Kath Mainland Leaves The Fringe

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JOYCE MCMILLAN on KATH MAINLAND LEAVING THE FRINGE for The Scotsman, 10.11.15
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IN ALL ITS history of almost 70 years, I doubt whether the Edinburgh Fringe has ever found itself in the hands of a leader who understood it more thoroughly, or nurtured it more carefully and effectively through what could have been difficult times, than Kath Mainland. When she took over the job early in 2009, the Fringe was struggling to recover from the 2008 box-office meltdown which almost destroyed the most vital of all the support services the Fringe Society offers to Fringe companies.

Yet during her time in the job she has not only stabilised the operation in practical and administrative terms.  She has also, despite the deepest recession in recent economic history, presided over yet another period of sustained growth both in the number of shows presented in the Fringe, and in the number of tickets sold, which has grown since 2009 from 1.8 million to almost 2.3 million. And she has also been a strong supporter of initiatives such as Made In Scotland and Escalator East to Edinburgh, which have provided strategic support for companies facing the ever-increasing costs of presenting work in Edinburgh in August.

Questions always remain about the Edinburgh Fringe, of course, notably around the issue of those high costs.  As the co-ordinating body of an open, unprogrammed Festival, though, the Fringe organisation  cannot begin to try to dictate the size of the event, or the detail of who takes parts, without totally destroying the special and often anarchic atmosphere which has made the Edinburgh Fringe the biggest arts Festival in the western world. Kath Mainland  perfectly understands that essential truth about the Fringe; she sought to support, to co-ordinate, to inform,  to publicise, to encourage, but never to direct – indeed the very difficuly of giving a name to the job of running the Fringe, which has morphed over the years from “administrator”, to “director”, to “chief executive”, highlights the sheer uniqueness of the job.  And the most significant danger, in replacing Kath Mainland, will be the temptation to appoint a figure with impressive experience as a Festival diretor, perhaps of one of the world’s many programmed “Fringe” festivals, who does not fully grasp that the Ednibrgh Fringe demands a completely different and more self-effacing range of skills.  For that reason, this is a Festival that often responds well to the appointment of an experienced Fringe figure; Kath Mainland worked for Assembly Productions for many years before she became Fringe boss.  And whoever takes over the job, it’s as well to remember that directing has nothing to with it.  It’s all about responding, nurturing, helping and facilitating; and if that’s not your style, then this job is definitely not for you.

ENDS ENDS         

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