The Melbourne Fringe Festival Faces Artist Backlash Over Fee Increases
The Melbourne Fringe Festival board has turned down a request from artists to lower the fees charged to performers, as many argue that the cost of staging a show is becoming prohibitively high. An open letter signed by 580 artists, producers, and technical crew members called on festival organizers to “give artists a fair cut.” The letter emphasized the festival’s mission to “democratise the arts” and “uphold a vision of cultural democracy,” but expressed concern that the current financial model is moving away from this goal.
The letter specifically asked for two key changes: first, to revert the venue cut at festival-managed venues back to 30% of each ticket sale, which had been increased to 35%. Second, it requested that the 35% cut should be taken from net sales after ticketing fees are applied, rather than before. However, the board has rejected both proposals.
Lukas Meintjes, a writer, producer, and clown who initiated the campaign, has decided not to participate in the Fringe this year due to the rising costs. He criticized the fee increase, stating that it places an unfair burden on artists. “It’s very sad that only the people that have money can keep making shows,” he said. “Performing shouldn’t just be for the wealthy.”
Board Responds to Concerns
In response to the open letter, Michael Kantor, chair of the Melbourne Fringe board, acknowledged the concerns as “reasonable” but stated that the board could not adopt the requests for the 2026 festival. The festival also provided an information pack addressing the artists’ demands.
Kantor explained that the 35% door split is not about increasing profit, as there is no profit involved. Instead, it is about reducing the operating loss that the festival is currently experiencing. “Without changes to the model of artist contribution, Melbourne Fringe could not continue operating the Festival Hub in its current form,” the statement read.
Artists Speak Out
Award-winning comedian Andy Balloch shared his experience, stating that last year, the festival took 48% of his takings after all fees were accounted for. This year, he estimates the figure would be closer to 60%. He criticized the festival for shifting the risk onto artists without sharing any of it themselves.
Balloch also mentioned that he will not be performing at a festival-managed venue this year, citing the high costs and the impact of the cost-of-living crisis. “It’s already risky putting on a show, it’s even riskier putting on a show in September and October this year,” he said.
He highlighted the potential for the arts sector to become homogenized, with only wealthy white artists able to sustain their careers. “It would be so much harder if I was a person of colour, it would be so much harder if I was a trans artist,” he added.
Festival Defends Its Model
Melbourne Fringe creative director and CEO Danny Delahunty defended the current fee structure, stating that the “fees on fees” claim misunderstands how the 35% door split works. He explained that the mechanism is designed to share costs equitably among artists of different means.
Delahunty noted that almost half of the lowest-selling shows in the subsidised venue model pay a minimum guarantee, capping their venue hire at 10% of their total potential earnings. He warned that changing the calculation could lead to higher guarantees and reduced equipment support for artists.
“The campaign’s proposal would likely require both an increase of these guarantees and a reduction of the provided equipment and infrastructure,” he said. “The top sellers would get a discount, while the most vulnerable artists would be paying more and getting less.”
He emphasized that Melbourne Fringe invests heavily in reducing barriers to participation, ensuring that more artists can access the platform.
Industry Collaboration and Ongoing Concerns
The Media, Entertainment & Arts Alliance has had preliminary discussions with the festival’s CEO, with Ursula Searle, president of equity Victoria, describing the conversations as productive. She noted that the festival has been supportive of the campaign and open to working together.
Searle highlighted that artists are still being surveyed to understand their concerns better. “What it’s telling us so far is that it’s unaffordable to do Fringe unfortunately, because of fees going higher and also largely because of the cost of living,” she said.
She pointed out that cuts to funding for independent artists and the broader arts sector have left many in a difficult position. “Artists don’t have enough money to do open access performances and create their own works, but also festivals and venues are under pressure because they’re not getting enough funding either.”
Looking Ahead
As the debate continues, the tension between the festival’s financial model and the needs of artists remains unresolved. While the board maintains that the current structure is necessary for the festival’s survival, many artists argue that it is pushing out those who cannot afford to pay the rising costs. The future of the Melbourne Fringe Festival may depend on finding a balance that supports both the organization and the diverse community of artists it aims to serve.
