Parking, attendance, DigiFringe questions answered
The 2021 Orlando Fringe Festival is now in the history books — with payments for participating artists sharply up despite a pandemic, improvements that will be sticking around and a new opportunity to examine how big the festival should actually be.
But wait! Even as we look back at the festival, quirks and all — what was up with the closed parking garage? — the Fringe fun continues online. DigiFringe, an array of online shows, is available through June 18. Among the offerings: Award-winning shows from the May fest, new offerings such as comic mystery “The DEFinition ASSOCiation,” a film saluting beloved entertainer Miss Sammy, and an artistic reflection on the past year in “Our COVID Stories.”
But more on DigiFringe in a moment.
First, here are key takeaways from a Fringe Festival that didn’t just survive the COVID-19 pandemic but thrived.
What was attendance like?
Orlando Fringe estimated attendance at 45,139, said executive director Alauna Friskics. That compares to record-high 2019 attendance of just shy of 75,000.
But then how did artists collect more money?
It’s math! There were far fewer shows in 2021 than in 2019, so even though fewer people attended this year, each individual show had a bigger audience. Nearly 80% of shows sold out.
Overall, artists collected $281,000 — down from
2019’s $446,000 — but again, fewer shows meant the pot was split among fewer artists.
Did the new Standing Ovation tipping help?
Yes. The Standing Ovation tips, given to artists electronically by scanning QR codes with smartphones after performances, raised an additional $5,309 for artists, said Friskics, adding one group of performers got $947 just from these donations.
Were patrons annoyed by the COVID-1 9 restrictions?
Not that I noticed as a daily attendee who saw 63 shows. In fact, most people seemed grateful to have a Fringe at all. Really grateful.
“We had people openly weeping as they entered the lawn,” Friskics said. “I had so many people tell me how much they needed this human interaction. We were able to fill up an emotional and artistic bucket that’s been empty for a long time for many people.”
So then, did patrons follow the rules?
Overwhelmingly, yes. I only saw two people forego masks — and Fringe staff quickly brought them masks to wear, which they did. Twice, as the lights went down at the start of a show, last-minute arrivals sat next to me instead of leaving an empty seat for social distancing, but that seemed like panicked oversight — not a deliberate flouting of the rules.
Out on the Loch Haven Park lawn, were the party pods popular?
Friskics called them a “huge success.” The new program to reserve private tents with chairs, coolers and other amenities was set up to encourage COVID19 distancing. “But the side effect it had was people had a designated gathering place to have their friends meet them between shows,” Friskics said.
How about those new specialty cocktails?
Even the bar managers were taken aback by how well the cocktails sold to Fringe patrons — normally thought of as a beer crowd. By festival’s end, the ingredients for some of the new libations had run out; I expect we’ll see both party pods and specialty cocktails return next year.
Speaking of new, what’s this DigiFringe?
Nearly 70 recorded shows (plus one live performance) are available to watch on the internet. Some were recorded at May’s Fringe Festival, others are new offerings.
What festival highlights are offered?
Nearly all Critics’ Choice Award winners are available: “Alchemist of Dreams,” “Away Now: The World’s Most Desired Destination,” “Cupid and Psyche,” “It All Started at the Radisson Inn,” “Josie & Grace,” “Judas,” “La Divina: The Last Interview of Maria Callas,” “Mind Eater,” “Oscar Wilde and Jesus Christ Walk Into a Gay Bar,” “Rosegold,” “Shakespeare’s Reservoir Dogs,” “The 500 List,” “The Frogpig and Friends Variety Hour,” “The Impossible Club” and “The Sack: A Play on Superheroes.”
What about shows not presented in May?
New titles include “Goodbye, Liam,” a relationship revenge comedy; “Horsetale,” a shadow-puppet musical; “Jigsaw: An Inverted Murder Mystery” by a collective of local playwrights; “Lark and Compass,” a story of friendship and dreams; “PUSH Physical Theatre’s Trunk Show,” created specifically for online viewing; a program of two Spanish-language plays, “Dos Obras Latinoamericanas,” recorded at Timucua Arts Foundation; and “The Consciousness,” best-play winner at the 2019 Tampa Bay Theatre Festival.
Any familiar faces from the past showing up?
The Fourth Wall musicians of “Fruit Flies Like a Banana” fame and Madame PeeVira have shows. Trombonist Elias Faingersh brings back his award-winning “A Solo from the Pit.” Sam Singhaus, who died in October, is remembered in the film “A Day in the Life of Miss Sammy.” And Brian Feldman presents his interactive “#24hourtxtshow” live to close out the festival. Texts from audience members create the script for the 24-hour extravaganza.
What are the benefits of DigiFringe?
When you buy your ticket, you can watch the show as many times as you want through June 18. You also can join “watch parties” with online chat available. Of course, watching at home eliminates the need to find parking, which brings us to …
Why was the nearby parking garage closed some nights of the festival?
I was among those taunted by the Orlando Science Center garage’s lowered gate while I drove around in search of a parking spot. The garage is, of course, reserved for Science Center visitors while the attraction is open. But after hours, what gives?
Science Center spokesman Jeff Stanford explained there was no garage-sharing arrangement this year but, “even without a formal agreement, we did keep the garage open for nine evenings during this current festival when we had staff available.”
The center couldn’t staff each day, Stanford said, but “we’re happy to talk with Fringe about setting up a parking agreement during the festival.” Yes, let’s make that happen in 2022, please.
Parking will get even harder if the festival returns to its bigger size. Will that happen?
It’s going to depend on math. Festival leaders have typically enlarged the festival based on average payout per artist and total show capacity. But this year threw them a curveball: “It forced us to halve the number of shows and reduce capacity,” Friskics said. “And average artist payout still increased by 25%.”
She said the numbers would be studied more closely to estimate how many more shows can be added to the festival — but still keep each artist making money.
“Our goal has never been ‘How quickly we can grow?’ ” Friskics said. “It’s always been ‘How much money can we return to artists?’ And I’m excited for that challenge.”
‘DigiFringe’
When: Through June 18 Cost: $10 per show, plus $1 festival fee per show up to $10; discounted multi-ticket packs available
Info: virtuallyfringe.com/ digifringe