Report criticises Fringe box office for Festival chaos

An independent report on the problem-plagued Festival Fringe box office system was published last week criticising the box office for its failure to cope with customer demands during last year’s festival. Malfunctioning of the new box office system left people without tickets, while performers claimed shows were undersold.

The Scott-Moncrieff consultants’ report described general handling as weak and littered with decision making problems.

The report reads: “The project suffered from poor project management, particularly during the critical implementation phase. There was inadequate risk management during the project and no effective contingency planning.

“Inadequate project control, insufficient resources, over reliance on key individuals and insufficient independent scrutiny at key milestones [were all problems].”

According to the report's authors, the decision to buy the new box office system was flawed, and staff were given insufficient time to get used to it.

Tim Hawkins, general manager of the Fringe told the BBC that the suggestions contained in the report would be taken on board: “The Fringe are happy to accept the recommendations of the report and are making strenuous efforts to correct the mistakes that were made and to move forward for next year’s festival.

“There’s no doubting that last year’s box office was not a good time for the Fringe. They would like to apologise for all the people who suffered at the time and were not able to get tickets, and we take very seriously the events which lead to those mistakes.”

To tackle management problems, a chief executive will replace previous Fringe director Jon Morgan, who resigned at the end of last year’s festival.

Despite the criticisms, Mr Hawkins argued: “Communication and co-operation between the Fringe and the venues is vastly improved," adding that "over a million and a half tickets were sold in spite of last year’s problems.”

In a joint statement, the Fringe board of directors said that they believe they are already on their way to addressing the problems which caused collapse last year: "Many of the recommendations mirror changes that are already well underway for this year's festival.

"These steps are part of a radical process of change in the Fringe – specifically in relation to the staffing structure, the business model and the negotiation of a new box office system. These changes will ensure that the incoming chief executive inherits an organisation that can reinforce the Fringe's position as the biggest and best arts festival in the world with a box office system to match."

The statement added; "The board has recognised the box office difficulties of the past year and learned from the experience. The recommendations contained within this report combined with the ongoing process of change will allow the Fringe to greatly enhance the services the festival provides to public and performers alike."

Other problems faced by Fringe organisers include producers threatening to boycott the festival after severe box office cash delays. Some producers had still not received full payment for ticket sales three months after the end of the 2008 month long event, and many involved in the festival have expressed their belief that the problems have damaged in the international reputation of the Fringe. 

Martin Witts, producer of Joan Rivers’ show said: “The general feeling in the business is that it’s got a bit out of hand. I know a lot of people are questioning whether it is worth going to Edinburgh anymore, whether that is financially or because it’s a headache. I can’t see why it can’t be an efficient box office system that pays out an estimate or even 50 per cent of matured sales the week after the show. It needs a big shake-up.”

Ed Bartlam, director of festival venue the Underbelly, added: “Last year there were huge problems with the ticketing. We had to go through sales figures with a fine tooth comb to make sure they were correct.

“But, on the other hand, the Fringe has to deal with a large number of shows, so it is not going to be as quick as a regional theatre because of the number of box office figures we need to go through.”