Fringe identity crisis
Fest balances offbeat with commercial
As its 10th season runs from Aug. 11-27, the New York Intl. Fringe Festival is straddling the line between a grassroots cheerleader for offbeat legit and a seductive draw for commercial hopes.
While few in the theater community imagine that all of this year's 217 shows are suited for the big time, even fewer forget 1999. That's the year "Urinetown" dominated the fest, beginning its march to three Tonys and a two-year Broadway run. That and other transfers -- including "Matt and Ben" and tuner "Debbie Does Dallas" -- helped push the festival to a new level of relevance.
This begs the question: As it continues birthing hits, which parts of the Fringe are still on the fringe?
This year, at least, there are shows such as "The Transformation of Mr. Jekyll," an ensemble-created comedy that advertises shadow puppets and "whores in garbage bags." It's unlikely to play the Winter Garden, but "Jekyll's" inclusion reflects one way the Fringe maintains its, well, fringe-iness. Shows are never selected for their commercial prospects.
Elena K. Holy, the fest's producing artistic director, says, "There are applications where (the desire for a commercial transfer) is apparent, but Fringe NYC needs to be about a healthy mix of work, both commercial and noncommercial. We're not a glorified backer's audition."
And as the fest continues to evolve, maintaining that commitment to artistic exploration will remain a priority. Even though plans are under way to seek corporate sponsorship, Holy never wants the Fringe to feel like a corporate pet. In other words, don't look for banners announcing "The Coca-Cola Fringe Festival."
Artists extol this dedication to artistic over profit potential. Cynthia Silver, who acts in political comedy "Open House" this year and struck gold with 2005's "Bridezilla Strikes Back!" says, "The Fringe encourages artists to step outside their comfort zones, and it really applauds them for it. I think the reason the commercial reward comes is that you're given full license to focus on your work.
"It would be silly to put your focus on (getting a transfer), because there are hundreds of shows."
Of course, she freely admits that her success with "Bridezilla" landed her agents at both Professional Artists and Buchwald.
And ideals aside, it's hard not to hear the buzz surrounding some of this year's titles. Brisk sellers "Rainy Days and Mondays," a gay circuit-party drama, and "Walmartopia," a campy musical about a future where Wal-Mart rules the world, or "Red Herring," a death row drama co-produced by "American Idol" contestant Katherine McPhee, may be the next big thing.
Because for all its indie credibility, there's no denying that the Fringe also has become a place that invites dollar-colored dreams. Just ask Greg Allen, founding director of Chicago troupe the Neo-Futurists.
His company returns this year with a remount of "The Complete Lost Works of Samuel Beckett," one of several shows invited to return for the 10th anniversary. He says much has changed since the Fringe began.
Allen muses, "I think the focus really shifted with 'Urinetown.' Suddenly, it seemed like everyone was there with a kitschy musical trying to make it big.
"People go to the Fringe with starry eyes, thinking 'We've got to hustle to get the big critics and producers in there.' And to me, that's not really the spirit of the Fringe."
Not that the Fringe itself resembles those dreams of grandeur. Along with not altering its artistic vision, the Fringe has also seen little change in its organizational structure. But that's not necessarily helpful.
"People think of us as an institution. We have to constantly remind (them) that that's not who we are," Holy says.
What they are is a barebones outfit.
Before hiring an assistant this July, Holy was the fest's only full-time employee, and she still keeps a hand in everything from financial decisions to the needs of individual shows.
She also coordinates 1,000 part-timers and volunteers, who will corral this year's 1,300 perfs. And they'll do it on a budget of $800,000, over half of which is in in-kind donations.
That's surprisingly skimpy for the home of "Urinetown."
Yet despite operating on an upstart's resources, the Fringe keeps growing. Even though it just got letterhead, the festival has seen ticket buyers increase at a rate of 10,000 per year since 2002. Season 10 should welcome almost 70,000 people.
If the Fringe is going to keep thriving, its inner workings must catch up to its external image. Though improvements are made every year, Holy says she needs more paid staff, more tech resources and more contributed income.
"We need another boost in infrastructure to build the festival over the next decade," she explains. "We're going to need an influx of (corporate) funding." But mindful of the Fringe's soul, Holy insists such funding must reflect the fest's philosophy.
She continues, "Several years ago, we were approached by a lot of companies, but they weren't anybody I felt comfortable allying our reputation with. I think now we're getting to the point where (companies) we would be proud to be associated with are turning in our direction."
