Revolt Melbourne Fringe Program
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Revolt Melbourne Fringe Program

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With so many shows under one roof, Grigg had the difficult task of rooting through all the applications and ensuring that Revolt’s Fringe experience not only provided a performance platform to artists from a wide array of disciplines, but also that the programme oozed appeal and pulled punters through the door. With such an arduous task on her hands, how did she set about curating such a program?

A seasoned professional, Griggs makes the impossible seem as easy as pie. “Things basically start of with an expression of interest. I go through my network system. My background is in theatre as a director, so I kind of know how it all works. I know how fringe festival works as I have been in it myself a few times now. I go to different festivals and look at who is up and coming or has fresh ideas, something just a bit different. I have a very open mind as to what the artist can bring,” she explains.

“If the artist is really passionate about what they are doing then we get really behind them.” Having established Revolt as a venue that encourages creative outlet and development, the fringe offers Grigg and her colleagues the perfect opportunity to provide support to the diverse voices of the Australian arts scene. While there is no way in which Revolt can ever provide a stage for everyone who wishes to come through their doors, they try their damned hardest. “One of the important things for us here is to support the artist in their creative expression. Their own individuality whatever that might be,”Griggs says of their approach.

While in her heart she would love to give each applicant a platform, the reality means that there will be as many unhappy applicants as happy, so what form the culling constraints? Is there in Griggs’ eyes a perfect fringe show? “That is really hard question as it is different for all different people.” For the first time in our conversation Griggs seems genuinely stumped. The question was not one she was expecting nor fully considered. With an open mind to all forms of art, she feels it would be unfair to instigate restrictions. After a moments pause to compose her thoughts, she concludes, “I kind of come from an audience side a little bit. I can’t judge what people’s tastes are – what they like and don’t like – it is more about what I think is a good fringe piece. It is something somebody has put a lot of work into. That way it comes across simple and effortless.”

Though as a curator she may remain fully open minded, as a director and theatregoer, she does admit to having her own likes and dislikes. “I personally like things that are totally visual, so I look for a total theatre experience. It comes down to not only a performance on stage, but how they look at sound scape, lighting or their body language. Physical theatre is really important in any character in a theatre piece. Really embodying the text they are using.” With a strong identity as a director, Griggs tries to remove her own opinion from the selection process but it is the distinct decisions made by applicants which make them stand out. Though she fully concedes that part of the appeal of the fringe is never knowing if a piece will sink or swim, she does feel that when applications are made there is some insight given and expectations are created.

When she looks at her own program for this year, she shows no preference and quickly reels off a list of shows that offer diverse appeal – from solo musicals to mime artists, Cuban dancers to mentalists – Revolt ticks pretty much every box that a theatregoer might be teased into seeing. But with such an array of talent on offer, Griggs advises that sometimes opting for the safe option isn’t a bad thing. “Some people are wanting to see something and so they should base their decision on others. If they want to see cabaret then they should see cabaret. But other evenings they might just want to see something, in which case just look at the program and pick. You never know what you might find.”

 
BY DAVID HUNTER