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Fringe rebuilding begins with search for new chief

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Published Date: 12 January 2009
THE Edinburgh Festival Fringe will today finally begin moves to hire a new head as part of a massive shake-up of the way the event is run.
An international recruitment drive for the first chief executive in the event's 62-year history has been unveiled – five months after the festival was taken to the brink of bankruptcy by box office failures.

Three other new posts have been created
in an attempt to help restore the fortunes of the Fringe, while plans have been unveiled for major international showcases to drum up fresh interest in the Fringe overseas.

Key issues to be addressed by the new chief executive include restoring the festival's reputation among venues, companies and ticket-buyers; coping with predictions that ticket sales could fall 10 per cent in 2009 due to the economic downturn, and how to pay for long-running events such as Fringe Sunday.

The Scotsman has learned that applications will be welcomed from around the world for the £55,000 chief executive post, created after months of debate over whether the historic post of Fringe director should be retained. Previous chief Jon Morgan resigned in the wake of last year's box office debacle.

The other new posts are aimed at attracting big-money sponsorship deals; improving the Fringe's PR and communications as well as lobbying funders and stakeholders, and providing better services to venues, producers and performers.

The shake-up has been unveiled just weeks after The Scotsman revealed a total bailout for the Fringe is likely to run to well over £500,000. Days earlier it emerged emergency funds of £250,000 had been secured from the Scottish Government, the City of Edinburgh Council and the Scottish Arts Council.

Some of the cash will go to promoting the Fringe overseas: a New York roadshow will coincide with the Association of Performing Arts conference; a visit to Adelaide will be during that city's Fringe and the Korean Arts Management Association has invited the Fringe to Seoul to speak to performers about bringing shows to Edinburgh.

A Fringe spokesman said: "The international appeal of the Fringe is something we're keen to build on."

Tim Hawkins, the acting general manager, is said to have warned the Fringe's funders that, if the recession has a major impact on ticket sales, the emergency funding for the event may need to top £600,000.

Internal reports produced by the city's festivals are believed to state ticket sales may fall by up to 20 per cent over the next two years, while there are warnings levels of sponsorship could be hit to the same extent.

A spokesman for the Fringe said the £600,000 estimate included the £250,000 already secured, and had been projected on the basis of ticket sales falling by at least 10 per cent.

WHO'S WHO

Among those linked to the Fringe's new top job are:

IM HAWKINS Appointed acting general manager last summer, he has been left in charge during reviews of the box-office failures, the festival's finances and the future of the event.

FAITH LIDDELL The former Edinburgh International Book Festival director became head of umbrella body Festivals Edinburgh in 2007, months before the previous Fringe director Paul Gudgin resigned.

MARY SHIELDS A leading programmer for the Assembly Rooms over the years who is an artistic adviser on the Year of Homecoming.

KATH MAINLAND Administrative director of the Edinburgh International Book Festival.





The full article contains 577 words and appears in The Scotsman newspaper.
Page 1 of 1

 
1

dba,

Haymarket 12/01/2009 10:01:06
There should be four major conditions attached to whomsoever is appointed:

1: He or she understands that the Frings IS SUPPOSED to be a profit-making organisation sun on a 'commercial basis' and not expect to live on 'hand outs' from the City of Edinburgh Council.
2: He or she accepts and nundertakes to manage the organisation in a professional manner as to ensure that all funds received 'as emergency funding' bot in 2008 and this year, shall be treated as commercial loans, and, as such, be repaid over an three year term.
3: He or she AND THE BOARD OF THE FRINGE accept that in the unfortunate mistakes are made THEY SHALL BE PERSONALLY LIABLE, for the financial recovery...and open to the same penalties as 'insolvently trading'.

All of the above to be written into al and any offers of employment and/or job descriptions.

It's NOT rocket science - get it wrong and you will be required to (a) answer for the mistakes (b)accept full finanical liability and (c) possibly be well advised to seek a new career in another field!
2

Tweedmouth,

Coldstream 12/01/2009 10:41:25
The Edinburgh Festival Fringe was created as an 'alternative' to the 'official' Festival - which turned into an 'establishment' showcase for the arts. The Official Festival was and is high-value, high-cost and high-risk. In contrast the Fringe was democratic, cheap and cheerful, experimental and anarchic. The Official Festival belonged to the posh and the rich - the Fringe beloned to the ordinary people of Edinburgh - and invited guests from around the world. In the 1980s the average ticket price for the Fringe was low enough that you could plan to see three or four events in an evening and it would not break the bank. Today, the starting gate price is £15-20 per show. The Fringe is now a profit-making machine for a few vested interests and the people of Edinburgh have little or nothing to do with it.

The irony is that in the early days the Fringe launched genuine talents like Peter Cooke, Dudley Moore, Alan Bennett, Joanthan Miller, John Cleese etc.
now it just showcases the latest crop of obscene comics and long-established commerical acts. Don't get me wrong, Bill Bailey is a wonderful comic and musician who can fill the Assembly any week of the year - but that's what he should be doing - not milking the Fringe as a logn-established artist.

The Board should think really radical:
1. Return the Fringe to the people of Edinburgh
2. Get rid of the fat cats like Coutts who run their fiefdoms at the expense of Edinburgh taxpayers
3. Slash the fees to encourage local attendance
4. Ban 'commercial' established acts and return the Fringe to beginners and experimental artists.

 

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