“In prioritizing my values, I’m helping to create a world where each of us has our needs met in the first place. That means refusing to uphold a system that devalues anyone who exists outside of a white European heteropatriarchal false ideal. It started with saying ‘black lives matter’ and continues with the deep understanding that my freedom is bound up with those lives. It took me awhile to begin to understand that, but it is now my responsibility and it is also one of the greatest joys of my life.”

- J Stephen Brantley

This workshop explore ways in which white artists can actively contribute to dismantling systemic racism and promoting inclusivity in their creative practices. (Note there will be an affinity space for BIPOC, facilitated by the Access Advisory Board, during the Festival in June at Fringe Central.) Our panelists for this event included Emma Irene, Lex Ryan, and J Stephen Brantley. The conversation was moderated by Ellen Den Herder. You can watch the recording of the full workshop here.

In this conversation the panelists unpacked the following:

- Why are we centering white folks in this conversation about antiracism?

- What is white supremacy?

- What is antiracism?

- What is my personal stake in ending white supremacy?

- What does this have to do with theatre?

Attendees were given these prompts to examine their own personal stake in anti-racism work:

- How do you hold your personal stake, together with what’s at stake for others? 

- What are some ways that you and other white people are impacted as part of the system of white supremacy?

- Does the framework we just discussed change how you see your place within the white supremacy system?

Four practices & tools covered in this workshop:

1. Understanding one’s own nervous system response to discomfort and making mistakes in the context of antiracism work. The panel provides guidance on how to become aware of and identifying personal responses, such as defensiveness or guilt, to better navigate situations and take accountability for actions. They also emphasize the difference between taking accountability to repair harm versus doing so to avoid conflict. 

2. Tools like circle practice help build community, prevent harm, and address issues in creative spaces through restorative justice. Circle practice involves sitting in community to share feelings and views. It can be used during check-ins at the start of a meeting or rehearsal, while addressing harm, and to build community by using art-inspired prompts related to the work being produced. The panel emphasizes the importance of this work, despite the common pushback of not having enough time, and shares how it can lead to better work, stronger community, and more effective conflict resolution. 

3. Authenticity in storytelling and casting. Using anti-racist frameworks and standards in casting practices to ensure a diverse set of artists in the room. The panel emphasizes the need to consider cultural implications of the work being produced and the benefits of creating inclusive environments. 

4. Approach conversations about racism from a place of curiosity rather than challenge. The panelists emphasize the importance of understanding other people’s perspectives and having organizational systems for conflict resolution. Especially acknowledge the importance of this discussion on antiracism in the arts community for white artists. 

Community resources to continue this work:

LA Theatre Standards 

A list of standards you can enact to uphold anti-racism in your production created by and for Angeleno theatre makers

Characteristics of White Supremacy 

A great starting point to read into white supremacy, and develop your own personal stake in ending white supremacy culture in and out of the rehearsal room

Hi! I’m Rody, I’m the Hollywood Fringe Festival Artist Services Coordinator, and thrilled to be helping you out by answering questions and working to make your Fringe Festival experience a great one.

Before I was a part of the Fringe Staff, I was a participant! So I know how fun it is and how crazy it can feel, and what’s Fringe without a little craziness? Truly, I’m so thrilled to be a resource and someone who you can reach out to for questions you may have in your Fringe journey. Just know you’re not doing this alone, you and hundreds or other dedicated artists are all achieving something wonderful, and doing so together. 

So a little about me! I love reading plays, big theatre nerd, guilty as charged. I love playing card games (I always try and keep a deck of cards on my person). I am a stress baker… so I have burned the occasional banana bread— but if you have recipes please share them. (I promise not to burn it). In addition to Fringe, I’m a carpenter & Scenic Designer and currently teaching Scenic Design at a local high school.

As we all get more into the swing of things at Fringe, please feel free to say hi, strike up a conversation, or just tell me how your day’s going. Fringe is an incredible ecosystem of artists and excited theatre audiences wanting to see/test the limits of what theatre can be, and the best thing: everyone is cheering everyone on— I certainly am.

We are so excited to announce a total of 10 recipients of the 2024 Hollywood Fringe Scholarship!

Baby Rock
Blacks in Space: The Fantastic Voyage
Habla y te Salvas: Stories of a No Sabo Kid & His Guayaco Dad
Mercy
Mictlán
Resting Slut Face
Silhouettes Of Scarlet (S.O.S)
Supernova: Spiritual Death of a Hot Mess
Handala
Woody Fu is Keanu Reeves in: One-Man John Wick

Applications were reviewed and recipients were selected by an objective committee of former scholarship winners and artists & artistic company reps whose missions align with the program’s goal of expanding and diversifying the body of work being presented at Fringe.

There were so many outstanding applications, and the committee would like to acknowledge the following honorable mentions:

Black Bastard
Futakuchi Onna
Hold Me Down
Platinum Pussy
Yo Mama Dresses You Funny

This year we have one shows performing from our 2020 Scholarship Winners. Our 2020 Winners were not able to perform due to the onset of the Covid-19 Pandemic. The Hollywood Fringe offers every 2020 winner the opportunity to perform in perpetuity until all winners have performed. This year we have performances from:

Mermaid

At Hollywood Fringe, we seek to make the performing arts more accessible, both to the artists who produce work and for those who otherwise cannot afford to see theatre. Scholarship recipients will receive free registration, a stipend toward venue/production costs for three performances, an experienced Fringe mentor, and marketing/networking opportunities with the community.

Congratulations to all!

INDIVIDUAL ARTIST GRANTS SEARCHING

In addition to Hollywood Fringe’s Scholarship (closed) +  Artist Fund Programs (Apply by 2/19),  you can find individual artist grants and apply, even without a nonprofit status!

Here are some key words that are often used (that you can use to find your own grants via the internet)

• Individual Artist Grant
• Theatre Artist Grant
• Fringe Grant
• Los Angeles artist grant

Here are some starting points:

• Californians for the arts grant listings
• List of national funds for artists by discipline

GRANT WRITING TIPS

Ready to write the grant? Here are some tips and tricks to help you get started.

Definitions of common grant language:

Abstract (also known as executive summary): A short, concise method of stating what the project is and why it is important to be produced

Documentation: Anything you have to represent a finished product, from video + photos to a printed program + ticketing page

Narrative: your story! 

Statement of Need: Describes a problem and explains why you require a grant to address the issue. This is where you explain why YOUR project is more needed than any others at the moment

Cost Sharing or Matching Funds: Money from other funding sources that you (the applicant) have already secured. This can often be ticket sales or out of pocket money. 

Objectives: Your goals! What are the expected outcomes a funder can expect to happen because of this project

Project Period: The dates (usually established in the application) that the project will take place

Earned Income: What you have sold/earned, including ticket sales, merch sales, ad sales, workshop fees, etc

Contributed Income: Donations, grants and (sometimes) corporate sponsorships. Any donation where the donor does not get a direct benefit in return.

Commissions: When someone pays you to do your art directly (both Fringe Scholarships + Fringe Artist Funds are commissions, for instance).

Fringe tips + tricks for grant writing

Do your research. Don’t apply for a grant just because it’s available! Research the grant thoroughly: what has been funded before under this grant? What are the requirements for this year’s cycle? How will my proposal fit into the box that they are building under the grant?

Know your project in + out before applying for funding: If your project is confusing to you, it will not translate to paper. Using a grant application to define your pitch is fine, but make sure you are 100% sure of what you are doing, and 100% sure that you can execute the grant goals

Start your writing in a document, NOT the grant portal.

Get feedback from your friends, family and fellow artists. Make sure at least 3 people read your grant in various stages before you submit. It helps to have people who are not familiar with your project take a look when you’re at the last stages before submitting to ensure your narrative is clear.

Other grant writing resources:

• What are artist grants?
• The Artists guide to grant writing
• Sample grants from Candid 
• Effective Grant writing for artists

CROWDFUNDING

Crowdfunding is a great option for artists who have a built-in audience already, and are great at marketing! Compared to applying for grants, crowdfunding can be less intimidating and more straightforward.

Unlike applying for grants, you don’t need to convince a committee full of arts professionals who don’t know you, and who are comparing your work to many other applicants’ work. Instead, you need to make a case that your work deserves financial support to people you already know (and then hopefully the people that they know, if they share the campaign).

What platforms should I use?

That 100% depends on your preferences!

Here are some articles that lay out the different benefits for you:

• Best crowdfunding sources for artists
• Intro to crowdfunding (Indigogo + Kickstarter)

OK, I picked a platform, now what?

Refine Your Pitch: Before you hit “go” on that platorm, you’ll need to refine your project pitch. You need to be able to write a couple of paragraphs that will explain to people what you want to accomplish, how much money you need, and why they should support you. 

Set a budget and fundraising goal. Finish that Fringe budget and set a realistic fundraising goal (based on your project’s outreach capacity). Think realistically about how many people you think can give to you at each level. 

Here is a sample of how you can reach a $500 fundraising goal

10 people at $10 each = $100

10 people at $25 each = $250

3 people at $50 each =   $150

Total from 23 people = $500

It may help for you to write a list of people you are going to ask to contribute and write how much you realistically think they would give. After you do that, cut your expectation in half! That is the easiest way to create a realistic fundraiser starting goal. If the fundraiser goes incredibly well, you can always release a second goal (i.e. start with the goal of getting your venue covered, but then stretch the goal into paying for documentation should you reach that first goal post).

Remember, nobody else is going to help you fundraise unless you ask them to. Organize in advance a fundraising team where each team member agrees to raise part of your goal.

Create a marketing plan for the campaign: Where are you going to post about this? Who are you going to email? How many times? What is your goal of clicks/donations per item on your to do list?

Create your crowdfunding web page: You are ready to ask for donations! Make sure your page has a clear, concise, and exciting overview of your project. Be very clear about what money you’re asking for and where that money will go. Transparency is so key for folks to feel excited to give their $$.

Use past video or photos to bring people into the room of your work. If you don’t have prior documentation of your work, maybe a video of your cast reading parts of the script, or a song preview from your musical.

Make sure it’s easy and clear where the supporter should donate their money.

Offer incentives: You will encourage more gifts by offering incentives and rewards to supporters at different levels (i.e. a donation of $25 will get the supporter a free digital download of the cast album). Make sure these incentives are not too difficult for you to achieve. We recommend they do not include free tickets as it is hard for you to recoup other expenses if you are comping too much of your house.

Keep Asking Until You Reach the Goal: Remember, it takes 7 views for someone to make a purchase. Create interesting, exciting content throughout the campaign, and make the campaign short + punchy.

Remember, not everyone has the capacity to donate to your campaign, even if they want to. It can feel very personal, but sometimes even your closest friends will not be able to support you. Don’t take it personally, and keep reminding yourself how many people DO support you. 

OTHER RESOURCES

• Fractured Atlas’ Fundraising Guide for Artists
• Volunteer Lawyers for the Arts

In search of the perfect venue for your HFF show? We recommend taking a few tours, reaching out on the site, or calling or emailing directly. With almost 20 spaces to choose from, you are sure to find the perfect fit for your show. 

You can find all of the venues currently registered with Fringe here.

To help you find the perfect venue fit, we will keep this page updated with venue tour schedules and Open Houses. 

Theatre Asylum Venues

• Thymele Arts (4 spaces) – 5481 Santa Monica Blvd.
• (Kansas Room, California Room, Shirley Dawn Studio, Joyce Hall)
• Stephanie Feury – 5636 Melrose Ave.
• McCadden Theater – 1157 N. McCadden Pl.

Tours this upcoming week

Thur Feb 1, 10am starting at Feury-5636 Melrose

Sun Feb 4,  4:30pm starting at Feury-5636 Melrose

Mon, Feb 5 – 5pm Starting at Stephanie Feury – 5636 Melrose

Thur, Feb 8 – 10am starting at Feury – 5636 Melrose

(FUTURE Tours will follow this similar schedule )

You need to make an appointment to join the tour and to discuss your show.

[email protected] or call 415-336-0513

The GGC Theatre 

6502 Santa Monica Blvd

Tours will be weekly: 

Monday, Tuesday, Thursday 10-12 pm

Wednesday evenings 4 pm-6 pm

Email to schedule: [email protected]

If you can’t make these time frames and need a special appointment, send an email! 

Zephyr Theatre

7456 Melrose Avenue

The next open house is Wednesday, March 6th, from 5pm-7pm

Email [email protected] for additional tour options.

The Hobgoblin Playhouse & Madnani

The Hobgoblin Playhouse: 6440 Santa Monica Blvd. /  The Madnani Theater: 6760 Lexington Ave. 

The next open house to see both spaces is February 17th, 2:30 – 5 pm.

Email questions to: [email protected]