There’s a riot going on
As a trio of fringe festivals get ready to unleash edgy seasons upon three main centres, the events’ directors discuss their role in the arts and pick some must-sees.
As a trio of fringe festivals get ready to unleash edgy seasons upon three main centres, the events’ directors discuss their role in the arts and pick some must-sees.
When the NZ Fringe began in Wellington almost three decades ago, it was an alternative event set up by local artists feeling overshadowed by the high-profile biennial New Zealand International Arts Festival. In 1990, the country’s first fringe festival was a one-week event at Bats Theatre. Today, the NZ Fringe runs in the capital for three weeks, with 150 shows, including 30 imports. It has helped spawn seven other events, with the 2019 Auckland Fringe now roughly two-thirds the size of its capital-city forebear, having run annually since 2017.
All share one characteristic: they are open access, which means anyone can stage a performance in any setting. They are places for artists to experiment and debut new work and are an increasingly popular destination for overseas leftfield acts on a global circuit of some 250 festivals, with Edinburgh and Adelaide the largest.
New Zealand’s fringe festivals are slowly being taken seriously by the mainstream arts establishment. Although they face the perpetual challenge of finding funding, as well as luring artists who think they are
“not fringe enough’’, according to Gareth McMillan, director of the Dunedin Fringe Festival.
The 2019 Dunedin event in late
March follows festivals in Auckland and Wellington.
This year, the two North Island programmes will feature shows by Pussy Riot. The Russian punk-rock political provocateurs are possibly the biggest international name the festivals have attracted.
Auckland Fringe director Lydia Zanetti saw the show Pussy Riot: Riot Days last year at the Edinburgh event. “It’s not often that you get to experience something that shakes you out of your skin. Having Pussy Riot: Riot Days in Auckland Fringe is a dream come true.”
Assembling the line-ups, which range from Russian art guerrillas to experimental comedy, theatre, music and dance in a wide range of venues must take some impressive juggling skills.
“Running a fringe has been one of the hardest and most rewarding things I’ve ever done,” says Zanetti, who has been in charge in Auckland since 2017, when a trust was established to back an annual event.
“I’ve always gravitated to art that sits on
Russian punk-rock political provocateurs Pussy Riot are possibly the biggest international name the festivals have attracted.
the edge of things, that pushes the boat out a bit, and so fringe is a very natural fit for me. I love how you can fully immerse yourself in the best things the city has to offer, and, increasingly, nationally and internationally, too.’’
Former fringe artist Hannah Clarke has run NZ Fringe in the capital since 2011. Her performance background “really reminds me why fringe festivals exist”. She agrees funding will always be a challenge and so is finding venues.
“We have so many shows that want to be put on but we often don’t have the venues. We’ve got 140-seat theatres and then big venues such as the Opera House, but nothing in-between. This year, we are building a festival garden and a 200-seat festival tent.”
In Dunedin, McMillan says that the “fringe” label is loaded and brings with it the perception the acts have to be avant-garde.
“We welcome all forms of artistic expression,” he says. “I love directing a festival of groundbreaking stuff and works of excellence.”
Says Clarke: “Fringe is all about experience. If you go in with an open mind, you can be blown away.”
Auckland Fringe, February 19-March 3; NZ Fringe (Wellington), March 1-23; Dunedin Fringe, March 21-31.