One way to gauge the success of a festival is to listen to how much people complain about missing out on shows. The more complaints, the more likely it is that there are enough “buzz” shows, even if the festival is so jam-packed that no one can possibly attend all of them. (It’s a sad irony that the people who make the shows are too busy to attend much of the festival themselves.)

One way to gauge the success of a festival is to listen to how much people complain about missing out on shows. The more complaints, the more likely it is that there are enough “buzz” shows, even if the festival is so jam-packed that no one can possibly attend all of them. (It’s a sad irony that the people who make the shows are too busy to attend much of the festival themselves.)

If this is indeed an accurate gauge, Auckland Festival 2009 has been very successful so far.

Over the past two weeks, I’ve been to theatre, dance, poetry and music shows that are innovative, eye-opening and have high production standards. But there is another arts festival on at the moment that is equally innovative, eye opening and well produced. Yes, Auckland finally has a Fringe.

Someone asked me recently why the organizers of the Fringe chose to put it on at the same time as the Festival. I explained the concept of a Fringe, but she was unconvinced. “Still seems a bit silly to me,” she said. “I don’t see why we should miss out on even more.”

Indeed, the Auckland Fringe provides yet another smorgasbord of events over almost the same time period as the official Festival. The work is different, of course - Fringe work typically takes more risks and anyone is able to join. And – importantly - the price range (from koha to $20) is much more within reach of the chronically impecunious, students and (ahem)artists.

The Auckland Fringe, in its inaugural year, has shows by around 40 groups, most from Auckland, although a few shows have travelled up from Wellington. The number, range and variety of shows is evidence of a very healthy local scene. There’s everything from loud experimental music to stories in cow paddocks (yes, really). There’s even a whole category for burlesque and cabaret, reflecting the current interest in this art form (although debate rages hot about the ideas/politics behind burlesque – but if you want to know more, google it).

But does anyone even know it’s happening? There’s a nifty little Fringe program available, which tends to get a bit lost behind the flyers and glossy promos for the high-budget shows. Nigel from the Fringe, who probably doesn’t get paid enough for what he does, has been seen around town wearing a sandwich board. And Facebook is running hot with notices of shows, so the word is getting out to the usual community, and some shows have been well attended, some of them even selling out. But the Fringe is also supposed to encourage those who normally aren’t to be adventurous, and I’m not sure that the famously immobile Auckland Public really know that there is a Fringe happening alongside the Festival. There seems to be little cross promotion – no mention of the Fringe in any of the “what’s on” chalkboards around the place or the glossy sponsored “Daily Metro” pamphlets. And it’s well hidden.

From the renamed Red Square (formerly Aotea), duck into an unsignposted dark alleyway and scoot down the side of the Town Hall. As you round the corner a big sign suspended down the back of some buildings announces you have reached the Auckland Fringe. Traverse a large carpark following the smell of a sausage sizzle and you’re there – The Basement (we’re not allowed to call it the former Silo), the hub of the Auckland Fringe.

It’s a totally different vibe from Red Square, which currently has an ad-hoc glamour due to the presence of the Speigletent and the trendy crowds hanging around the outdoor bars. The Basement is warm and friendly. It’s got the vibe of a place run by artists for artists, and it’s chilled and laid back, but with a feeling that something cool might be about to happen. Several times in the last few weeks I’ve run from a Festival show to the Basement and felt like I was coming back to a place that I felt really comfortable in.

But I’m still worried that not enough people know about the Fringe or are interested in exploring its many nooks and crannies. (Speaking of which, there are many different venues for the Fringe, part of its appeal. I’m just talking about the central venue for ease of reference.)

Since I always raise a question in these blogs, I want to ask: what should the relationship of a Festival be to its Fringe? There are pros and cons of both. In my opinion a Fringe has to be free to explore and present potentially risky shows, but also be able to take advantage of the resources its better funded big brother can offer.

In the case of the Auckland Festival, it’s quite a tight relationship. Money and staff time has gone into kickstarting the Fringe, although the idea is that the Fringe will eventually be self-sustaining and independent, as it is in other Festivals around the world. But I do think that more could have been done when it comes to cross-promotion, encouraging the public to dabble in both and cross-fertilisation of artists (I mean that in the creative sense only). Auckland 2011, anyone?