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In this episode of FringePOD, Andy Beecroft, Marketplace Manager at Adelaide Fringe, sits down with Alexander Wright, one-half of the internationally acclaimed UK theatre company Wright & Grainger. They discuss the evolution of the company—from their school days playing in bands to becoming a fixture of the international fringe circuit, and how their journey through the Honeypot marketplace has directly led to massive touring outcomes, including a dream season at the Sydney Opera House.

Contents

Watch the Session

Key Takeaways

  • Fringe as a Proving Ground: Use Fringe festivals to "throw stuff at the wall" and refine your artistic voice without waiting for permission from traditional producing houses.
  • People, Not Monoliths: Professional development and touring outcomes are built on person-to-person relationships, not just cold pitches to large organizations.
  • The Power of Listening: Successful marketplace interactions happen when you stop selling and start listening to what venues and programmers actually need.
  • Long-term Momentum: An interaction at Honeypot today might not result in a booking for three or four years, but nurturing that connection is vital for a sustainable career.

From Tapestries to Touring

Alex Wright and Phil Grainger didn’t start with a formal business plan or prestigious arts degrees. Their partnership began in a school band in rural North Yorkshire. Their first foray into the Edinburgh Fringe in 2007 was a "wild learning curve" involving a midnight slot for a production of Trainspotting and a piece of new writing that tested their mettle. Those early years taught them that a Fringe Festival is a unique environment where the articulation of an idea is tested against a massive global framework.

It wasn't until they began stripping back their work—moving away from heavy immersive sets toward lean, music-driven storytelling—that they found their international stride. This evolution was heavily influenced by the Australian storytelling and cabaret scene they encountered in Adelaide. By observing peers like Will Greenway and Stuart Bowen, they realised the value of an immediate relationship with the audience, a style that has since become their signature.

The Adelaide Difference

While larger festivals can often feel like an "exhausting brawl," Alex notes that Adelaide Fringe offers a more "artistically enjoyable" and strategically structured experience. The primary difference lies in the accessibility of industry leaders. In the UK, getting a "cup of tea" with a major artistic director might involve months of emails and hours of travel. In Adelaide, through Honeypot, those same leaders are in the room, approachable and ready to engage with a level of "calm generosity."

Alex highlights that the Australian artistic sensibility—often more playful and less "proper" than the UK theatre tradition—helped Wright & Grainger realise that their work could land with diverse audiences. This cross-cultural exchange is what makes the Adelaide season a cornerstone of their annual touring cycle, allowing them to have conscious conversations about what might happen next for their Shows.

The Honeypot Effect

A significant portion of Wright & Grainger’s current success is directly attributable to the Honeypot marketplace. Alex shares the story of meeting Phil Spencer, who was then running Bondi Feast. That initial "hello" over a beer led to a multi-year relationship. Even when the pandemic cancelled their initial bookings, the relationship remained solid because it was built on mutual respect rather than a one-off transaction.

When Phil Spencer moved to the Sydney Opera House, the conversation didn't start over; it simply shifted venues. This resulted in the company performing at one of the world’s most iconic cultural landmarks. This "person-to-person" integrity is the secret to onward touring. By treating marketplace delegates as peers rather than "impenetrable cultural monoliths," artists can build a network of advocates who will champion their Shows as they move between different roles and organisations.

Actionable Tips

  • Chill Out and Play the Long Game: Don’t panic if a conversation doesn't lead to a contract immediately. Trust that if the connection is good, the opportunity will remain viable in six months, a year, or even longer.
  • Research Your Delegates: Use the Honeypot guide to identify people who are interested in work similar to yours. Don't waste your energy pitching to a venue that doesn't program your specific genre or style.
  • Offer a Drink, Not a Pitch: Sometimes the best way to start a relationship is by being a human being. A simple gesture like buying someone a beer or a coffee can break the ice better than a formal elevator pitch.
  • Lead with Listening: When sitting down with a programmer, ask them what they are currently excited about or what their venue is missing. Frame your Show as a solution to their needs.
  • Maintain Integrity Across Roles: Remember that people in the industry move around. A contact at a small festival today might be the gatekeeper for a major venue tomorrow. Treat every interaction with equal importance.

Additional Resources