnerships Australia.

FRINGE WORLD Impact Analysis Reference Group: Marion Fulker, Committee for Perth; Colin Walker, DCA; Daniel High, MRA; Desi Litis, Venn Gallery; Aimee Johns, William St Collective; and Barry Strickland, Jo Burns and all at BOP Consulting.

Deloitte: Stella McDougall, Jodi Kerr, Ed Williams, Phil Bolton, Coert Du Plessis, Dermott McVeigh and Andrew Dwyer. CIC Events & THE IOC: Indi French and Kelly Moss. Northbridge Piazza Screen: Damian Blythe and team. Perth Cultural Centre Screen: David Downie. Art Gallery of WA: Stefano Carboni, Brian Stewart, Renae Newman, Sharyn Boer and Kerri Dickfos. WA Museum: Alec Coles, Soula Veyradier and Trish McDonald. State Library of WA: Priscilla Fouracres, Lorraine Beck, Phil Golder and team. Perth International Arts Festival: Julian Donaldson, Jonathan Holloway, Drew Dymond, Annette Madden, Brad Martin, Rania Ghandour and team. Tourism WA: Renee Zaffino-Little, Phillipa Hansen, Zoe Morgan and Jayde Little. Buzz Marketing: Jason Dover and Sian Delaney. Studio Papa aka Marcus Taylor. Studio Robot aka Jessee Johns. Derek Lavine at 3d Resourcing. Georgia Moore. All the lovely Ladies (& Gents) at Sugar Blue Burlesque, all of the ARTRAGE Life Members, the fantastic Festival Volunteers and of course, all the participating FRINGE WORLD Artists.

54

Team ARTRAGE BOARD Hon Chairperson Ahmad Abas Hon Vice Chairperson Lindsay Oâ&#x20AC;&#x2122;Sullivan Hon Treasurer Anthony Robinson Hon Secretary Rebecca Lee Board Member Barry Strickland John Goodlad Kyle Jeavons

Saffron Solomon

Tim Watts

FRINGE WORLD FESTIVAL TEAM Festival Director

Amber Hasler

ARTRAGE CEO Business Manager Administration Coordinator Receptionist IT Consultant

Marcus Canning Kenny Lye Elise Higgins Sophie Fosdick-McGrath John Patterson

Program Manager Jessica Darlow Associate Producers Joshua Barrett Toshi Burvill Debs McKeen Artist Club Coordinator Alyce Stampa Artist Central Coordinator Alexa Woldan Production Manager Technical Manager Technical Coordinator Technical Assistant Warehouse Manager

Katie Dixon Gareth Simmonds Caitlin Chessell Donelle Gardiner Antony Krause

Marketing Manager Jo Hos Marketing Coordinator Kristine Genovese Sophie McComish Marketing Intern Nikki Sain Kelsey Douglas Box Office Manager Amir Skwarko Box Office & FOH Coordinator Monique Wajon

55

Brand Marcus Taylor Studio Papa Publicity

Sian Delaney Buzz Marketing 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 Alana Scherr Kelly Downs Rebecca Nguyen Stefan Schoombee Box Office Advisor Abigail Smith Ben Cusmano Dani Andree Emiko Watanabe Kait Elsegood Mabel Ha Miranda Johnson Sarah Commander Sian Sugars Zena Ferguson Front of House Supervisor Adam Birman Ashlee Giblett Brodie Peace Chani Van Swet Emma Gerrett Holly Norman Megan Exton Rebekah Ryan Sven Borg

Gillian Kady Lisa Henderson Sophie Carroll Warwick Doddrell

Alisha Wilkes Courtney McFadyen Eloise de Jong Georgina Cramond Lauren King Matt Staunton Nat Woolaston Sarah Valencia

Andrew Hobbs Ashleigh Allis-Crofts Carl Galin Colleen Sutherland Fran Middleton Joannie Bouffard Pat Dixon Rosie Simmonds

Front of House Assistant Alicia Park Amy Joy Anne Bauer Beatrice Doak Bronwyn Tilman Caitlin Lester Cathryn Holker Christine Dombrose Corey Cribb David Buck Evangeline Perry Gail Casley Grace Patorniti Igor Mihajlovic Jan Wright Jessica Miller Justine Cordell Kirani Carlin Louis Cantwell Matthew Tomich Mel McVee Melissa Radford Mieke Smetsers Nancy Johnston Niki Davison Rachel Roberts Sheny Chen Steve Sertis Tristan Treeby Site Manager Ben Kontoolas Nat Nivison Production Crew Mark Antonides Bas Jonker Dan Visser Edwin Van Lierop Build Crew Anton Kuret Casey Ayres

Amanda Abraham Angela Scaturro Arielle Koenig-Luck Brayden Schofield Brooke Capelli Carita Mendes Charlotte Smail Clayton Zwanenburg Cristina Filgueira Elise Rogerson Frances Harrison Georgina Smith Greg Tyrie Jacqui Reeves Jane Moore Jessica Ramsay Kimberly Moiler Lilian Moorcroft Marcella Cranny Max Ashford Melissa Mair Mhairi Stewart Mike Casley Nick Felstead Nikolaas Wajon Shannon Ryan Steve Johnston Storm Helmore

Jarrad Black Adam Broadby

Luc Brinkhoff Steven Schreuder Pieter Wantenaar

Ben Dundas Che Parker

Chris Bannister Dave McSmith Emma Craig Joe Mangold Kaylee Higgott Mathew Ridley Sam Taylor Zac Whitcombe Stage Manager Amelia Jackson Danielle Reibe Emily Stokoe Georgia Rann Kirby Brietly Megan Van Der Weide Rhianne Perrie Samantha Martin Technician Chris McCann Desne Smalberger Emma Bradstock Ira Kroll Johnny Duncan Lee Stout Mark Hardinge Nick Kramer William Langdale

Daniel Floyd Dimity Magnus Isaac Maiolo Josh Milligan Laurence Risebrow Robert Passlow Shannon Munro

Cameron Routley Elise Stewart Emma Hawkes Hannah Portwine Lisa McCready Nathalie Devilliers Ruth Maloney Zak Burvill

Dean Hall Devon Lovelady Freya Low Jacqui Penn Kareena Daws Luke Munteanu Matthew Gorgula Sarah Saunders

HOTMAMAHOT Restaurant Staff Boele De Vries Brigit Trienekens Gerrit Goedhart Jakob Injo Jeroen Cate Photographer Aaron Bunch Bohdan Warchomij Cam Campbell Corey Webb Daniel Grant Jarrad Seng Jenni Banfield John Marshall Louise Gan Tenae Francis

Alice Chapman Brodie Cole Chris Benson Court McAllister Emma Holten Jason Matz John Leonard Karen Lowe Sarah Tallott

Videographer Blaq Magic Innovations Brandon Dâ&#x20AC;&#x2122;Silva Buzzcuts Volunteer Reviewer Alice Mephan Annie Dziadulewicxz Chantel Dyball Jake Dennis

Amy Nicholas Bernadette Neeling Clayton Lin Jordan Nix

Kate Prendergast Lucy Ballantyne Patrick Marlborough Samuel Cox Sophie Raynor

Lauran Jervis Matthew Tomich Rosemary Scott Sarah Dunstan Zoe Kilbourn

Chalkboard Writer Jessie Mitchell Christina Curran

Matthew Wong Rosemarie Genovese

ROOFTOP MOVIES Venue Manager Ainsley Canning Stephen Bellair Box Office Danielle Riebe

Matt Aitken

John Edwards

THE BAKERY Bar Manager Sound Engineer

Spike Davis Luke Gray

Bar Staff Alison Ramsay Brendan Mulvena-Trinder Harry Miller Jazmine Hope-Scuderi Keaton McSweeney Lauren Brunswick Minh Quang Le Stephen ‘Rayza’ Quinn

Amy Hamilton Camille Bombelli Jess Miller Kate Miller Kyran Williamson Matt Tutt Sophie Carroll Warsame Hassan

FRINGE WORLD IMPACT ANALYSIS REFERENCE GROUP Committee for Perth DCA Venn Gallery William Street Collective FRINGE WORLD Board FRINGE WORLD Staff Marcus Canning Amir Skwarko

Marion Fulker Colin Walker Desi Litis Aimee Johns Barry Strickland Jo Hos Kristine Genovese

FRINGE WORLD PARTNERSHIPS

Partnership Manager Nancy Fox Email nancy@fringeworld.com.au

ARTRAGE CONTACT

Email hello@artrage.com.au Web artrage.com.au Phone 0011 +61 8 9227 6288 Post 233 James St NORTHBRIDGE, 6003

PERTH, WESTERN AUSTRALIA

56 The Pleasure Garden. Photo by Tenae Francis.

“

It seems timely after enjoying perhaps the most fruitful and

satisfying cultural season in Perth’s collective memory, to remind ourselves where the money comes from, where it goes and why it is important to treasure this State asset [Lotterywest].

57 The Pleasure Garden. Photo by Jarrad Seng.

S. Bevis, ‘Agency’s sale a risk for the arts’, The West Australian, 3 March 2014.

”

Stephen Bevis The West Australian

Partners

E L E C T R I C S

E L E C T R I C S

D I G I TA L P R I N T

58 E L E C T R I C S

s ’ h t r Pe t s e g big s t r a l a u n n a . . . t n eve

“

“

Bevis n e h p Ste alian r st Aust

e The W 59

S. Bevis, ‘Cutting it at THE FRINGE’, The West Australian, 22 January 2014.

59