TBI Q&A: Paul Smith

Dunedin Fringe Festival Director Paul Smith talks about the advantages of becoming an annual event, how they collaborate with other festivals and what makes Dunedin Fringe unique.

“It’s got quite a raw and experimental edge. Performance art is always strong as are large scale artistic collaborations. It is a well focused city centre that helps generate a sense of excitement during the Fringe Festival.”

The Dunedin Fringe Festival 2010 is on from March 18-29 and features comedy, dance, theatre, music, performance art, installations, film and multi-artform works.

What aspect of your creative practice/work gives you the biggest thrill?

Constructing a Festival programme out of thin air and then having artists from all over NZ and international guests arriving on our doorstep and being able to facilitate some truly weird and wonderful acts where artists who are totally committed to their work surprise, shock and provoke audiences with their ideas.

How does your environment affect your work?

Dunedin has a really strong arts community that supports the Dunedin Fringe Festival which is vital for our ongoing viability.

Do you like to look at the big picture or focus on the details?

I do both at times, sometimes losing myself in either. I do have a vision for how I want the Festival to be, and we’re getting closer – it takes years! I’m learning not to get too bogged down in the detail and to delegate (when I have the staff to delegate to).

What's your number one business tip for surviving (and thriving) in the creative industries?

Be honest and upfront with people.

What is a Fringe Festival?

It is an open access Festival focusing on experimental work by emerging and established artists working in all art forms.

What are some of the highlights of Dunedin Fringe 2010?

Where do I start? Well, our Comedy Club is going to be full on – three shows a night – and then followed by our Festival Club which has a great programme all of its own. We have a big burlesque show – Burlesque As You Like It, Not a Family Show – at the Regent Theatre which is the first time the Fringe has used this premier venue. We also have Fringe Inventions at the Settlers Museum which is an exhibition of Chindogu, aka highly impractical but humorous inventions.

On the really experimental side we have the Blue Oyster Gallery’s Performance Series which showcases performance art by artists from throughout the country. And on the quirky side we have Mr Bun Bun’s Terrible Day which is local actor Danny Still wearing a bunny suit and performing outside schools around town – three times a day every day of the Festival! And that’s only a sample of the programme…

How do you compare or collaborate with other fringe festivals in NZ and internationally?

We share information and try and provide a platform for artists from outside Dunedin. 45% of our events are touring shows so it is a pretty good mix that brings a lot of talent to Dunedin. The circuit between the Auckland, Wellington and Dunedin Fringe Festival is now established but there is a lot more developmental work that could be done with Australia and particularly with Adelaide and Melbourne Fringes.

In what ways is Dunedin Fringe unique?

It’s got quite a raw and experimental edge. Performance art is always strong as are large scale artistic collaborations. It is a well focused city centre that helps generate a sense of excitement during the Fringe Festival. The University staff and students also contribute greatly to the Festival in a number of ways both as artists, and audiences. There is also the Otago Polytechnic Art School which plays an active role in the Festival.

How long has the Fringe been an annual event, why was this change made and what have been some of the pros and cons?

Since 2009. It was an essential move as I don’t believe a biennial Festival model works for a Fringe – not ours anyway. For a small budget Festival you need an annual event to build audiences, to provide more opportunities for artists and to keep staff and an office operation rolling.

Tell us a little bit about the Dunedin Fringe Arts Trust.

It was formed in 2004 as a stand alone trust after the Festival had already been going a couple of years. It consists of some very talented professional people who provide support to me and my staff.

Tell us a little bit about your background.

I was not brought up in a performance orientated family but threw myself into obscure street and community theatre through the McGillicuddy Serious Party and similar activities in Hamilton. I also got in to drama and music and ended up being a professional stilt performer for a few years. I also got involved in student media while at Waikato University and have done a variety of writing and publicity roles and that’s how my involvement with the Dunedin Fringe began – as the publicist.

What does your role as Fringe Festival Director include?

Fundraising, including sponsorship. Being the face of the Festival to some extent and its spokesperson. Recruiting and managing staff. Reporting to the board. Coming up with the overall planning for the Festival and overseeing budgets and spending. I also initiate some of the Festival’s key events.

What advice would you give to aspiring Festival Directors?

Be prepared for a lot of office work. Give your staff the credit they deserve.

What’s involved in the preparation? What combination of people and resources are required? 

The director is the only full time staff person all year round. We have an administrator, production manager and about six other staff during the Festival, plus about 50 volunteers that help manage front of house at venues and promote the Festival.

What are some of the challenges and how do you approach them?

Audience development is a big challenge every year – we just keep plugging away at it. We have developed some good relationships with key venues such as the Fortune and Globe Theatre and we work with them closely which helps. We also work closely with media outlets who sponsor the Festival and help us get the word out further.

How does the Dunedin Fringe generate opportunities for New Zealand artists?

We provide funding for the development or touring of new work to Dunedin. Artists develop their audiences and learn heaps about producing shows, touring shows, and promoting their work. Artists can also win an award at the Festival that they can use to promote their work. We facilitate a team of reviewers to provide critical feedback. Artists meet each other and see their work as part of a larger arts environment.

What are your hopes and dreams for the future of Dunedin Fringe?

That it continues to build its reputation in Dunedin and the Otago region and that audiences flock to our events with numerous shows selling out in advance. That we can attract an additional two major sponsors for some of our key events and continue to build strong relationships with existing funders.

What are some of your upcoming plans and projects – your next big idea?

I want to start an Artists Agency so that we can help connect the many artists involved in the Festival and other projects we do to work opportunities.