As you would expect in Melbourne, there are a significant number of Greek artists involved in the Melbourne Fringe Festival. There are also some fairly substantial Greek influences behind the scenes.
Esther Anatolitis has been the CEO of the Melbourne Fringe Festival (MFF) for three years, and this will be her fourth festival.
How did she cope with her very first festival? She laughs, “It was just a question of immersing myself in it. I had to hit the ground running. But it was a great way to learn.”
The Fringe anticipates, and slightly overlaps with the Melbourne International Arts Festival (MIAF), but in many ways it is its philosophical antithesis. Whereas the MIAF invites its participants, MFF is an all-inclusive event open to any artist from any discipline who feels they have something to offer. “Of course, it’s very important to have curated festivals.
Curators respond to the times they live in,” says Anatolitis. “But Melbourne is the Arts capital of Australia, so it’s vital that we also have a festival that is not curated, where artists can tell us what’s important, and where everyone has the opportunity to experience that.”
The MFF began as the Fringe Art Network back in the 1980s after the Pram Factory in Carlton was sold and the Australian Performing Group was effectively homeless. “There was also a moment when people needed to leave the Pram Factory, nevertheless it was essential that what had been created continued,” she said. What was germinated back then by the Fringe Art Network is what is flourishing today with the Melbourne Fringe Festival: a network of independent artists who support each other, providing professional development, advocacy, forums, workshops and meetings, all year round, under the umbrella of the Fringe.
Many of the Fringe’s resources are available to artists who aren’t performing in the festival. For those who are performing, the Fringe offers a great opportunity to experiment. It is also very convenient for artists, with so much of the production process streamlined and centralised, factors such as ticketing and advertising can be handled on their behalf. They also offer professional advice, one-on-one consultations, producer’s packs, and can provide advice on such tricky issues as marketing and publicity.
So is it successful, and can that be measured? Anatolitis is in no doubt. “It is overwhelmingly successful. This year we have had the greatest demand, from both artists and audiences. Since we opened for artist registration, it’s been out of control, and we’re expecting audiences of over 500,000.”
But it isn’t just about getting bigger. They are constantly working at transforming expectations, trying to present literally thousands of artists in the most exciting and professional way. “We’ve gone from a couple of hundred shows to well over 300 shows with around 4,500 artists. It’s important that you have a strategy to sustain that growth.” This year’s focus is about getting the general public participating, creating new ideas and new ways to engage with people.
“We’ve become more strategic and focused on this, and have prioritised work in public spaces.” So, for 19 days, there’s an extra dimension to being out and about in Melbourne. You’ve been warned. Expect the unexpected.
The Melbourne Fringe Festival kicks off on Wednesday 21 September and runs until Sunday 8 October.For the full program, visit melbournefringe.com.au