HFF25 TOWN HALL #2 HOW TO MAKE YOUR SHOW ACCESSIBLE

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Dream.
So we're going to start Well.
First welcome.
We'll get into everythingmomentarily, but we're probably
going to start around 205-ish.
I think that's what we'restarting at right now.
But in the meantime, say hi,Tell us where you're streaming
in from, Say a little thingabout your show.
No time like the present tostart saying what your show's

(00:20):
about.
Yeah, oh, like right here,great it's.
One of the biggest learningcurves is getting used to the
mic.
Like right here, but yeah, it'dbe great I'm going to jump into
it.
I'm going to remember to eat micand speak clearly and slowly,
but welcome everyone.
Welcome to Town Hall number two, talking about accessibility,

(00:44):
I'm Roddy.
I am the audience servicesmanager over here at Hollywood
Fringe.
I started my Fringe journey in2023 as a scholarship recipient
and then in 2024, I joined on astaff and have just had a lovely
experience supporting theartists.
I am always happy to answeryour questions and just
facilitate your fringeexperience in any way that I can

(01:07):
.
For a visual description and mypronouns are he, him, but
visual description I'm a Latin,a male with black curly hair,
currently wearing glasses, ablack turtleneck, some jeans and
, yes, jeanette, do you want totake the reins?

Speaker 3 (01:24):
Yes, of course I do.
Hi everyone, my name isJeanette.
This may be your first timemeeting me, the Marketing and
Operations Manager for HollywoodFringe.
I started with Hollywood Fringein 2022 as a scholarship
recipient, started working forFringe in HFF24, and now I'm
still working here, so I'mreally excited to be here.
This is my first like town hallthing, so I'm really excited to

(01:45):
share this experience with allof you.
Just for a visual description,I am a Latin, south Asian woman
with short brown hair.
Pronouns are she they.
I'm wearing a long sleeve bluetop, green pants and black shoes
, and I'm wearing glasses aswell.
I forgot about that.

Speaker 1 (02:02):
Incredible.
So we're going to do a coupleof announcements right before we
dive into the town hall, butand we're going to get to those
momentarily but first we want todo a land acknowledgement and
I'll just read off of what wehave written here.
It's also located on theHollywood Fringe dot org forward
slash land.
So the Hollywood Fringeacknowledges that we are on the
unceded lands of the Tongva,quiche, gabrileños and

(02:24):
Gabrileños people.
Our statement serves as apractice as we commit to
furthering our connection to theindigenous communities of past,
present and emerging.
And later in the festivalyou'll get like a mp3 or a
soundbite that we ask that showsput before their performance
begins.
And then we also want to say hito the live stream and give a

(02:46):
couple thanks, because theBroadwater is hosting us today
at the second stage.
They're one of our fringevenues.
Check them out.
And then we are going to diveinto access needs.
So, oh, interesting this kindof goes for today's town hall
but also future town halls andworkshops that if you have an

(03:07):
accessibility need that isn'tbeing met, please don't hesitate
to let a member of staff knowduring your Fringe experience,
also for our town halls andworkshops, if you let us know 72
hours in advance.
We can assist with ASLaccessibility and interpretation
.
Simply email support athollywoodfringeorg and then,
yeah, we'll be scheduling aninterpreter and making sure that

(03:29):
we're able to assist in any waywe can.
Oh, we're really close, okay.
Upcoming workshops and town hallevents.
So part of Fringe's pillars, ofour ethos, is we want to have
town halls and events tofacilitate and teach producers
oftentimes producing for thefirst time how to do so.
And so if you look up athollywoodfringeorg forward slash

(03:51):
events, you'll be able to findthe full lineup, our programming
that we have.
Again, this is town hall numbertwo.
We'll be going all the way tilltown hall number five.
A ton of good stuff.
And if you ever can't makethose days, don't worry.
All of our events town hallsand workshops are live streamed
and then recorded and found onHollywood Fringe dot com.

(04:11):
No, hollywood Fringe YouTube.
Yeah, just type in HollywoodFringe YouTube, that's where
you're going to find it.
Do you want to talk about someupcoming dates and workshops?

Speaker 3 (04:22):
I would love to.
So here are some upcomingevents to look at as we start
getting ready for HFF 25 onTuesday, march 25th, from 7 to 9
.
We have our fifth workshopMarketing and Ticketing at the
GGC Theater.
That will also be digital aswell.
Again, just make sure you go toour YouTube channel, hollywood
Fringe, for all of ourpre-recorded past recorded, I

(04:45):
should say events, workshops,town halls, all that fun stuff
in case you miss it.
Our next event after that isTuesday, april 13th, from 2 to 4
, our third town hall printedguide, ticketing and press,
in-person and digital, of courseat the LA LGBT Center, monday,

(05:07):
april 14th, 7 to 9,.
We have our web session numbertwo site navigation and projects
pages.
All of these events are veryimportant.
I will say specifically, assomeone who also participated,
this is a very important one.
Trying to navigate our site,make sure you have full access,
full reign of that for yourproject.
And again, like Roddy mentionedearlier, make sure you go to
hollywoodfringeorg slash eventsfor our full list of upcoming
workshops, town halls and websessions.
We continuously update that, sojust make sure you're checking

(05:29):
in with us.
And, yes, again, any previousevents, don't worry, go to
YouTube, hollywood Fringe,subscribe to us so you don't
miss anything Brilliant.

Speaker 1 (05:37):
And I'm going to highlight about three links
right now for at this stage inthe process of producing your
fringe show.
So if you haven't already,definitely check out the
participant packet that's athollywoodfringeorg forward slash
participants.
It's about like a 65 pagedocument, so it can be a little
big.
You don't need to read it allright now, but it's broken up
into phases and we're currentlyin phase one and really what's

(05:59):
happening in phase one is likelooking at prospective budgets
which, speaking about that, lastyear we had a bunch of amazing
shows.
I reached out to a handful ofthem and we anonymized their
budgets and have now put them onthe website to kind of get an
idea of the budgets and thecosts that go into producing at
Hollywood Fringe.
So that's that 2024 budgetsamples.

(06:19):
That is on our blog, so youcheck it out there.
And then the final documentthat I'll shout out is the our
blog, so you check it out there.
And then the final document thatI'll shout out is the annual
report.
So we have a annual report thatwe released in the summer of
this year or technically lastyear, and that's a 12-page
document.
That kind of details what thefestival last year was like,

(06:40):
some of our programming, butalso some of our statistics.
For example, you'll find outthere that the average listed
ticket price was $15, whereasthe average paid for ticket was
$10.71.
You'll also see there that,like shows performed on average
five times during the course ofthe festival, and just like more
stats like that that give youan idea of like what is the
typical experience that lastyear had and how does that all

(07:03):
happen.
I think we're going to jumpinto some key dates.
Jeanette, do you want to takethe reins on?

Speaker 3 (07:09):
yeah, I would love to .
So these are some importantfestival dates and deadlines to
keep in mind.
April 15th registrationdeadline because your guide
listings will be locked in ourguide.
It's super exciting, it'sreally helpful.
You have a you know a show, animage of your show, you can
submit little blurb your dates,all that fun stuff.
We want to make sure you don'tmiss that, because you'll miss a

(07:29):
lot of excited audience membersif you do so.
April 15th is the registrationdeadline.
April 20th guide proof and adsdeadline.
So just keep that in mind.
May 1st tickets go on sale.
That is a big one.
So remember that May 1sttickets for our 15-hour
anniversary festival will go onsale.
Then, of course, from June 5thto June 10th is our previews.

(07:54):
June 11th is our opening nightparty, so make sure you put that
in your calendar.
We want to party with all ofyou guys.
June 12th to the 29th, we haveour Fringe Festival 2025.
And then June 30th is ourawards and closing night party.
So again, all of these datesare super important, but they're
also on hollywoodfringeorgslash events, so don't worry

(08:14):
about that, but just make sureyou have them in your calendar.
As you continue to plan withFringe, get your venue show
locked in all that fun stuff.

Speaker 1 (08:22):
Yeah.
And then you know we're allreally excited to be swept up in
the Fringe excitement, theshows that are going to be going
on, but something that we'realready reminding participants
about that is also when youregistered your show, you agreed
to which is our code of conduct.
I'm actually not going to straytoo far from the language we've
written here because I want tobe correct on what I'm saying
here.
But again, here at HollywoodFringe we don't have a ton of

(08:44):
rules.
It really is an exploration andan experimentation area for
your creativity.
But we do take this code ofconduct quite seriously and it
really sums up our ethos as afestival.
And again, since you'veregistered your project, it is
your responsibility to followthe code of conduct as well as
inform your cast and creativeteam.

(09:04):
Typically, we recommend thatyou know that first day of
rehearsal, when you're divinginto the material and everything
that you sit down, you go tohollywoodfringeorg forward,
slash conduct to find the fullcode of conduct and just go over
it with your team.
I think taking that time outwill really help the overall
experience, right, because wedon't want to have mishaps or
accidents or whatever may comefrom just not knowing about the

(09:27):
code of conduct, and you knowthat extends to digital spaces
like this.
So those in the chat go checkout our code of conduct, be
aware of it.
But speaking more to that, sothe Hollywood Fringe is
committed to creating aninclusive environment in support
of our participants.
That's all of you here todayand online.
The festival is built on afreedom of expression and a lack

(09:47):
of censorship, which means thatwe must maintain the utmost
respect for one another tocreate a safe place for people
to take risks in their work.
The following are not allowedin our community.
So that's like microaggressions, verbal and physical
intimidation, hate speech,harassment, sexual harassment,
assault let's go back on hereWhoops Excessive consumption of

(10:08):
alcohol and other legalsubstances, aggressive behavior.
And, as you're navigating thefestival, something that we want
to bring to light is just bemindful of intention versus
impact and then also publicversus private interactions.
Yes, if you do experience anyof the above, or you are doing
any of the above, a member ofFringe staff will come to you

(10:31):
with a complaint and please,please, take it seriously.
If our code of conduct is notfollowed, your time at Fringe
can be ended before the festivalfinishes.
And then, if you witness orexperience any of the above,
please report it to any presentFringe staff members as soon as
possible.
I think the sooner we getreports, the more speedily
available we're able to act onthose.

(10:51):
And always you feel free toemail conduct at
hollywoodfringeorg.
That email is monitored veryregularly for these kinds of
events.
Yeah, so just like thanks forhearing that spiel, but thanks
for, like you know, the apre-thanks for you looking at
your code of conduct, for youtalking about it with your team,
because it's it's truly goingto help so much.

(11:13):
Oh, actually I'm going to takethis one because it's about
office hours and I love officehours.
I missed the last one because Iwas getting I was resting,
basically but so towards the endof March we are going to be
moving into on in-season officehours and a little bit about
office hours.
Some of you I'm seeing familiarfaces have been to them.
We go every Wednesday night,typically from 7 to 10 pm.

(11:35):
We'll be in a bar in Hollywood.
Check out Hollywood Fringeorgfor events for all the details
on where that's happening.
Local business partners that weare, you know, having a great
time with Participants will begathering at office hours.
It's a chance to one.
Staff is there so you can askquestions directly, but also you
get to talk to your fellowpeers.
Again, 90% of the HollywoodFringe Festival is hyper local,

(11:58):
so 90% of the people that yourfellow artists will be here in
LA after.
So it's just a great time tomeet them.
I know the year I did Fringe in2023, I met a ton of amazing
people who I still work with andcollaborate and hang out with
today, which has been reallycute.
Gina, you want to take the next?

Speaker 3 (12:15):
part, yeah.
And then I just also want toemphasize I've also kept up some
friends here.
I'm like an out of state personand a lot of friends that I
still have here in LA are fromHollywood Fringe office hours.
So come join us, it'll bereally fun.
Okay, One month till April 15thleft to register and book your
venue.
Okay, I know it's intimidating.

(12:37):
This is like everyone's alittle anxious, like where am I
going to put my show?
My show is so amazing, there'sso many different spaces it can
be performed in, and that's alltrue.
But we have to make a decision.
So, remember, it's so true, soreal, but let's make a decision,
friends, so we can continueshowing everyone and getting
butts in seats of how amazingyour show is right.
So to participate, remember,you must complete three steps

(12:59):
Create a project, go tohollywoodfringeorg.
There you go.
Second, pay, register with thefestival.
And then three, book a venue inthe Fringe Zone.
You can go to our support pageon Hollywood Fringe to earn all
things registration and listeverything I just said in way
more detail direct links to allthe things you need to know
about venues, registration fees,all that fun stuff.

(13:20):
And remember, you can registerand book your venue in any order
, as long as you do both byApril 15th.
That's just like the harddeadline for that.
And if you have not booked avenue, start your search again
at hollywoodfringeorg forwardslash venues.
Contact your spaces and applydirectly on their site.
Tour multiple spaces to findthe right fit.
Each venue does things a littledifferently, of course, so just

(13:40):
make sure you're incommunication with them about
what they expect as a show, butalso just like communicate with
them in the end, like if youdecide not to go with the venue,
that's okay, no hard feelings,but let them know because
there's so many other artistswho may use that space.
So we just want to make surewe're just clear in
communication.
And if you have already bookedyour venue, know that your venue

(14:01):
will add performances to thewebsite.
Be patient with them.
There's hundreds of shows andonly 21 venues, 30-ish spaces.
They're moving as quickly asthey can.
They're so amazing.
They understand how importanteach and everyone's performances
shows are, but just give them alittle bit of patience and then
don't worry.
They've got you taken care of.

Speaker 1 (14:21):
Yeah, and then, as we're kind of concluding this
segment of announcements, sothank you for listening to this
portion, because it is a lot ofannouncements and it can be a
lot, but I've got some things toanswer that if it feels
overwhelming.
So, if you aren't subscribed tothe Fringe newsletters, please
do so that you can find that onthe website.
It'll say newsletter.
You click on that.
However, we do this year have aartist newsletter as well that

(14:43):
is going directly out to artistsand that is written by Jeanette
and I Jeanette and me One ofthe things but Jeanette and I
are writing them and it kind ofgives you like, hey, heads up,
here's an upcoming deadline, orhey, office hours is this
Wednesday at such and such place.
It also will give you fringefacts.
It'll tell you things to beaware of their upcoming.

(15:05):
We'll be shouting out pagesfrom the packet as well.
Also, within that newsletterfor artists, you'll see a link
to schedule a one-on-one withthe artist services manager,
which is me, and there you canfind a space that we'll be
zooming for anywhere from 10 to30 minutes, whatever you really
need.
We can screen share, we cantalk about festival experience,
we could talk about literallyanything.

(15:26):
It's a time where participantswill come in, ask questions and
gain a little bit more insightinto Fringe.
I will say that if you haveregistered your project already,
you are opted in automaticallyto the artist newsletter and if
you would like to bring on yourcollaborators, please add them
to your project page.
That will be on.
You know, when you pull up thatproject page and you scroll

(15:48):
down, it says like add teammembers and you'll be throwing
on like their name, their emailand their title connected to the
project.
Once you submit their email,they will also begin to get
artist newsletters, which wefind to be super helpful so that
everyone's informed and notmissing out on any of the
details.
Brilliant, I covered all that,oh yes, and social media.
So you'll kind of figure thisout in marketing and stuff and

(16:11):
ticketing, which we will get toin a future town hall and
workshop.
But you can start using thehashtag HFF25 if you'd like, and
that's just a ton of fun.
Yeah, it's just a good tool.

Speaker 3 (16:25):
It's a great tool, but, especially when the
festival starts, that might be agreat way for shows that you
haven't heard of.
In office hours or other events.
You can look at that hashtagand see oh, there's a show going
on.
I want to go see it.
Oh, wow, this show is verysimilar to mine.
Maybe I should connect withthem and all that fun stuff.
So it's a really great way tokeep connected with the
community stuff.
So it's a really great way tokeep connected with the

(16:46):
community, but just kind ofkeeping the know, because when
Fringe starts, it starts crazily, amazingly, but there's so much
going on, so we just want tomake sure you guys are with us.
Follow us Hollywood FringeInstagram, all that fun stuff,
so you don't miss anything.

Speaker 1 (16:57):
Yeah, and you'll find that there's a lot of
information being thrown out inlots of different spaces, but
it's truly so.
You don't miss anything.
Honestly, you'll see like, oh,it's either on the website, on
the Instagram, on the Facebook,like we just don't want anyone
missing out on the importantthings, and that's what we try
our best to do in a variety ofways.
I'd also shout out we have apodcast and we have a podcast
too.
So like there's a lot of ways toingest this information.

(17:19):
But I think that brings us towhy we're here today, which is
our how to make your Fringe Showaccessible.
Presentation and discussion.
We'll kind of break intoconversation and questions
following the slideshow and thediscussion, but I think I think
we can just dive into it.

Speaker 3 (17:37):
I think so Great, let's do it.

Speaker 1 (17:40):
So while we're here on the opening slide, I'll just
give you a like what isaccessibility here at the
festival and oh yeah, you're all.
Oh no, the slideshow.
Actually, jeanette, you want totake that first talking point.

Speaker 3 (17:51):
I'll give you the paper here.
The Hollywood Fringe iscommitted to increasing
accessibility for audiencemembers of all abilities and
backgrounds.
This includes disability access, interpretation services, as
well as providing clear ideas ofwhat we can and cannot provide

(18:14):
as a non-curated, primarilyvolunteer-run festival.
As a festival, we provideresources and workshops, town
halls, even to educate, empowerand encourage producers to make
their productions as accessibleas possible.
Each venue and show has itsunique conditions, so we rely on
the individual producers ofeach show to accurately report

(18:35):
and uphold their ownaccessibility practices.

Speaker 1 (18:38):
Incredible.
I cheated, I pulled it off onthe map.
Okay, so, talking about ouraccessibility checklist, oh yes,
this is everything Jeanettejust talked about.
There we go Accessibility flags.
We're going to spend some timeon this, but when you're
creating your project page andyou're going into edit and
updating it, you'll notice thatthere are a couple of flags that

(19:00):
you're able to add and select,like content warning and things
like that.
I'll dive into that in a second.
But, yeah, these are so many ofthe accessibility flags that we
offer.
I believe we'll be updatingsome of these as well.
But, for example, with ourlovely ASL interpreters today,
that is one of the flags.
If you have a show, if yourwhole show is an ASL interpreted

(19:20):
, like the whole run, you canadd that.
But also you can add selectperformances that are ASL
interpreted, and so that willhelp on the search function.
When those who need ASLinterpreters for their
experience here at the festival,they can select that on the
search bar and then your showthat is ASL interpreted for that
night will be found.

(19:40):
Yes, that's just one of themany examples and we look over
here.
Oh yeah, so it's amazing thatwe're using the accessibility
flags because they're crucial.
You also do have to like followup on the accessibility flags,
right?
So, again, don't click ASLinterpretation if you're not
having one, but also know how towork with it.
Like, some are hard of hearing,and I know our venues here have,

(20:02):
like, some of our venues haveauditory devices that can help
as well, and so that's wherecommunication with your venue is
key.
Be making sure you're like ohhey, I have a will call request
which, when we get intoticketing, will be a function
that you can see where a patronhas asked for a device, a
listening device.
Venues offer it, and that'ssomething you should absolutely
communicate with them, beinglike is this a service you offer

(20:28):
?
And that might be like a thingyou want to make sure is a part
of your festival experience, foryou and your patrons.
And then, once you've receiveda request, you can communicate
that with your venue, and yourvenue is like great, here's our
device, here's our technology,here's how we make this
experience happen for ouraudience.
Let's see, oh yeah, so inaddition to providing these
accessibility flags and just tolet people know what your show's

(20:49):
about, we also encourage likebeing a little bit more
descriptive in your main projectpage.
You see, it's called like longdescription.
The short description, ofcourse, is for the printed guide
, and I know words are there's acommodity when it comes to it
but, please know, on the longerproject page, it's not a word
limit that I know of.
I don't think so, right?
No, alan Lowe has told me noand, however, he isn't here, but

(21:11):
he'll be telling me to eat themicrophone, so I'm going to get
closer, so right.
So let's say, you know, there'sa toggle, there's a flag that
says content warning and pleaseuse that when you feel so
inclined to, when it's necessary.
But it doesn't specify whatthat content warning is, just
that it is in place, what youcan do on your project page,

(21:32):
like when I did mine in 2023, myshow contained suicidal
ideation and discussion onsuicide, and so I brought that
up on my longer description.
I kind of like bolded it, orwas the first thing there being
like heads up, this is what thatshow content is about, as well,
as there's a couple others likemulti-language performance.
There's also performances inSpanish or multilingual shows,

(21:54):
so a show that is like 50%English, 50% Spanish or however
the breakdown happens.
You can also raise that as acontent flag, just so that
people know like oh great.
Like I'm a predominantlySpanish speaker, I know I will
enjoy this.
I know I will connect with itmore, which is incredible.
That's how they can make theirdecisions.
There is also another onecalled nudity and that's super.

(22:16):
that's not searchable, becausethat would be strange.
We just want to make that clear.
You can't search for nudity onthe website and we're just yeah
because we don't need to do that.
But you can identify your showas containing nudity so that
when a patron is buying a ticket, they understand what's
happening and no yes, mustidentify.
Yes yeah, right, let's see.

(22:38):
Um, let me see if I'm likejumping the gun on any of this.
Oh yeah, so you'll also see somevenue accessibility flags,
right, and so, with the venues,some of them are wheelchair
accessible and some of themunfortunately aren't, and that's
just the nature of some ofthese theaters in Los Angeles.
Again, that's something youwant to be aware of.
I know that some venues haveADA compliant plans in place

(23:00):
where, like, their theater spaceis ADA compliant, but they may
not have an ADA compliantrestroom, and so they've
partnered with, like a businessdown the street, a business
across the street, to make surethat that is provided.
Again, follow up with yourvenue, check in with them on
whoever you're like wanting tomake a contract with, and that
will give you a better sense ofwhat they can offer and what

(23:21):
they can't.
We already covered assistedlistening devices, 88-flight
restrooms yeah, size-inclusiveseating same thing.
It's just a conversation withyour venue and obviously most of
you will be touring spaces withyour venue and checking in,
seeing it for yourself, knowingwhat they're able to accomplish
and what they're not.
But, honestly, the initialjourney with Flags is just

(23:43):
talking to the venue and seeingwhat's able to be provided and,
yeah, I think you want me totake it Okay, cool, yeah, I'm on
a roll here so I brieflymentioned it, but I was speaking
top of my head.
This actually details how to adda flag.
So when you add a flag oh,brilliant, when you're adding a

(24:04):
flag, you're going to go to yourproject page, which is that
space where you're likeuploading photos, where your
long description lives, whereyou're adding your team members,
right, so you'll go into youradministrative side of it, which
only you can see as the primaryproducer, and any other party
you've like opted into that.
So, like, your cast membersprobably won't be able to see

(24:24):
that unless you allow themaccess, clicking on the admin
tab, clicking on the individualshow you want to edit, unless
it's like a general contentwarning, you can apply that to
the whole show.
But, like we're saying, for ASLinterpretation, it might be a
one performance only event.
So that's where you'd be goingto edit that in and then again
check any features your show mayhave.
Whether that's everything wejust talked about, let's see.

(24:46):
Yep, and, like we said, we'reworking on the site right now
and always continually updatingit and listening back to what
artists have said they wouldlike, which is why we have like
drop down menus, which I'm sohappy about, but also the search
functions.
You're able to find anythingthat you really want to, except
for nudity.
Can't do that one for goodreason, and yeah, that's how
that all works out.

(25:07):
I think we go to the next slide.
And yeah, do you want to talkabout this?
Yeah, yeah, yeah, go for it allright, so definitions.

Speaker 3 (25:17):
So just so you guys know what we're talking about.
We're talking aboutaccessibility terms, so we're
all dealing with the samevernacular relaxed environment.
Forward slash, sensory-friendlyperformance Performance with
slight adjustments, includingthe reduction of any jarring
sounds or intense lighting, plusa separate quiet area and
activity area for those who needto leave their seats during the
performance.

(25:38):
Specify for those who need toleave their seats during.
I'm so, so sorry.
Specify on the project pagewhich dates these performances
will take place on.
Learn more about what to expectat a relaxed performance and
why to offer sensory friendlyperformances.

Speaker 1 (25:53):
If you select this option, list on your project
page what adaptations you willmake to give as much information
as possible to those searchingfor this option yeah, and then
speaking a little bit to the, tothe practicum of that, you know
, when I've been in shows andI've attended, like relaxed
environments or sensory friendlyperformances, that that
includes a lot and I encourageyou to do your own research and

(26:14):
endeavor.
My experience that I've seen asan audience member has been
like leaving the house lights onin case of you know, blackouts
like kind of like what we'reseeing today where we have a
house light situation going on.
It also is like toning backstrobes If you've planned shows
that have strobe lights,removing those cues for that
performance.
Additionally, I've seen like,let's say, your sound system,

(26:38):
your sound cues are all at 100%.
Toning them back to 50 is.
Those are some things I'vecommonly seen that are easy,
like solutions to things withoutinterrupting your intent of
your show or everything yourshow is about.
Hey, well, you're in the rightplace, just feel free, come.
Come.
Welcome to the AccessibilityTown Hall.
I think I'm going to move on andtalk about yes, live ASL

(26:59):
interpreted performances andcaptioning available.
So, just like at this town hall, we have our lovely ASL
interpreters helping us outtoday from Sign Language Company
.
They're listed in the packet.
You can reach out to them.
We also have a couple otheroptions for ASL interpreters,
and it's all about getting thatconversation started, hopefully

(27:20):
sending in a script beforehand,giving them an idea of what the
show's about, finding placement.
Obviously, you're developingthe show and you're taking the
stage, but you also want to belike hey, this is how it's going
to go.
We're going to have either alight on you or making sure
you're not going to be indarkness so that people can see
the ASL interpretation happeningin real time.
And again, just like on thoseflags listing you're able to

(27:43):
accomplish, like all theperformances will be interpreted
, or if it's like no, I can onlyat this time provide an
interpretation for one show, butlike making that very clear and
also like putting it on likewhere everyone's following.
So like if you're creating aninstagram page or a facebook
page, like making sure you'retelling hey, saturday night at 6
pm, this show will beinterpreted and that's yeah, if

(28:06):
you need to know.
Now you know Captioningavailable.
So there's a couple differentways of going about captioning.
Some of the venues provide livestreams and you can work with
the venue, you can try to get ontop of how do you provide
captioning for those livestreams?
I would also say and this isactually something I did in for
my show we, because it was abilingual show, we provided some

(28:29):
captioning, some captioning.
So when we had things onSpanish, we, you know, we worked
with our venue, made sure theyhad a projector, we programmed
our cues on QLab.
You know it takes it takes sometime, but it's very worth it so
that the audience doesn't feellost and they're also enjoying
that experience.
Typically, like I mean, I, justin my frame of reference, I see

(28:49):
it all the time when I go tooperas, in the few times
actually, I should say, in thefew times that I go to operas,
I'm not going every weekend but,like you know, like they're
provided the top or at thebottom and your tech team to
figure out how to solve.
That is a great way.
Let to figure out how to solve.
That is a great way.
Let me see Awesome.
Jeanette, do you want to takethis one?

Speaker 3 (29:09):
Yes, all right Audio description.
So this is something you canput for your project in terms of
accessibility.
The performance will beaccompanied by live or
pre-recorded narration on whatis happening on stage, primarily
visual performance.
The production will be mainlyvisual, containing little to no
dialogue, music or sounds.
Audiences can fully engage withand experience the show without

(29:31):
any of the auditory elements,primarily sound performance, as
in this performance, will mainlybe auditory.

Speaker 1 (29:38):
audience can fully engage and experience the show
without the visual elements Iwas going to talk about this
here because, when it comes toprimarily visual performances,
it kind of leans itself to MuddyWaters and I just want to like
kind of bring some examplesbecause I understand where like
people are coming from whenthey're saying like, oh, my
farce is super, like slapstickcomedy fueled and it can be

(30:00):
enjoyed with a primarily visualperformance.
And it's kind of a gray areabecause, yes, that can be
enjoyed with a primarily visualperformance and it's kind of a
gray area because, yes, that canbe applicable, but there is
also a lot of dialogue going on.
I would recommend, if your showis like a dance heavy show or
like truly, if you are nothaving a bunch of dialogue in
your show and it is truly avisual performance, this is
really the tag for you or theflag for you.

(30:22):
I'll also say primarily soundproductions or performances.
One that comes to mind is therewas a really cool show in years
prior.
That was all a like everyonesat in a theater, they pulled
two audience members andeveryone had headphones and
you're on channel one or channeltwo.
That was a completely auditoryexperience with, like, audiences
providing some movement onstage, but everyone was just

(30:43):
collectively experiencing anauditory experience and that
Closer.
Okay, haverty, okay Cool, okay,yeah.
Oh yeah, you'll meet Haverty.
No, you're good, you're goodFor the live stream.
And actually I think, for thosehere right now you might not
have met Haverty.

(31:04):
He's our wonderful videographer, taking a bunch of photos as
well.
You'll see him at a ton ofevents within the festival and
he's also just helping us out aton in how to teach me how to
use a microphone Genuinely.
I'm going to keep moving on.

Speaker 3 (31:21):
Oh, no, no, no, of course.
Just want to add a quick noteas we continue with flags,
specifically with thesedefinitions and flags as well.
Just remember, obviously we allwant to make our shows, as
independent artists, asaccessible as possible.
I think that's a great goal tohave, but especially for this,
the goal isn't to have as manyflags as possible.
It's not about you know what Imean.

(31:41):
It's just make sure that, like,if you do put any flags, like,
people really do listen in, likeand really take that into
consideration if this issomething they look for for for
their best enjoyment of theirperformance.
So if you really just like,like Roddy said, like, think
about, like primarily visualsprobably leans towards more like
a physical theater piece.
Like, just really think aboutlike.
Does this definition actuallyaccurately describe my show?

(32:03):
You know, just so audiencemembers are very clear about
what they're getting to beforethey sit down in your show, that
they will continue.
Just want to put that note inthere.

Speaker 1 (32:12):
Thank you, that's incredible.
Yes, so we've got sensoryadvisory flashing lights, smoke
and haze.
A lot of these are also venueconversations, so, but let's
talk about sensory advisoryfirst.
So, yeah, again, there havebeen shows that have a very loud
noise at the very beginning tokick it all off or somewhere
else in their, in their run, intheir performance it.

(32:35):
It is really important to labelit, because it's like you know,
for for your average theatergoer, they might also they might
jump in their seat, but it alsocan also be a lot of
unnecessary stress for youraudience, would be a lot of
unnecessary stress for youraudience, and that's a moment
where you have to differentiate.
Like is this a sensory warning?
Is there like?
Is there a, is there lead up tothis noise, or is it truly like

(32:56):
a high volume noise?
I will also say about volumelevels.
We have a lot of phenomenalvenues here.
Some of them, like theBroadwater here, are for
theaters in this space, sosomething to just be courteous
about with your fellow artist isNoisebleed.
So right now, we're here at thesecond stage.
Right next to us, though, isthe Black Box, and shortly over
there is the studio and then themain stage.

(33:17):
They're all pretty close.
So just being courteous of yourfellow participants, because,
again, theaters will be runningall day for the whole month and
you don't want to have yourneighbor being like hey.
I'm so sorry, but like that'sreally really loud and like it's
a conversation, but like justbe aware of your performance,
your production getting alongwith the rest of those in that
space.
Flashing lights we kind oftalked about it a little bit

(33:45):
with strobe effects and how youcan tone those down or
accommodate them.
But also you know, in yourtraditional show, like if there
is a ton of flashing, just listthat out.
I know that.
I've seen shows.
I've had shows where we blastthe audience with light and it's
something that we very, veryare adamant about letting our
audience know like this is goingto happen at a moment, for
whatever reason within the show.
It's built that way.
It just helps the audience outa ton.
I helps the audience out a ton.
I also wouldn't recommend, likeI did that very early in my

(34:07):
theater days when I was like I'mgoing to blast them with lights
.
Nobody likes it, especially ifthe cue messes up.
You're just hitting them withlight for a while and it's like
was it worth it?
Was it necessary?
I don't know.
Anyway, lastly, is Smoke andHaze I will actually add an
additional one to this, unlessI'm jumping the gun.
But speaking to smoke and haze,yes, list this on your page

(34:32):
Like be aware of people withbreathing issues and asthma.
Also, you must talk to yourvenue about this, because every
venue is different on how theyhandle it.
I know there's conversationsaround like oh, but this is a
water based smoker or smokemachine.
It still needs to be talkedabout with your venue.
Don't assume anything.
That's truly like the bestadvice Because, yeah, you don't

(34:52):
want the fire marshal coming toyour performance or because your
performance is an hour long,coming to the next performance
and being like oh, that showwrapped already and you don't
want to ruin someone else's showand having your venue know
about that is super helpful sothat they can communicate
whatever needs to happen.
I was gonna say something elseabout this oh, oh, oh, I might
be jumping the gun and we may betalking about it in a second

(35:13):
but also like as a contentwarning, but also as a
communication with your venue,and a lot of them already have
like checklists and things totalk about.
But like, if there's a lot ofliquid being thrown on the stage
I'm coming to mind thisphenomenal fringe show that had
a watermelon on stage and thenthey broke it on stage and it
was a whole thing.
But they came with a plan.
They came in.
The whole floor was tarped.

(35:34):
It was part of the show thatthey collected the pieces.
Like again, you traditionallyhave 15 minutes of load in, 15
minutes of load out and it'sjust like if you want to
accomplish these big things orthese outside of the box things,
talk to your venues 100 butalso come in with a plan to
offer your venue like I'massuming most venues have plans
in place but if you can beginthat conversation, be like I've

(35:57):
thought about this.
Here's a way that I have solvedthis.
Is that within the parametersof the theater.
Do you have a better plan?
Do you have another solution?
How?
And also, a lot of these venueshave done Fringe before and
have seen a lot of out therethings I know.
Another thing is like blood onstage, and what kinds of blood.
Even if that's allowed, notevery venue will allow this, and

(36:18):
so it's like well, what's yourcleanup plan?
What are you going to do inthose 15 minutes, or is it
cleaned up within theperformance?
Like having those questions.
Having those answers at theready is super helpful.
Hey, come on in.
Come on in.
You're in the right spot.
Brilliant, I'm going to let youtake the next one and let's see
what's there.
Let's see what's there?

Speaker 3 (36:39):
Oh, this is a good one, all right, priority early
access seating.
An announcement will be madethat any patron who needs more
time getting to their seats willbe given a chance to enter the
venue early before generaladmission seating.
That way they'll be able tofind specific seating based on
their access needs.
Live streaming performances,kind of like how we're live
streaming this town hall rightnow Live streaming your

(36:59):
performance, provides a uniqueopportunity for your show to be
accessible to those who mightnot otherwise be able to attend
an in-person performance.
I will say for a priority earlyaccess seating.
When I worked with Fringe in thelast festival, that was
something I was working on a lot, with people contacting shows
producers, letting them knowlike, hey, someone on your show
needs priority access seating.

(37:20):
Like, are you aware?
Okay, great, it's a reallygreat resource.
I will say, as a patron, I'vehad my plenty fair share of
injuries and I've needed that intimes of my life and I went to
go see a fringe show for myfriend and they had this
available and I was like wait,really.
So that was one of like thebiggest like nervous things for
me is attending the show.
So it was like a.

(37:40):
It made me feel better aboutgoing to see the show, knowing
that I had time to just kind ofget myself situation, not feel
rushed, because Fringe is verygo, go, go.
But so I think that's a greatthing to consider for your show.
And then, of course, live streamperformances.
I mean that's just great allaround.
I think we all learned duringCOVID and now that, like, live
streaming anywhere possible is areally great accessibility tool
.
I mean, when I did my show, I,you know you don't have to, you

(38:03):
know live stream everyperformance.
I think that might be pushingit, I mean, but hey, you know,
do what you want to do.
But I would say I got to livestream one of my performances
and not only were people that Iknow, who were, you know, trying
to stay conscious of theirhealth, able to actually see my
show.
But, you know, depending on howyour live stream would work, I
have people from my family, fromlike all over the country got

(38:25):
to see it.
Like there's's just so manygreat access spirits.
So you kind of win in a lot ofways and your audience members
win too and get to, you know,see your show, whether or not
they could be here in person ornot, but yeah, that's all I have
.

Speaker 1 (38:35):
Yeah, adding to that with like frame of mind of what
Fringe is.
So, talking about priorityaccess seating, keep in mind
that your show, typically thenorm is that you have 15 minutes
to load in.
That also is inclusive of yourpatron seating getting them into
the theater.
So I know, the year that I didit, I I learned so much.

(38:58):
I learned so much, truly, wherewe had the audience file in in
the final three minutes wedidn't have a priority access
seating moment.
But, like that is somethingthat I regret having not thought
at that point, um, and it'ssomething I wish like, oh, if
this did happen, I would have agame plan.
The other thing is it's fringeand if someone is coming in and
needs priority access seatingduring your setup time, let it

(39:19):
happen, it's okay.
The fringe magic is not brokenif they're seeing you set up a
table or a couple blocks orgetting ready to perform the
show.
A table or a couple blocks orgetting ready to perform the
show With live streamperformances.
Not every venue has the Wi-Fistrength to do so.
The venue I was in wasn't ableto, so instead, what I did is I

(39:39):
was looking through theparticipant packet and that
supplied a wide array ofindividuals who were filming
shows for a discounted rate.
A lot of the discounts in a lotof the discounts in the
participant packet are a lot ofthe offers sorry, in the
participant packet arediscounted.
So you'll see graphic designersthat have a like a regular rate
and they're like actually,we're going to do $20 off, 10%
off, 15% off.
And same thing goes forvideographers and photographers.

(40:01):
And, as a result, because Iwasn't able to do a live stream,
I instead recorded the show andthen we then sent it out to
those that weren't able to seeit and we're like here, here's
like a pro shot where we likeyou know we and when you do that
, you do have to keep in mindwith your seating, like oh right
, so the camera is going to bein this spot.
I need to remove one ticket frommy, from what's available to be

(40:24):
sold.
I know that I was very lucky tohave like a very well attended
show, so it really became apriority, being like the camera
needs a spot, the camera needsaccess ahead of time to set up
Because again, it's 15 minutesLike, okay, camera gets in first
, they set up, they have anyquestions, which are hopefully
discussed prior, and then theaudience again comes in with the
camera already in place and youmay find yourself wanting one

(40:47):
standard shot.
You may want multiple Talk towhoever you're asking to film
your show, but make sure youhave seats for them, because
it's just important.
Brilliant Size-inclusive seating.
So we kind of talked about thisat the beginning as well, but
seating options are availablefor all body shapes and sizes.
So again, it's kind of thisthing of like letting the patron

(41:09):
will notify you that they wouldlike to have size inclusive
seating.
Many of our venues do offer it,which is amazing.
Sometimes it comes to a seatthat has a removable armrest, a
detachable one or a flexible onethat can help.
Bench style seating, from whatwe've heard, is the most
accessible form of seating formany of the patrons.
I think that there are optionsof adding seats to many of the

(41:29):
theater venues, keeping in mindfire regulation and safety, but
oftentimes they're a little bitbigger, so they can accommodate
an extra row here and there andjust ask them if they have
bench-style seating available,because you could put a regular
foldable chair system.
But you could also say, hey, doyou have a couple like boxes
that I'm not using in my showthat I'd love to lay out
Whatever works to accomplishthat.

(41:51):
And yes, so again it's, ifnothing else leaves this
accessibility, meeting it'sflags and talking with your
venue and keeping that stronglevel of communication, because
there you can ask hey, venue,what's your depth of seat Like?
How much legroom is there, howwide is it?

Speaker 3 (42:23):
All that good stuff Like how much legroom is there,
how wide is it?
All that good stuff, all right.
On-site ADA compliant restroom.
So inside the venue is anaccessible restroom with proper
signage that complies withCalifornia's ADA guidelines.
Learn more about therequirements which I guess we
will have there.
I just realized, yeah, sothat's something to communicate
with your venue too.
As you talk to them, them, askthem do they have ADA-compliant
restrooms?
If they don't, again, likeRoddy mentioned earlier, they
probably know of a place nearbythat does and they have a plan
in place.
So just make sure you areeducated on what that is what
they have available so you cancommunicate that with your
audience.

(42:43):
Wheelchair-accessible seating.
The venue haswheelchair-accessible hallways,
entrances and seating For venueswith stairs.
Know if there's access to aworking elevator or ramp?
So, yes, not just about theseating, but does someone who
does need to use a wheelchairare they able to even get into
the stage?
What is that like for them?
Just making sure they have fullaccess to be able to be seated
for your show.
And assisted listening devicesavailable, so hearing devices to

(43:07):
amplify the sounds on stage.
Many of our venues are equippedwith assisted listening devices
or hearing loop system.
Again, if that's somethingyou're interested in,
communicate with your venue tosee if that's something they
provide and what they.
What is the what's where I'mlooking for like mode of action
for them to get that startedwith your production.

Speaker 1 (43:23):
Absolutely, and I know I jumped the gun on some of
these because we kind ofalready talked about it.
My bad, but to add to this.
So, when it comes to ADAcompliant restrooms, your venues
will absolutely know if theirspaces have ADA compliant
restrooms.
It's their business to know.
So, whereas it may not be yourbusiness to fully know the ins
and outs of that, your venueknows if that restroom they have
is accessible, if it's bigenough to be considered
accessible.

(43:44):
Considered accessible thewheelchair accessible seating,
yes.
So it's an account of, like thegetting there and navigating in
the space.
Oh, man, I must have blanked.
There was something else about.
Oh, this is tangential but it'ssuper important to note and
something I'm just going tothrow in that's adjacent to the
accessibility, but it's aboutwhen you're bringing in things

(44:04):
into the theater.
Often the question that manyparticipants do is like, oh, can
I fill everything into thistheater in 15 minutes?
And it's a bigger question thanthat.
Like, everyone understands themodified sets that you can do
here and like, or like, justlike the gestural moments that
you can have, like a table couldbe so many things.
But also like, how do younavigate your set into the space

(44:26):
?
I just want to make everyoneaware of that, because you can.
There are guidelines at fringeand rules that can be broken and
expressed in creative ways.
It's just like definitelyhaving at least like three
backup plans.
I'm speaking here from my directexperience.
Um, in 2023, where I did, Ithink I made like five players
to know the ins and outs ofeverything, because fringes and

(44:48):
fringes move so fast.
Yeah, I'm gonna move on to thenext one because, jeanette, you
covered it.
Ah, the accessibility checklist.
Amazing flags that apply.
Not every flag will apply toyour production and that's okay.
You may not need a contentwarning, but it's truly
important to know that what youthink is a content warning

(45:11):
probably is a content warning, Imean that's just the rule of
thumb.
It's honestly, it's better to beoverly cautious than less
cautious, and understanding that, like you, a lot of shows may
have.
I mean, my show talked aboutvery traumatic experiences or
discussions, and that wassomething I very much needed my
audience to know, because, again, where, as a patron, I

(45:33):
sometimes like to go insurprised, it is a different
ballgame when you're talkingabout more intense subject
matters, and so it is better toland on the side of caution than
not.
Oh, I'm actually going to goback two steps and talk about
assisted listening devices.
That's what I forgot about.
So your venue will have mayhave sometimes, depending on

(45:55):
which venue you're schedulinghave assisted listening devices.
Again, like all things, do nottell them the day of that you
need an assisted listeningdevice.
Again, some venues have onespace and that's the only space.
Some theaters have four, threelike multiple spaces, and if the
earlier you can tell them, thebetter they can prepare.
It is not advised that you tellyour venue honestly anything

(46:18):
day of.
Don't leave any surprises forthe end, and you might think
things aren't surprises.
I think it's.
I'm going to jump, jump the gunagain just because I'm always
doing it, but, like, when itcomes to weapons and and
anything that even remotelylooks like a weapon, talk to
your venue again.
There's also like a bunch oflike I would recommend looking
at, like the equity standards ofhow to handle a weapon, but

(46:40):
also keep in mind your frame ofreference, like what constitutes
a weapon and even, like youknow, a toy sword.
That is a weapon and it needsto be handled with care and it
needs to be communicated to yourvenue that you're bringing it
into their space.
That is super important andyour venue will.
I mean they can approve it,they can talk about it and they
may come up with bettersolutions or ask that you do not

(47:01):
bring whatever thing you'rebringing into their space.
It really is just as much yourlevel of comfortability that
venue's level of comfortability,and we just ask that both
parties respect each other there.
That was the two cents I wasgoing to say about that.
Yes, one more thing aboutaccessibility flags that we've
already talked about is, if youare offering an accessibility
flag, know how you're going tooffer it.

(47:23):
If you have ASL interpreters,know how to communicate to them
for when to be at the show.
Example if your show likebecause fringe is a well-oiled
machine, if your show starts atthree o'clock and it's an hour
long, it's gonna start at threeand be an hour long.
Otherwise, it just delays thewhole process because there are
multiple theaters in a venue.
So tell your ASL interpreterplease arrive 15 minutes

(47:44):
beforehand.
Meet me on the street outsidethe theater, right as we're all
loading in.
Talk to them beforehand aboutwhere they're going to be placed
.
Have a lighting cue possibleshining on them so that people
can see the interpretation goingon.
That's what we mean by gameplan and and we've kind of
talked about this too but ittruly like leading with honesty,
honesty being the best policy.

(48:06):
Sorry, sorry, it's true.
I felt like a school teacherthen.
I was like it's true, though,and nobody gets mad when you're
being honest for the most partyou know, but when talking about
accessibility flags, truly, ifyou really aren't able to
accommodate a need, you canmessage them through the system,
being like I'm so sorry, atthis time we just can't.

(48:27):
We can't accommodate thisrequest, and I understand that
it's.
It can be rough not being ableto provide accessibility to
everyone, but also you don'twant to have a patron attend
your show and be disappointedbecause they didn't get the
experience that they were hopingto get in watching your
wonderful artistry on stage.
Yeah, do you want to take thatone?
Oh, did I get it?

(48:48):
I believe we break down theslideshow at hollywoodfringeorg
forward slash accessibility.
It's not really in this coloredfashion.
We kind of provide it in a moredocument style where it's like
paragraph broken up a little bit.
But, yes, hollywoodfringeorgforward slash accessibility.
And we can also yeah, we I meanthere's other topics from

(49:09):
adding it to.
Why not?

Speaker 3 (49:10):
Yeah, Cool, perfect, all right.
Three confirm your venue'saccessibility flags are up to
date.
Up to date and accurate foryour performances.
So, again, like we've beensaying this whole town hall,
we're going to keep saying thisfor every workshop, anything we
do in the future, justcommunicate with your venues.
Like they know what they'redoing.

(49:31):
They have to keep up to date oneverything, like and know
exactly how their venue worksfor patrons and all that fun
stuff.
So, just communicate with them.
Make sure, like, let them know,like should I do this?
Like would that actually makesense?
Is that something we canprovide?

(50:13):
No-transcript practice,especially if it's your first
time producing a show, which issuper exciting.
We have a lot of first timeproducers at Fringe.
This is a great thing to learn.
It's like, okay, like I'm usingthis venue and they have they
don't have an ADA compliantrestroom on on by.
Okay, that's good for me toknow, okay, so how should we
have someone to direct someoneto this location that they let

(50:34):
like all that fun stuff?
It's just really good to knowthe ins and outs, yes, of the
show itself and the production,all your cues, but like, the
beginning process of gettingyour audience members and then
when they leave.
I know this may be we might bementioning this later if not.
But even like parking, I knowthat'll be included later in
marketing, like in ticketing andstuff, but just think about
parking too, like that's a hugeI mean accessibility and just

(50:56):
also, we live in LA, so justmake sure people know, because
that does take time as well.

Speaker 1 (51:00):
So anyway, yeah, two things I'll add because, yeah,
if parking is not covered in thefuture sections, we'll just
talk about right now.
It's super helpful to know onthe project page when tickets go
on sale May 1st, people willbegin buying tickets.
Also, don't panic if it's May2nd and nobody's bought a ticket
.
People sometimes buy ticketsthe week of the day of it

(51:21):
happens.
But as people go along andpurchase tickets, you will be
able to message them directlyand what we advise is a either a
24 hours in advance Sometimesit's the morning of but like,
truly reach out to them.
Also, it doesn't hurt to emailthem twice directly to talk
about hey, my performance startsat two o'clock.
Here is the address, here'swhat you need to know.

(51:43):
You may do some personalresearch and be like oh, I know
that there is often parkingavailable on X and Y streets.
Please be on time.
I mean honestly that email,that messaging system, also
serves extraordinarily helpfulto be like hey, this is Fringe.
Not every audience member knowsabout Fringe.
You have to be in the mindsetof, you have to be there on time

(52:03):
.
Sometimes there are shows thatyou may find yourself attending
or producing, where the venueopens up, like the entrance to
the theater opens up to thestage, and this did happen to me
a couple of times where we saidwe will not be seating any late
comers because it interruptsthe flow of the show and we
don't have that built in.
And there were moments where weclosed the door and people

(52:27):
missed out.
And again, you can accommodatelike they'll.
I'm sure they'll reach out toyou, being like I'm so sorry, I
missed the show.
Is there any way I can see it?
And you can take thatconversation elsewhere and try
to figure out how to get themback into your theater if you
really want them to come see theshow.
And then we're talking aboutaccessibility plans.
Just like every venue oh sorry,every venue is different.
Some of the venues canaccommodate your box office,

(52:52):
some cannot.
When you're negotiating yourcontract, it'll be listed that,
oh, this venue, they requestedthat they maintain all of the
box office in person, meaningyou will send them their will
call and any accessibilityrequests will be sent to them
earlier.
Some of them, however, are likeno, we don't have the
infrastructure or the capacityto handle your box office.
It says so in the contract.
Just double check what thelanguage is.

(53:13):
And so either you're informingthe venue or you're informing
your friend or your box officemanager who's running that for
you ahead of time.
Those are the two things I justwanted to add to that.
That's so funny.
You'll meet W as you like,experience your time at the
festival, and he helped us, like, create these, because this is
a lot of his brainchild andwanting the accessibility things

(53:34):
to come out.
I didn't realize they were bothpink and green.
It's just giving me wickedvibes and that's not super
important right now, but I justwanted to let you know that's
what I was thinking.
Do you want to talk about?
Yeah?

Speaker 3 (53:46):
I would.
I would love to talk aboutWicked.
No, I'll talk about contentwarnings A warning audiences can
view on your project page priorto purchasing tickets, stating
if the production will containpotentially triggering slash
harmful content.
Content warnings play animportant role in ensuring your
audience feels safe, preparedand has the choice to protect
themselves from discussion orportrayal of potentially harmful

(54:09):
topics.
Roddy mentioned this earlierfor his show.
He did at French.
He put suicidal ideation.
My show also had suicidalideation.
I made that very clear.
I also just talked about death,a lot and grief.
So I just said, hey, we talk alot about grief and death, Like
if that is the whole show, so ifthat you know.
So my honest members know theydon't want to come see that show

(54:29):
.
That is totally fine.
But they made the choice toprotect themselves and say I'm
not going to see that.
It's really important.
I just think it's reallyimportant, it's just really good
no-transcript.

Speaker 1 (54:58):
It's very much more implied that it's more
interactive.
But there have been many showsat fringe that are solo or
ensemble shows that bring anaudience member on stage.
There's a whole discussionabout how to go about doing that
.
You never just want to be likecome with me on stage, like no,
no, no, let's, let's roll itback and like maybe it's like
extend an arm or, if you,sometimes the performance, the
performers aren't able tovocalize as per their show.

(55:21):
But of course some of them arelike would you, could you please
join me on stage?
And no is an acceptable answer.
If you want to notify youraudience, you can say like hey,
just so you know, there aremoments in which I bring on an
audience member.
If that is something you areopen to, feel free to sit in the
front row.
I know that there are just acouple of audience members who
are a bit skittish about beinginteracted with in that way, and

(55:43):
so they're like actually, letme sit in the back, so I won't
be selected, which is totallyfine, and it's
just, you know, getting everyoneto enjoy theater the way they
want to and the way that you'veexplained to them that you are
performing your show Moving on,yes, so talking more about this.
On the content warnings Right,we've talked about the best
practices of on the flags.

(56:04):
You can select them, butcontent warning is very general.
That is one of the flags and,like we've said, I talking about
how our show was.
Our shows were brought aboutdeath.
I set my show in hell, so therewas a lot to notify people
about.
Yeah, I was like we're going togo through like it was like
about Inferno, so like we'regonna go through lust, we're
gonna go through all these thesevery, very intense levels of

(56:25):
hell and I we just had tooutline it.
We'd be like, hey, we're goingto be talking about a lot of
things tonight and that can allbe tackled in the long
description.
And the long description we'vetalked about it a little bit as
well where April 15th that's theguide deadline.
Your short description cannotbe fine-tuned after that because
it goes to print.
The long description can beedited.

(56:45):
It's a place to put largerdescriptions of those content
warnings, but also it's a placewhere you can insert if you got
good reviews, if you got awardsand accolades before the
festival's over.
You know, just be conscious ofhow you're ordering everything.
I do feel like the contentwarnings personally should go
first.
It won't take a bunch of realestate.
The site on full view or evenin partial view provides a lot

(57:08):
of space for that.
But I just would speak toputting content warnings first
and then reviews, or like asynopsis of your show that you
can put a little lengthier inthere.
It really does become somethingthat participants during the
festival use quite a bit andthat audience members will
absolutely be looking at,because it's also where the
ticketing portion of the websiteis per show at, because it's

(57:30):
also where the ticketing portionof the website is per show.
Um, yes, and like we said, yeah,yeah, like we're talking.
Talking about is diving intowhat it means to have that
content warning.
If we're talking about suicideideation, if you feel so
inclined to explain a little bitmore, or if you're talking
about death and themes of death,like it's, it's about like the
loss of a parent and again, likebeing as descriptive as
possible and what you'recomfortable with and what the
audience is comfortable with issuper helpful, just the more

(57:51):
information you're able toprovide.
Is is just always the bestroute.
I think yeah.
Do you want to add to it?
Should I move the next one?
Yes, here we go should I?

Speaker 3 (58:01):
yes, please.
All right, so these are justsome examples.
It's not the full list that youcould put on your project, but
just some examples of topicsthat require content warnings
Rape and or sexual assault,abuse, whether that's physical,
mental, verbal, sexual self-harm, suicide, violence, death and
or dying, pregnancy and orchildbirth, miscarriages and or

(58:25):
abortion and blood.
Yeah, I think that's prettyself-explanatory.
So, yeah, if any of your showshave that, please, please, you
need to put that on your project.
Maybe audience members need toknow about that absolutely, I
actually think it goes on.

Speaker 1 (58:37):
it continues.
Um, there's a lot, there's alot and because we've we've been
around for 15 years and we'velearned.
I wish we could say that all ofthis existed before 15 years,
nope, but but it didn't andwe've learned a lot.
Yeah, I mean every year.
We're continually growing andalso like continually taking
artist feedback.
I mean, towards the end of thefestival, you'll see there'll be
like a final town hall which isreally an open discussion about

(59:00):
artist experiences.
That has been such a helpfultool for us to respond, for us
to respond, for us to responddirectly to what the community
is speaking to.
But I'll just continue on withthis list.
So we have, you know, torture,jump scares, mental illness,
eating disorders or diet cultureand any kind of discrimination

(59:21):
and or bigotry, including, youknow, racism, homophobia,
transphobia, sexism, ableism,anti-semitism, islamophobia, all
of those terrible things.
It's good to let your audienceknow that you are diving into
those subjects, as well as drug,alcohol or substance abuse,
police brutality and fake ormimed gun or weapon use.
I feel like the faked gun useone doesn't get discussed too

(59:45):
often.
It's super important.
Again, it's just something thatyou really need to notify and
and you know there's a fullrange of artists that we talked
to again about this but, like,if you are making your hand into
the shape of a gun and you aretreating it as a gun, it should
be in your content warnings.
I I understand that sometimes itcan be used in more comical
matters.
But we do ask that you, youlist that and you display that

(01:00:08):
and even if you want to explainlike it's used in this context,
like, by all means, provide thatinformation because it's
important and like it's nobody'sreally at fault, because
sometimes you just forget,sometimes you're, and that's why
we're providing this town halland providing this accessibility
discussion, because it's thatyou don't know what you don't
know about and you don't knowthat you could be affecting
someone.
Until you find out and we don'twant that to be an

(01:00:29):
uncomfortable realization wewould like to preemptively
notify you about how to providethe best experience for your
artists or for your fellowartists and your audiences.
Yay, I don't know why I didn'tsay anything.
Do you want to tackle this one?

Speaker 3 (01:00:43):
I was like oh, he got so excited.
Okay, personal accessibilityrequest.
Through the website, patronshave the option to make a
personal accessibility request,which will be communicated to
the producer or producers ofthat show.
It is up to the discretion ofthe individual producer or
producers if they are able toaccommodate the request or not.

(01:01:04):
So some examples may bebrighter house lighting during
seating.
Large print program, extraassistance, getting to their
seat copy of the script prior toperformance.
Civic seating request, forexample, front row for hard of
hearing or visually impairedpatrons.
Again, just like we've mentioned, I think, throughout this whole

(01:01:25):
town hall and even at thebeginning, don't just say yes
for the sake of getting someonein your seat.
Like they really are genuinelygauging, like, is this going to
be something that they're goingto enjoy?
You know, is this somethingthat they're going to enjoy and
like in the ways that they arespecifically asking you.
So just make sure you'rekeeping, know you're keeping
track of your emails, anyrequests you get through.
Just be honest with them.
It's OK, I promise you.

(01:01:45):
Like they're like sure they'llbe sad not to see your amazing
show, but like, at least they'llknow that.
Like, ok, this wasn't going tobe a great performance for me to
sit in and watch.
Anyways, we just want to makesure our audience members are
comfortable.

Speaker 1 (01:01:58):
Yeah, and going speaking to like what I cannot
provide.
It's not all the time thatprint shows have print programs,
let alone large print programs.
So if that's not somethingyou're able to accomplish, if
it's really not in your budget,again like, but you should be in
the phase right now ofbudgeting and seeing what you
want to provide.
You could just let them know.
I'm sorry, we don't have alarge print program, we only
have a QR code digital program,and that's another way of

(01:02:20):
accommodating or suggesting anaccommodation, because it's not
really the it's not what theyrequested, requested, but it's
another solution that you canoffer.
I will say I have personalexperience from copy of the
script sent prior to theperformance.
Honestly, I just thought it wasa really fun request to do.
I thought it was very sweetbecause it's like oh wow, this
audience member really wants toknow what my show's about and
wants to come in, and often it'slike there's a language barrier

(01:02:44):
, that there's like something onthe mic.
Okay, the accessibility requestis like yeah, sometimes we have
audience members that aren'table to comprehend what's going
on in live time super fast, likenot everyone's first language
is english and it can be.
It can be difficult.
So if you're able to providethat script to them ahead of
time, it's, it's, it's very.

(01:03:06):
I find it very, very endearingand very, very like.
Like, yes, you really want toknow what my show's about.
I'm so happy to provide thatand I'm so glad they felt
comfortable asking for thatbecause it is, it can be a big
ask, I think.
I think there's a lot ofhumility in asking for this and
a big like honor in able toprovide that.
If you are able to provide that, I should say yeah, I mean,
sometimes the show is improv,and then you're like you have to

(01:03:28):
explain to them like we don'treally have a script.
We have a structure.
That's another thing.
I know there are some improvshows or there are moments of
improv.
Let your audience know that too, because I've seen a lot of
that happen at Fringe the great,great improvised moments, but
it's not really a script thingBrilliant.
So through the website, you'llbe able to directly communicate
with everyone.
This is when we talked about,like, parking notification.

(01:03:50):
How do you that the website hasits own messaging system, right
?
Also, I've used it as wellbecause, you know, we're in the
month of June and we're inHollywood.
There's a lot going on.
I think one day I wasperforming my show, there was a
Hollywood premiere, theHollywood Bowl was, and then
they closed off another streetin the Hollywood area for a
pride parade.

(01:04:10):
So a lot was going on, right?
So I had to notify all mypatrons being like listen, we
always say to be here, like youknow, 30 minutes early.
Listen, I'm going to have toask everyone or just like notify
them.
This is what's happening inHollywood.
It's going to be very difficultto navigate the streets.
It's going to be even moredifficult to find parking.
Communicating to them all ofthat is super necessary and

(01:04:31):
helpful, that you know youperform to the house that you
planned on.
Like you know if you sold 60tickets, I really hope that 60
people are able to enter thataudience when your time for your
show comes.
Similar vein, on accessibilityyou know you'll be able to let
them know what the performancewill entail if they haven't
checked in on your project page.
Also, you can remind them about, like, where the box office is,

(01:04:53):
which for some theaters theyonly have one box office.
For others, like the one we'reat here, I believe that everyone
, every artist, functions astheir own box office and you
have to tell them like oh, weare the main stage.
Our box office will be locatedoutside of the theater, located
on this side street.
Don't get confused, becausethere are other shows performing

(01:05:14):
, and it has happened.
It has happened where anaudience member is like I'm in
the wrong show.
And they still have a great timehopefully.
But you know, mishaps happen.

Speaker 3 (01:05:23):
I've almost watched the wrong show before I was
sitting.
Yeah, it's happened to me whereI was like this is not right
and that's okay, that's okay.
And you know, if I fully readthe email I would have known.
So just make sure you havethose emails or messages
detailed for your patrons, allright.
So these are some good boxoffice practices Clear
directions and signage.
Again, probably there were whenthat day that I went into the

(01:05:46):
wrong show, I just didn't readthem.
That's my fault, but let's useyour error.
Consider your audience'sexperience.
Be hyper aware of nottokenizing audience members with
a sensibility request, whilealso working your hardest to
ensure their access need is met.
Remember that it is better tobe clear about what you can and
cannot offer audience membersthan to promise something to a

(01:06:06):
ticket buyer you cannot comethrough on.
Like we've been saying prettymuch.
I think these last two bulletpoints are really much.
Just again, it's not about beinglike, yes, I'm going to be the
most accessible show in theworld and, if you can, cool, but
like.
That's not what it's about.
It's about just communicatingwith your audience, being
realistic about your show andwhat it can provide and you know
, just be, it's okay.

(01:06:29):
It's like people may bedisappointed.
Maybe you'll be disappointed.
Maybe you realize OK, you know,I realized after my run this
year at Fringe like this wassomething a lot of people asked
about.
Ok, now I know next time aroundI'm going to do this or have
this available.
It's just good for all of us tolearn.
But again, it's not abouthaving the most flags.
It's just about being clear andconcise about what you are able
to provide and not able toprovide.

Speaker 1 (01:06:48):
Yes, and I'll speak to a little bit about the third
point there, because we as astaff, like when we were talking
with Wiley about this, we werelike this feels a little like
we're trying to say somethingthat we're lacking the verbiage
for.
But essentially, when we'retalking about tokenizing an
audience member, you know we'rejust saying like, treat them as

(01:07:09):
an average audience member.
Do not not and I don't thinkanyone would go this far but
like you don't need to go out ofyour way to self-congratulate
yourself for being so accessible.
I'm just saying.
But also like, when you have anaudience member and like, let's
say they need early entry, likebring them into the audience,
allow them to get ready for theshow, there's just a level of
respect and hospitality you canoffer without being like clingy
I should say overwhelming, evento the audience members.

Speaker 3 (01:07:30):
Just, you know, just we're all people.
We all have different needs inlife.
This audience member hasspecific needs for your show.
Communicate with them exactly.

Speaker 1 (01:07:38):
So that's really what that third one's about.
I we're still working on theverbiage of that um and we just
felt it was necessary to kind ofexplain that a little bit more
Great.
So, yes, this is talking aboutgun safety again, and not
following these guidelines willresult in you being prohibited
from presenting as a part of thefestival which is awful, and I
would never want to see thathappen to any of our
participants, where either theyconsciously did it or they

(01:08:01):
didn't know about it, and that'sreally what we want to solve
here.
So, again, only non-firing gunsreplicas are permitted in use
in the Hollywood Fringe Festivalshows and they should never be
pointed in the direction of theaudience members I would also
speak to never be pointed atfellow actors on stage.
Again, there's that trick whereyou know if you have a gun
you're pointing it, yes, exactlyLike at a diagonal.

(01:08:21):
The audience will never know ifit's pointed at a diagonal,
also pointing it above audienceheads, and that works well too.
Diagonal, also pointing itabove audience heads, and that
works well too.
The Fringe provides blanketrecommendations on how to deal
with gun safety.
Your venue will absolutely mostlikely have more regulation on
what they feel comfortableallowing into their space
Because, again, you're enteringinto two contracts a contract

(01:08:42):
with the Hollywood FringeFestival that's where your
registration comes into play butyou're also entering into a
contract with your venuenegotiating performances,
rehearsal tech, whatever is inthat contract, and weapon safety
will absolutely be a part ofthat.
I don't know a single venuethat's like, yeah, bring in
whatever you want.
No, they're on top of it andthey have a level of comfort
just as any other audiencemember would.

(01:09:03):
We also briefly touched on thisas well.
Physical interaction must beconsented to to both in
rehearsals and performances.
Audience members should havethe ability to engage or opt out
for any interaction.
For those of us on the livestream or in person here who are
working on immersive shows, Iwould recommend checking out one
of the early workshops that wehad that's now on YouTube which

(01:09:25):
all dived into immersive workand how to go about that.
But also, like I said before,there are moments where there is
a clown piece that interactswith an audience and you have to
understand how to navigate that.
And if you have furtherquestions about that, like email
support, we will get thoseanswers to you, because it is a
wider discussion about how toconnect with an audience.
And, yes, if they're like I'mdone with this interaction, like

(01:09:47):
I opt out to not be involved.
You know I don't want to bepulled up on stage.
That's also fine.
And in fact, some of theimmersive shows you know that
I've seen.
I've seen participants who arelike, or audience members are
like I am here to witness, I'mnot here to engage and I still
want to experience of it all,but just from a different angle,
which is also fine.
Yes, great.

(01:10:12):
Final questions, questions toask yourself.

Speaker 3 (01:10:15):
All right, so here's just some questions.
What do you think is importantfor audience members to know
before they buy tickets to orattend a performance?
What do you do throughout theprocess to learn about and
support the access needs of yourteam?
Why should producers provide acontent warning on their project
page, and what does that?
entail I think I mean I don'treally have much.

(01:10:36):
I think we just went over it all.
But yeah, I mean again, it'sreally just about knowing your
show in and out again, knowingyour show not just the actual
like production of it and yourcues and all your lines and
stuff, but really just aboutgetting people in and getting
people to leave.
I mean, this is something thatI like to say when, when I've
done shows in the past or I'vedirected shows and stuff, but,

(01:10:57):
like you have a theatricalcontract with the artists on
stage, there are people in thebooth, your tech team and the
audience members.
We're all part of the samecontract.
So we we just and part of thatlike nonverbal contract when we
sit in the seat is we all wantto feel safe and enjoy
performance, right.
So all of this is set in mind,especially when we were talking
about just before, about likeguns or really any weapons, not

(01:11:18):
just guns, any sort of weaponsyou need to communicate with
your venue and they see whatthey're comfortable with and how
that works.
But you know, if we don'tfollow those rules, as an
audience member I feel like thecontract was broken and then I
don't feel very taken care of inthe show.
So that's all it is about.
You know and we're all learning, but that's why we have these
town halls to educate you guys.

Speaker 1 (01:11:36):
But yeah absolutely Moving on to the slide.
So, yeah, final thoughts oncreative solutions to make your
fringe theater unique.
I feel like I've talked to alot of participants.
One example, but there's somany other ways.
When they're like I have bloodin my show and my venue doesn't
want blood in the spaceRightfully so, you know they

(01:11:57):
have a lot of shows.
So, like, what can I do?
And then there's a little bitof brainstorming session and I
can really only speak when Italk to artists about what other
fringes have done in the past,because, again, we're
administrative staff, we're notnecessarily wanting to suggest
creative decisions.
I can just say, like well, inthe past, like artists have used
like a satin red fabric asblood, or they've used like some
sort of confetti, which alsomust be talked about with your

(01:12:18):
venue.
If you decide to use confettior glitter or whatnot, all of
that stuff still has to betalked about with your venue.
It's also just things to keepin mind, because if you shoot
confetti off, you're going tohave to clean it up in 15
minutes or less, unless you haveanother conversation with the
venue and they have differentrules.
But typically, everythingyou're throwing on stage you're
picking up, you have to.
And then, yes, increase youraudience by making performances

(01:12:42):
accessible to your community.
Well, that means having an ASLinterpreted night.
But also like finding theworkarounds that work best for
you.
If you can't live stream, howcan you like record?
If you can't do X, how can youdo Y?
Like work within your means.
I really want to preface thatas being really important.
Like, yes, like you've beensaying, we want to be the most
accessible we can as independentproducers, but there are

(01:13:06):
unfortunate real life costs thatcome with it.
And like we understand that wewould like to provide all of
these services and we can't allthe time, and that's where being
upfront is super important.
Okay, let me see what time we'reat.
Ah, amazing.
So we are going to kind of gointo a Q and A portion here.
I would just ask well, one.
I'd ask and apologize to ourinterpreters if we've been

(01:13:27):
talking quite fast.
It's something that we werejust trying to be hyper aware of
, but we may have faltered, andso I ask the same of our
audience members If you have aquestion, just please speak a
little bit slowly, but also talkabout, like, who you are, what
show you're bringing to thefestival, and then your question
.
I think that would be amazing.
Haverty, am I good to walkaround?

(01:13:48):
And provide the mic?
Or do you have a oh, yeah, sure,okay, haverty's good and ready,
but yeah, yeah, in the back, asclose as you can.

Speaker 11 (01:13:57):
I have a few questions On your code of
conduct.
There's something aboutcensorship.
I can Start over On page two ofyour code of conduct.
Is it not working?
Test test one, two, three.
It says we don't censor yourwords unless there's actively

(01:14:20):
harmful or hateful.
It says that where?

Speaker 1 (01:14:24):
where went the person I tabbed?

Speaker 3 (01:14:26):
oh, no, the the red one, sorry howdy hello use this
one.

Speaker 11 (01:14:34):
the reason why I'm asking this is because, like, I
worked on a show three years agoand they asked someone to like
remove a song from her musicaland I wasn't sure why, and I
just yeah.
It says here that there'slimits to the uncensored nature,

(01:14:56):
which are often set by theAccess Advisory Board and
enforced by a committee made upof members of Hollywood fringe
staff and board of directors.
So I'm wondering what is thatprocess when you submit your
script and you say this is theshow I want to do, and then do
you guys come back and say cutthis out, take this out, we
can't do this Like.

(01:15:16):
What does that look like?
And then how do you?
Is there an appeal process?

Speaker 1 (01:15:19):
Yeah, so I can, I can speak a little bit to this and
then I'm going to pass it toLois, who would absolutely like.
Well, actually, lois, you justwant to take it.

Speaker 4 (01:15:25):
Yeah, yeah, yeah, sorry, ellen and Lois are
co-executive directors of thefestival who know like the ins
and outs yeah, no, this is agreat question and so just to,
so I can give the best answerwas the show at Hollywood Fringe
that you're talking aboutHollywood Fringe, yeah.
I will name.
We've never.
We've never done that and wejust started adding actually our
language around content justlast year.

(01:15:48):
I'm going moving up, ok, helloeverybody, I don't know what to
do, ok, but with that y'all it's.
It's really just making sure wedon't have hate speech in shows
.
It's work that we can feelconfident, uplifting, and.
But the line is it's it's notsuper strong, it's as long as
there's no hate speech, there'sno problem.
We're not actively readingscripts, we're not actively

(01:16:09):
coming to shows looking for this.
It's something.
If we do find out, there willbe a conversation.
Usually it ends up somethinglike hey, this one line needs to
you know, and here's why.
Or it's to make sure ourcommunity feels safe and there's
no harm being done.
Does that answer your questiona little more?

Speaker 11 (01:16:23):
I Does that answer your question a little more.
I'm not sure of why they askedher to take a whole song out.
There was no hate speech in itat all.
It was actually just like avery devotional, like wonderful
song.
It wasn't there was.
No, I don't know.
It's very confusing.
It's good to know that youclarified that you guys aren't
scouring over scripts and allthat, Okay.

Speaker 4 (01:16:41):
And even then y'all it's literally we have a
conversation.
So it's not like and pulling.
The one or two times it's everhappened in the last couple of
years has been like aconversation with the producer,
where we talk to what was yourintentionality, Perhaps?
Usually it's a question of likewho is on your project team,
you know, is this coming fromlived experience, or are you
speaking like to a race that youare not familiar with in such a

(01:17:02):
real way?
And so it always ends up in aconversation, though it's never
just an email saying hi, pulledyour show, you know, okay, bye.
It's always a conversation.

Speaker 11 (01:17:09):
Okay, yeah, and then , like even in the conversation,
like maybe the person can saywell, I'm still going to keep it
and I'll just, you know, dealwith it, or how does that work?

Speaker 4 (01:17:23):
If it were to come to that, the reason where it would
end up being like, okay, you'rekeeping it is because again, we
find out your co-director isspeaking to lived experience or
there's.
You know, there's there'smultiple reasons.
It could be like, okay, no bigdeal.
Thank you so much forclarifying that for us that way,
if it comes down to our emailwe're able to discuss it as well
.
But, there is a chance, like ifit is just, if it goes against
our code of conduct.
If our committee sees that it'sI mean if it's harmful to a

(01:17:46):
protected group then thatdecision will be made.
But we'll always work with youto help make that easy and not
ruin your show.

Speaker 11 (01:17:54):
OK, so in her situation it was.
It was something that wasn'ther lived experience, but she
was playing a bunch ofhistorical characters and this
yeah, and so that probably I'mnot going to.

Speaker 6 (01:18:06):
I think I know what you're talking about too, and I
want to be honest and say thiswas a very, very rare instance,
but it was something that wasflagged because it was like
there's been two prettyproblematic things where people
have been like I'm white and I'mgonna play a black person
that's what it was, yeah let'stalk about that privilege and
like that thought process.
And so what we did with thatinstance is we had a

(01:18:27):
conversation with the producerand I don't know if you're
talking about this show, butthat had happened and for us, we
had a conversation with theproducer.
The producer was like, oh, Isee how that could be different.
They went back to theirdirector, they had a
conversation about how are wegoing to honor the fact that
this show is about inclusivity,about empowering women, and make
sure that if a Black personcomes in, they don't feel like,

(01:18:49):
okay.
Now you're kind of talkingabout my experience as a Black
woman and more, saying I want ashow that empowers women and I
want to have a show thatempowers Black women, and so I
think that there's a lot ofnuance when it comes to these
conversations and they're nevergoing to be Black and white,
because these are gray areaconversations and they need to
be and they need to be privatebetween the producer and Fringe

(01:19:11):
staff, and then we need to justkind of navigate it through from
there and it's really aboutwhat is going to sell your show
after this.
Our whole hope is that afterFringe, your show is not over.
We also have a lot of cuttingedge work and we want to make
sure that that work is able tobe as extreme as it wants to be.
We really want people to beable to take big, big, big risks

(01:19:35):
.
But when you're taking thoserisks, be like where's the
context.
You know what I mean.
And having those deepconversations takes time and it
takes a lot of effort and it'shappened twice in the time that
Lois and I have been around andeach time has ended with that
show going on and having a greatrun.

Speaker 11 (01:19:54):
Thank you.
Yeah, and you know there wasanother show that pointed a gun
at an audience and that wasreally uncomfortable.
So I understand.
I'm glad you spoke about thegun thing.
One other question I have sorrythis is my last question about
content warnings.
Let's say you have three ofthem, but you forgot a fourth
one.
What happens?
Do they shut down your showbecause you were so busy putting

(01:20:17):
your show together that youforgot something?

Speaker 1 (01:20:19):
Well, I will say, human nature is human nature and
truly, you probably will figureit out after the first
performance and you'll be like,oh, I can go back and edit the
site, because we do want toalways respect that.
Yeah, a lot happens duringFringe and there are things that
get lost in the shuffle thatyou like, you, that you're
conscious of with your rehearsal, with actors, and so if you've
listed three of those contentwarnings and have forgot that,

(01:20:41):
that fourth one, you know you'reable to, after the first week
of previews, if you'reperforming them, like go back in
and be like, oh, shoot, like,here are my three, here's that
fourth.
I will also say, just briefly,touching on what Ellen Mills
were talking about, but like ina sidestepping kind of way, not
necessarily on content, but onlike tapping artists on the
shoulder, being like, hey, justa heads up, don't use
copywritten material unless youhave the rights.

(01:21:03):
Like we do have some showscoming to Fringe that are
productions that have beenproduced before and have their
rights up for sale.
We tend to check in with thoseso that they're not getting into
any legal trouble.
But also, I will mention just beaware of any promotional photos
you're using, that you're nottaking something that is
copywritten.
Don't take a photo of a famousactor and put it up, because

(01:21:24):
there are rights andimplications that get into it
and we just don't want thatunnecessary not only stress but
potential mess that you can getyourself into.
That's completely separate fromreally what we were talking
about, but I just want to bringit to the room because it is
something that we really don'twant to have happen because it
does ruin a festival experienceand I know there are statues of
limitations where it's like sure, I did my show three years ago,
but that's the statute oflimitations, so it's a side

(01:21:45):
thing.
But I just want to ask thateveryone err on the side of
caution there.
Yeah, lois, you want to add alittle bit more.
I know it's not the questionyou asked.
It just reminded me ofsomething artists should know
about.

Speaker 4 (01:21:53):
Yeah, no, you absolutely said it perfectly.
I have a question from the chat, if I can throw that in.

Speaker 1 (01:21:57):
Oh yeah, Thank you, by the way, for your questions.

Speaker 4 (01:22:01):
Sure, thank you.
Yeah, I reach out Like ifyou're, if you have something in
your show that you're like, huh, this might come up later.
Just let us know y'all, like,we're so happy to have that
conversation.
Hop on a call and make sureyou're not worried moving into
the festival season.
Ok, so, greg, from the chat, myshow has adult themes suicide,
genocide, sex, queerness butit's it's also dramatically
dependent on a kind of mysterythere.

(01:22:22):
Do you think writing adultthemes is sufficient for this
content warning.

Speaker 1 (01:22:27):
I would recommend to list some of them, like as much
as you're able to be comfortablewith.
I understand there is mysteryand intrigue in shows like that,
but because the nature ofFringe is so experimental and
such a vast array that you knoweveryone going into your show
may not necessarily know you oryour work and I think it's super
important that you, like you'renot going to ruin I hope you

(01:22:48):
wouldn't be able to ruin yourexperience by writing like
discussion of genocide andyou're then able to still
fulfill your artistic intentionand desires while letting your
audience feel very comfortablesitting in the seat, especially
because we have some artists orsome theater goers who are
artists but also audiencemembers that see, I've met a lot
of people last, last year, notyesterday, last year that that's

(01:23:10):
all like 60 shows and, to giveyou a frame of reference, people
see shows like five in a day,back to back to back, and they
love it and it is a lot, of alot of theater to intake and
there is some emotional capacitythere that goes into it.
But many of them arehighlighting the shows in our
printed guide that want, theywant to see, they're reading
about the show, making sure theywant to know what they're
getting into.

(01:23:30):
I I would ask I would err onthe side of caution of listing
those.
You you may not want to explaineverything in that way, like
your synopsis, but as long asyou're like saying this is what
is in the show, that is whatwill be mostly very, very
triggering to some people in myaudience.
Do you want to know?
We're asking in the chat.

(01:23:52):
Yeah, oh yeah.

Speaker 7 (01:23:56):
Is this working?
Okay, great, thank you for allthis information.
This is great.
I have a question about contentwarnings, just because they're
kind of a new concept for me andI want to make sure I
understand.
About content warnings, justbecause they're kind of a new
concept for me and I want tomake sure I understand.
So my show is it's just a sillymusical about mushroom trip and
I saw the thing about drugabuse and I'm thinking like the

(01:24:17):
word abuse is kind of catchingbecause I'm like, well, it's
technically illegal, right, butit doesn't.
I don't feel like my script isportraying it in a particularly
harmful or kind of destructivelight.
So I'm like wondering, wouldthat include a content warning?
And then a similar instancethere's a scene in my script
where a character takes a showerand they're going to be in a

(01:24:39):
flesh-colored sweatsuit with,like comically like placed
sensor bars.
Is that warning Like whenyou're kind of being cheeky and
playful about some of these moremature themes is it?

Speaker 1 (01:24:52):
treated as the same that it would if it weren't for
the scariest first part on themachine grip.
You're fine, that's okay.
Also, I'm sure you'll beworking on a synopsis of the
piece for the short descriptionand the larger description, and
that I mean audience willabsolutely be reading that of
the piece for the shortdescription and the larger
description and that I meanaudience will absolutely be
reading that, especially on theshort description, if that kind
of, if that is the overarchingnarrative of the show, I'm sure

(01:25:12):
it's going to be popped up intothat short description and
longer description.
So it should be good.

Speaker 4 (01:25:16):
On the example of nudity, though, I would like to
defer to Ellen and Lois no and Ithink these are great questions
and you're doing exactly theright thing already by like,
trying to think of those, likethose gaps.
And if everyone in the room isjust starting to think about the
gaps, you're going to betotally fine.
I would say.
I mean, there's a word of likenot nudity, but but mention it
because it might change the agegroup that wants to go and it

(01:25:37):
also might help you market yourshow, right, like it's kind of
leading into some of thatmarketing and theme.
So I think, mention it, but I'mtrying to think of the right
word and I can't.
But it's not like, no, it's noteven partial, because you're
fully covered, but it's likesuggested there it is, thank you
and we're all learning together.

Speaker 1 (01:25:55):
Yeah, I'll also because we actually, I don't
think, talked about it on thewebsite page.
When you're creating yourproject, which so many of us
have done, you're able to goback in and like, if you realize
that your suggested age rangeor age limit should be higher,
you can go and do that, like.
I know that you know these townhalls are free, open dialogue,
so we do ask that they're like18 and up, but every podcast is

(01:26:19):
going on pitch shows and theysay like actually it's like five
and up or 12 and up, and that'ssomething else to control, like
people coming into your spaceand because there is, I well
it's.
I think it's rare, but there issometimes.
There's moments where someone'slike I came into the show, I
didn't know what's going on and,oh my god, am I mad and I'm
like well, there's a lot ofdetail on the website and
there's a lot of detail whathappened.

Speaker 4 (01:26:40):
But, um, it does happen and we we assist in, like
mediating that yeah, help youright, because if we're able to
see it on the page, because youraudience is going to come to us
first, right, and then we'regoing to come to you.
So if we have all of theinformation, if we're looking at
the project page, I would lovefor our response to be hey, it
was listed here.
I'm sorry you saw it, but Icannot give you a refund because
it was listed and with I wantto add to the age.

(01:27:01):
That's your first accessibilityflag, or your first content
warning, if you think about it.
So make sure that is reallycorrect.
Like, really think about yourshow, think about what age it's
going to be appropriate for,because that is the first one.
And if you are at no, we don'thave any 21 plus venues, so
never mind, but you can make it21 plus.
Sorry, we used to have a bar.

Speaker 6 (01:27:28):
I think that when it comes to any of this, it's all
about making sure that you aredoing your best to market your
show to your audience, becausethe fringe audience is so vast.
You're going to have your likenitpicky types and then you're
going to have your I go tofringe because I want to see the
fucking weird shit types andthen you're going to have your
types that are like somewhere inbetween where they're nitpicky
and weird, and those are thehardest to navigate.
So our whole goal is that whenwe navigate those, we can be

(01:27:48):
like you know what.
We've been so in deepconversation with this show
because it has tricky themes,that we don't have to worry
about a complaint because we'vebeen in deep conversation with
them and we can say no, we knowwhat they're doing and we've got
their back.
You know, our whole goal is tohave your back as the artist,
protect you as the artist fromhaving a bad experience, and so
we'll never try and overstep inthat place, unless it really is

(01:28:09):
something that our artistadvisory board has set, which is
hate speech or playing acharacter that is not in your
race or things like that.
And even with that, thenthere's talking about the gray
area.
Talking about how to navigatethose things.

Speaker 1 (01:28:21):
Yes, and just quick pause because I do want to have
Ellen Lois continue.
Sorry, havreta, can we justhave the camera on the
interpreters, because I know Iwant to see Ellen and Lois, but
I also want what they're sayingto be interpreted.
Thank you, sorry.

Speaker 4 (01:28:34):
You can go back.

Speaker 1 (01:28:34):
Lois.
Oh yeah, I was going to saythat was it.

Speaker 10 (01:28:45):
Sorry, this was my question is if you're writing a
play that has a lot of contentwarning themes I know you should
write it in the longdescription.
Should you also write it in theshort description?
Or like, how does that work?
Because, like, my play is like90%% mental illness and there's

(01:29:07):
no way to avoid that and ifsomebody somehow misses that,
like that could be a problem.

Speaker 1 (01:29:13):
well, yeah, I think that there's this moment where,
if your show is dependent on it,like like that's what your show
is about, um, it's gonna findits way into your short
description regardless, becausebecause that's what the
narrative of your show is, andand so it's like if it is 90 of
your show, I imagine it will beincluded, not necessarily like
as blatant as like a contentwarning, but like when you're

(01:29:35):
explaining, you know, like it'slike roughly like three
sentences synopsis.

Speaker 4 (01:29:38):
It'll probably come into play there yeah, I'll add
in if it's something where if itis an extreme content warning,
we're talking something whereyou fear for your audience that
they don't know ahead of timeand are able to mentally prepare
for that experience Use yourvenue box office as well.
Some venues are going to have,they're going to run, your box
office.
Sometimes you, the individualshow, will but use that as that

(01:29:59):
additional space to go.
Hey, flashing lights is anotherone, right, because that's
medical, something that'smedical or it could be deeply
trauma filled for an audiencemember.
Your box is going to be thatsecond, just in case they missed
it, you're taking care of themthere and they'll keep coming
back to your shows becauseyou've taken care of them.
So now when you email aboutyour third run, they're going to
be like hell.
Yeah, I trust that artist,because that's key Marketing is
trusting your audience or artist.

Speaker 8 (01:30:22):
Hello, my name is Chris, my pronouns are he, him,
and my show is a comedy calledwhat Happens in the Dark.
It seems like there are twoschools of thought on a lot of
these accessibility talks and onthe one hand, it's like
providing an interpreter for ashow and sort of setting.
This is the of.

(01:30:42):
If people need an interpreter,they can ask for that sort of
thing and you can makeaccommodations.
In general, and maybe there'snot a definitive answer between
those two schools of thought, isthere a direction that you're
better off going, Because it'sthis idea of like maybe people
wouldn't be available.
You set a show as the one withthe interpreter and then nobody

(01:31:03):
ends up needing it that show,but somebody else wants to come
to a different one.

Speaker 6 (01:31:06):
And what a waste of money if you're providing a
interpreter for one show butyou're not inviting deaf
audiences.

Speaker 8 (01:31:12):
No valid.

Speaker 6 (01:31:13):
So I think that, like the whole point of providing an
interpreter is making amarketing plan where you're
inviting deaf audiences in tocome see your show and some of
us aren't at that level right.
Some people are like you knowwhat this is me getting my show
up in Fringe and I need this.
And some people are like I wantto level up in my producing and
I want to reach a new audience.
I also think that bookinginterpreters is really expensive

(01:31:35):
.
You need to rehearse with themand you need to be able to have
so many things.
So a lot of people will say I'mgoing to forego that and make
everything else about my show asaccessible as possible until I
get to the run where I havebuilt that audience, I have
built that trust, I have builtthat narrative and if you
already have deaf friends andfolks that could benefit from
that happening, then it issomething that maybe you can

(01:31:58):
work with them in tandem toschedule around that, and then
it could be a schedule it onyour own thing.
But I think that really, ifyou're booking an interpreter,
you need to be ready to workwith an interpreter as a part of
your production process andthat takes a lot of money and
investment and it is not foreveryone at the point of their
producing.
It is for every artist at somepoint in their producing career

(01:32:18):
right, but not necessarily inthe fringe part of it.

Speaker 4 (01:32:21):
I'm going to quickly add, because, exactly, but
accessibility, like anythingwe're doing, we're growing,
we're learning're learning right, and it's not you're not going
to be perfect and so think aboutit as steps too.
Like you compared, like youbasically compared what is the
best case scenario and, quitefrankly, what fringe is able to
do right now, which is provideinterpreters for some of our
larger events, one or two panels, but then make them available
upon request, because that'swhere our budget is, and so like

(01:32:44):
.
Think about accessibility likeyou would.
Anything you're learning andtrying to be the best at is,
it's a process, and so if youcan take one of those two things
off your list every time youproduce a new show, fantastic,
you're on the right road.

Speaker 6 (01:32:56):
Hollywood Fringe had its first accessibility plan in
2018, and it took us like fiveyears to really get to a point
where we were able to startteaching our producers how to do
things, and so know that, like,our plan to provide this
workshop is not even that everysingle Hollywood fringe producer
is going to do every single oneof these things.
It's that we're able to provideas many options for as many

(01:33:19):
people who have as manyinterests as possible.
So, say, you have a lot offriends that are, you know, need
that sensory friendly show,which a lot of artists have,
that friend group that needs thesensory friendly show, then you
have those tools to be able todo it.
If you have that deaf audience,you have the tools to do it,
and if you're looking to buildthose, it's taking this and then
also creating a marketing planfor those audiences to make sure

(01:33:41):
that you're in kind of thatconcert, because those audiences
do exist.
11% of Hollywood fringeaudiences last year were
disabled, and so you have tokind of think about the fact
that disability does exist andit's 25% of our population,
while also kind of putting inyour own growth plan of how
you're going to makeaccessibility an initiative that
you are committing to as anartist, not just as a fringe

(01:34:03):
show.

Speaker 8 (01:34:04):
Just to clarify slightly on something you said
of you know, if you have aninterpreter, they should be
there from the beginning.
So in your mind, that's notsomething that you could make
available upon request, becauseit has to be built in from day
one type of thing.

Speaker 6 (01:34:20):
And like of course sorry, of course there are
exceptions to the rule.
Sometimes you know, if you'reworking with an interpretive
service, you can talk to themabout your show and like your
things and talk to them aboutwhat they think is the best idea
.
But if you want it to be, youknow this great experience where
deaf audiences are going to belike excited to come to your
show.

(01:34:40):
Having it be built into yourshow in some way is way more
exciting for them.
Into your show in some way isway more exciting for them
because it is and I've seen someincredible work at Hollywood
Fringe do that and other fringesand but it does take a ton of
time and money investment.
And I just want to say thatproviding accessibility as a
checkbox is never going to begood for you as an artist, but
providing it as something thatyou're working towards and

(01:35:02):
always kind of trying to bebetter at is going to get you to
that place where you have thatincredible show and then it just
blows people away right Cool.

Speaker 8 (01:35:11):
One more kind of not related at all question that
hopefully is a much easier onewhen you have your production
team on the website, do yourecommend that that's just
production team in terms ofproducers, or should that be a
place where your whole cast islisted as well?

Speaker 3 (01:35:28):
cast, okay, great yeah, put your whole cast in
there, I know working on theteam.
Yeah, that's really helpful.
I mean, it's just great foreveryone involved.
But, yeah, whole whole crew,whoever's working on it um,
advise them to make a account beadded.
Add them to the project page.

Speaker 6 (01:35:41):
It's super helpful great, thank you and they get
jeanette's emails, if they'readded.

Speaker 3 (01:35:46):
And then you get my emails that I write for you guys
.
I love doing those, please.

Speaker 9 (01:35:52):
Hello everyone, thank you for doing this and helping
us produce our shows.
Really appreciate it.
My name is Anthony and I'mputting up a dark musical kind
of like Lord of the Rings goesbiblical musical play.
Musical kind of like Lord ofthe Rings goes biblical musical
play.
And I was wondering how doesthe audience who can review the
shows if they're like purchasinga ticket as a guest?

Speaker 4 (01:36:20):
could they review the show or they have to create an
account.
How does that work?
Yeah, I could take it.
No, that's a great question.
So reviews and we'll talk aboutthis in great detail in our
next workshops, y'all we try tolike give you the steps as you
need them so that you don't havetoo much information all at
once.
But with reviews, anyone whopurchases a ticket on the Fringe
website, we track that and sowe're able to.
If they put it in a review,it's a certified review, meaning

(01:36:41):
they bought a ticket.
We can confirm said ticket wasbought and it wasn't mom from
Washington dropping reviews,which is so lovely.
But if mom didn't see the shownot to be trusted here right,
but you can as an audiencemember.
If you didn't, maybe you justgot let in through the door and
there's no verification you canstill write a review.
It comes up as uncertified,like a general review.

(01:37:01):
But if you can confirm thatthey bought a ticket, send
support an email.
Hey, so-and-so bought a ticketat the door.
There's no record on the siteand we'll happily certify it.
We're not trying to over policeit, right.
But so just let us know if it'san uncertified review that
needs updating and we can takecare of that for you.
Oh cool, Thank you.

Speaker 1 (01:37:18):
I will also add that the producers can also certify
the uncertified reviews on theiron their page, yeah, yeah.
So I mean as much as I wouldlove to have your email that
says, like can you certify it?
I'm like, yes, but also you canalso certify those reviews
yourself which is super fun.
Yeah, and that, and that wayyou'll like get a more intimate
knowledge of like, oh, whateverthey're saying, it'll probably
be speaking to the show itself,so so there's kind of like a

(01:37:41):
tell where you're like, oh, yousaw the show instead of, because
there is sometimes spam andthat's like, oh, yeah, like
please email us about that,because the bots are going crazy
.
There are bots that happen onthe fringe website where they're
like, hey, get this discount tothis casino.
And I'm like that's not what.
Yeah, it's like that's not whatmy show is about.
My show has nothing to do withcasinos.
Uh oh, I'm sorry, any questions?

Speaker 10 (01:37:59):
sports betting now it's sports betting, yeah any,
do that, keep it up, butotherwise let us know and we'll
take it down if you're likeparanoid, that something might
have a topic that's within thecode of ethics, can you we just
shoot you an email and beinglike, hey, there's this one
situation where this one line iskind of a microaggression, but

(01:38:21):
it'd be, but it's addressed, oryeah yes, we're, we're here.

Speaker 3 (01:38:25):
We're not.
Absolutely.
Please do like we're here as aresource.
We were again, like we're.
I also want to make it veryclear like, specifically with
accessibility and everything,we're not here to get you.
We're not gonna be like, oh,they didn't put this content
warning for this.
Like, it's fine, it's okay.
Like we're, we're all learning.
We're all learning, like alanwas saying earlier, like the
whole us.
Even be able to educate futurefringers on accessibility is

(01:38:47):
very recent because things arechanging all the time.
So we're learning.
We want to spread thatinformation as much as you can.
And again, even when we'retalking about earlier with your
show, about like the sue andeverything, you're like is that
considered nudity?
We were all like, is that like?
Is that like?
We all were just deciding inthe moment to like it's a
conversation.
So, as long as you start theconversation, please reach out

(01:39:09):
to us.
We're more than happy to figurethat out with you.
And if anything in the futurewhen your shows start and then
we get something, if we receivesomething like hey, so-and-so
show has this and it wasn't puton their condom warning, we're
not going to email you and belike you're out, like no, no, no
, no, no, no, like we got you dothat.

(01:39:30):
We would just be like, hey, wegot this, no Like can we check
in about what this means?
And a lot of the times it'sjust like they just didn't know.
And then we learn together.
You update your project page andyou update your audience.
We're good to go.
That's all it is.
Yeah, please do Thank you, foreven that's really good too, to
think about your piecesobjectively, like especially.
You know, I I wrote my show andI brought it up here and I had
my actors working on it.
I've had them act like.
That was a long process for me.
And then I literally had tolike give it to, like like a

(01:39:50):
friend of mine in a class and Iwas like, can you just read this
and tell me like what pops outat you?
And there were things where Iwas like, oh, I didn't realize
that that was somethingconcerning.
Thank God I had someone Itrusted to do that.
So again, think objectively.
But but yeah, thank you forthat question.

Speaker 2 (01:40:04):
Hi, I'm Regina.
My show is Trans Mom vs FamilyCourt.
Hi, and because my descriptiontalks about the transphobia, do
I have to still put a contentwarning on it?
I mean, if it's like five timesin the title, I think people
are going to expect that thatmight be broached, you know.

Speaker 6 (01:40:22):
I think, that that's also true.
I'm so sorry and I'm so sorrythat I keep talking to you, Go
Roddy.

Speaker 1 (01:40:29):
You're fine.
Yeah, I think we've talkedabout.
What we've talked about among acouple of the shows is like
where the subject matter isunavoidable.
That's OK, you know, and yourshort description will
absolutely talk about it.
Your title may talk about it,and that also.
I mean that's more than thecontent, warning like the
biggest signal for an audiencemember being like oh, that's
what's going to be talked about.
That's where my expectationslie, Ellen.

(01:40:52):
Do you want to add anythingelse to that?

Speaker 6 (01:40:54):
No, I think if your show is about you know, your
lived experience, it's going tobe really clear that you're
going to talk about those things.
And if it's not, then that'syour time to be able to kind of
think how are you marketing itto those people from that
community that are gonna be inyour audience?
Because our audiences arediverse.
Make sure that you're having itbe clear to people what is

(01:41:14):
coming in.
They're coming in to watch.
You know, like I've gone into ashow and been like this was
really really dark and reallyhard and I thought it was gonna
be a comedy and that's not agood feeling, you know.
And I've also gone to thingsthat like had so many content
warnings and I was like, oh,this is way too many content
warnings.
You know, you're all good andit's about learning that balance
and you might have one showthat has too many things on the

(01:41:36):
page.
And then you're like, oh, I cantake it away here.
I can take it away here.
It's so, you know.
And so you're going to trythings at Fringe and see if it
works.

Speaker 11 (01:41:45):
I missed the very beginning, when you did a land
acknowledgement.
I don't remember if you saidthat we're required to do one
for all of our performances.

Speaker 4 (01:41:56):
Yeah and this is a new thing.
We'll send out informationagain closer to when everyone
starts their tech, but we workwith the venues on this as well.
This started just last yearthat every show does the land
acknowledgement and we have itprepped and you can certainly
add to it.
We've had shows especially thatwere were about lived
experience.
They talked about landacknowledgement in a very
different way and had blended itinto their story.

(01:42:19):
But we have a recording we'llsend out to all venues and all
artists and then it's up to theartist in the venue, depending
on who's running that pre-showspeech, because a lot of venues
do it for you and so we'll makesure all parties have it.
But it will be required thisyear.

Speaker 5 (01:42:32):
Yes, yeah, I heard somebody use their opening
little remark like hey, welcometo the stage.
Yeah, we're here in Compton orwhatever.
We're also on the land of blahblah blah.
So they kind of incorporated itinto their story.
So it's not just a blanket,just an announcement.
You can weave it in if you wantthanks, avery.

Speaker 1 (01:42:53):
Yeah, does that answer the question, or you want
to okay?
Yes, I think, that's wherewe're like making that shift
over to doing that, because itis just, you know, it's
important, yeah, it's verymeaningful for so many of our
community members.
Yeah, sorry.
Oh, no more questions in thechat and if there are no more
questions in the room, we are.

(01:43:14):
Oh, my God, wow, I talk a lotand I talk really fast often and
so we just never finish on timeand like this is great.
Oh, I don't, we got Greg'squestion.
yeah, yes, yeah, so when I saywe, I meant me.
I don't finish on time.

Speaker 4 (01:43:30):
I always like go ahead of time ellen lowers are
great, so jeanette's the magichere is that maybe I just have
to sit here yeah, you have acalming presence anyway we'll.

Speaker 1 (01:43:40):
we're gonna end the chat in a second momentarily, so
any last minute questionshaverty will be exiting us out.
We're all still still going tobe here.
We don't disappear.
We'll be like one of us or twoof us maybe, like moving the
room back to neutral.
But also, if you're like Ididn't really want to ask a
question on the chat or inperson, can I just push you,
pull you aside and ask thisquestion?
Also, if it's non accessibilityrelated and just generally

(01:44:01):
fringe, that's okay too.
I just want to reiterate thatyou can contact us at support at
hollywoodfringeorg as the emailand then also, if you sign up
to the artist newsletters, youget access to the one-on-one
scheduling where you can ask anyfringe questions and we'll
schedule a Zoom meeting and chatall about what your question
may be.
Any other ways to access us?

(01:44:22):
No, I think those are the mainones.
Those are the ones where wereply the fastest.
Support at Hollywood Fringe.
There's always like two orthree people monitoring that and
during the festival we likeupdate that, you know, by the
hour super fast, which is where,like, audiences and artists are
asking questions.
But right now it's mostlyartists questions and we try to
respond within 72 hours, if notsooner, depending on weekends or

(01:44:42):
whatnot.
But yeah, if nothing else,thank you all for attending.
Thank you so much to ourinterpreters from Sign Language
Company.
Truly, it was amazing.
I hope we did okay.
Is it literally called Lines,lines, sign what LinesSigningcom
.
Oh, oh oh.
Sign Language Company.
Sign Language.

(01:45:03):
Sign Language Co.
That's what Nigel is a teammember at.
Yeah, yeah, sorry, you'reasking about what the name of
the place is.
Yeah, yeah, oh, which can alsobe found in our participant
document hollywoodfringeorgforward slash participants.
They're listed there asaservice and, just you know,
start that conversation wheneveryou need to if you're at that
point in your fringe showproducing journey.
Yeah, that's it I think we'regood thank you.

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