Femmes Fatales of the Fringe

Who run the Fringe? Girls!

feature (adelaide) | Read in About 7 minutes
32319 large
Koral Chandler
Photo by Naomi Jellicoe
Published 22 Feb 2019

From the Adelaide Fringe office, to the drills and machinery of the Gluttony site build, girls are getting it done all over town.

Koral Chandler "connects people so that everyone has the best Fringe experience possible" in her role as marketing and publicity manager with The Garden of Unearthly Delights. Heather Croall, CEO of the Adelaide Fringe, links the hundreds of "different parts, people and dreams" into a cohesive "mind-blowing event". Meanwhile, site manager Cassie Sibbin has faced scepticism "being a 5'5" blond lady who says they can drive large machinery and use power tools to build things," but she kills it at Gluttony, "designing and project managing the construction and installation of structures" across the park.

So why have these power women chosen careers in festivals? A month of seven day work is often followed by three months of blank diary pages. "Because there’s no business like show business, baby," says Chandler. "I wouldn’t have it any other way."

Chandler met her husband, circus performer Tom Flanagan, during Adelaide Fringe. They now travel and perform together with their 1.8 children. "Now I can never leave," she laughs. "It’s like some sort of colourful and exciting Groundhog Day situation every year."

Croall began working with Adelaide Fringe in 1991 when she had the first event of her own – a Super 8 film called Shoot The Fringe. "Festivals are an exciting place for new ideas that are yet to be tested or proven," says Croall. "I love being in that fresh, experimental zone." The open-access nature of the Adelaide Fringe lends itself to some interesting collaborations, which Croall thrives on. "I love embarking on projects where creative people with different skillsets collaborate and the details emerge over time."

She hasn’t exactly had an easy stroll to the top. "I have come up against discrimination in my time – women have been discriminated against for centuries," she says. "I’ve sat through my share of mansplaining." In her younger years, Croall began an engineering degree before shifting over to an arts degree. "Sometimes as a woman I have had to work harder to be taken seriously," she says. "The role requires not just leadership skills and a strong creative focus but also an understanding of technical systems, budgets, and solid business acumen." But, the festival world is moving towards a gender balance. "There are a lot more women festival directors now," comments Croall. "We have come a long way, but there is so much more that needs changing, and gender equality remains an important topic."

In stark contrast to Croall’s business journey is Sibbin’s practical know-how. In what is traditionally a male-dominated area, 5’5 Sibbin is a female force to be reckoned with. "At times it has been very hard to be a girl in my role!" she says. While short in stature, Sibbin has directed carpentry teams in Rymill Park/Murlawirrapurka in the mad rush for Adelaide Fringe. Work that includes planning and marking the space; building and installing signage along with temporary buildings; and overseeing the installation of the iconic tents that adorn the grass each season. Overall, Sibbin’s experience has been a positive one. "I feel I have been fortunate enough to work for many companies with strong, driven women in management and crew positions. I’ve had a few unpleasant experiences peppered in there, but these generally make me more determined (and outraged) to carry on," she says. "The festival space is a very respectful and equal community. Regardless of gender, everyone is usually very supportive – we are all working towards the same goal at the end of the day."

Chandler isn’t sure her identifying gender has had anything to do with the challenges of her work. "I’ve never experienced this role while owning a penis and identifying as male, so I wouldn’t have much to compare it to," she says. "It’s definitely been very hard but I’m not sure whether that has anything to do with my chosen gender." Chandler also acknowledges the nature of the festival world. "We do work in an industry that has a relatively better gender parity and understanding and acceptance of the non-binary world than others." How could anyone know if chosen gender influences interactions? "Perhaps I’ll change my name to Karl Chandler, become a comedian and see if I get treated better," laughs Chandler. "What could possibly go wrong?"

In such a creative environment, everyone has their idols. "I have a total work admiration crush on Sarah Stewart," says Chandler. As the director and producer of The Garden of Unearthly Delights, "her unflappable aura mixed with a ninja-like attention for detail is jaw-droppingly impressive."

Croall’s inspiration goes beyond borders. "Shona McCarthy is a wonderful director at Edinburgh Fringe," says Croall. "She has often been a generous guide to me." Croall also has had great opportunities to work with Katrina Sedgwick, CEO and director of ACMI (Australian Centre for the Moving Image). "Her name comes to mind immediately, she’s a true inspiration to me and I am so grateful that we have collaborated many times over the years." Sibbin recognises the people who make the Fringe move forward. "The artists, the crew, the pals," she says. "I admire everyone who works their ass off for months in the heat and rain but still manages to have a friendly ‘get-shit-done’ attitude every day." Chandler has loved working with David Sefton. Both in his previous role of Adelaide Festival artistic director, and in his current role as RCC Fringe programmer. "Not once has he faltered in his strong opinion of anything; one has to admire that kind of nous," she says. "Don’t tell him I said that, though," she quickly adds.

These three Fringe femmes have forged strong connections with other femmes in the festival world. "It is jam-packed full of amazing women and the friendships can be very deep and supportive," says Croall. "The stories and experiences we share in festivals are a massive source of energy and inspiration to us all." Chandler notes the importance of looking beyond festivals. "As a society we need to look not so much at what is hard for one particular segment, but what are the underlying beliefs and constructs that make it an unequal playing field," she says. There can also be a huge shift in attitudes from the stage to the street. "Something that is celebrated on the stage might be less accepted walking down the street and attract criticism or downright abuse," says Chandler. Yet it is very supportive within the community. "There are plenty of times when it does get tough and you need to lean on the sisterhood!" says Croall.

All in all, the festival community strives to be inclusive of all genders and expressions, leading the way in impartiality. "There is a relatively equal gender parity in my festival world," says Chandler. Sibbin has always been comfortable in her positions but recognises that not everyone is so fortunate. "There’s been a minimal [gender] gap and split within the companies I have worked for and I know I’m lucky for that," she says. "I have certainly spoken to many people who have experienced the ‘boys club’ type companies who make women feel like their place is in the office or at a desk greeting customers only, which is disappointing considering it’s 2019 – come on guys."