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    Rochester Fringe Festival Returns With a Program of Free Spectacles

    With its commitment to presenting free spectacles, the event has become one of the country’s more prominent multidisciplinary events.Sweaty venues roughly the size of a walk-in closet. Eye-catchingly daft titles. Lampposts all but sagging under the weight of promotional fliers. Drunken Shakespeare mash-ups and earnest solo shows. Volunteers shooing audiences onto the street in order to air out those closet-size venues before the next performance, and the one after that, and the one after that.These are among the standard ingredients for fringe festivals, the multidisciplinary showcases that have become economic drivers in cities looking to replicate the pell-mell, “Wait, did I sleep last night?” energy of the Edinburgh Festival Fringe in Scotland.The Rochester Fringe Festival, which runs through Sept. 23 at 34 different venues, has all of the above features, with shows like “Shotspeare,” “A Jewish Woman Walks Into a Maloca” and “A Nerdy Gay Juggling Show” nestled alongside headliners like Garth Fagan Dance and Tig Notaro. And for this year’s iteration that list also includes acrobats and a grand piano dangling off a hot-air balloon.Those last two attractions, both courtesy of the French company Cirque Inextremiste, point to one aspect that sets the nonprofit Rochester Fringe apart from similar festivals: a commitment to free spectacles that have in the past lured crowds of 15,000. “Nobody else has these huge free public events, at least not in the United States,” said Xela Batchelder, the executive director of Fringe University, which sets up college classes at fringe festivals in Edinburgh and elsewhere.Past iterations have featured Bandaloop dancers rappelling down a 21-story skyscraper, the white-knuckle choreography of Streb Extreme Action, and an all-but-unclassifiable street parade of enormous fish puppets courtesy of the French troupe Plasticiens Volants.“We’ve gotten pretty good at working with the Rochester Police Department,” said Erica Fee, artistic director of the festival, which in just 12 years has become one of the country’s more prominent fringe events. (While the sheer number of performances and venues can make precise bookkeeping tricky, Batchelder estimates a total number of audience members and paid tickets comparable to those of more established festivals in Hollywood, Orlando and Philadelphia.) “But working out the logistics for a 60-foot whale puppet was a new one for everyone.”Among the complications for this year’s festival? “Exit,” a new Cirque Inextremiste work stemming from the company’s residency in a Nantes mental hospital, in which aerialists perform stunts using that hot-air balloon. Fee, who frequently travels to Europe in search of Fringe-worthy pieces, saw the piece in southern France in 2019 and immediately booked it for the 2020 festival. But Covid and then Covid-related travel restrictions prevented “Exit” from making the trip to upstate New York until now. This Friday and Saturday it will serve as the centerpiece of a variety of events in downtown Rochester’s Parcel 5 outdoor space.Ephemeral monuments: For Craig Walsh’s latest outdoor installation project, the faces of three Rochester residents, including Patricia McKinney, a parent liaison at a local elementary school, are being projected on three trees downtown every evening of the festival.Erich CampingUnfortunately, Parcel 5 sits just a few feet atop an underground garage, which makes digging stanchions for a hot-air balloon tricky. And the dangling grand piano was far less contentious than a much smaller stage prop, according to Yann Ecauvre, the Cirque Inextremiste artistic director.“It is forbidden to have a gun on the stage here. I thought, ‘But this is the U.S. There are guns everywhere here,’” Ecauvre said. “So now we use a banana gun.”Even with the balloon tethered for the duration of “Exit,” the elements play a major role on any given night. “It’s like two different shows depending on whether it is windy,” Ecauvre said. “If the wind is a monster one night, we just have to tame it.”Fee said that sort of flexibility comes with the Fringe territory, especially in the wake of the logistical headaches that came with planning a virtual Fringe during the pandemic.“We still have to plan four festivals at once,” she said. “Having lived through Covid and done an online festival, that mentality will probably never go away.”Batchelder of Fringe University says this mentality has helped fringe festivals, which typically have less fixed overhead and more topical programming, survive and even thrive in the post-pandemic cultural landscape. “They are nimbler in terms of advance planning, and they can often do better when these other groups struggle.”Even the seemingly more staid offerings require some legwork. Take “Monuments,” the latest iteration of the Australian artist Craig Walsh’s outdoor installations. As he has done around the world over the past 30 years, Walsh filmed the faces of three Rochesterians — among them the Seneca/Haudenosaunee storyteller Ronnie Reitter — and is projecting them as ephemeral monuments on three trees in downtown Rochester each night of the festival.“We had to audition trees!” Fee said. More

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    Museum to Create a National Archives of Game Show History

    The Strong National Museum of Play in Rochester, N.Y., will house the archives, which it hopes will include set pieces, audience tickets, press photos and other memorabilia.“Showcase Showdowns” and “Daily Doubles” of yesteryear will no longer be relegated to just reruns.A museum in Rochester, N.Y., announced on Wednesday that it would serve as the home of a first-of-its-kind National Archives of Game Show History to preserve artifacts and footage from programs like “Jeopardy!” “The Price Is Right” and “The $25,000 Pyramid.”The archives will be housed at the Strong National Museum of Play, which is undergoing an expansion that will add 90,000 square feet to its space and that it expects to be completed by 2023.Curators at the museum already have some ideas about what types of artifacts would make an ideal centerpiece and are asking for items from collectors.“The wheel from ‘Wheel of Fortune’ would be iconic,” Chris Bensch, the museum’s vice president for collections, said in an interview on Wednesday. The museum, he said, would gladly accept the letter board, along with a dress from the show’s famous letter-turner, Vanna White.Museum officials said there was a void of preservation groups dedicated to game shows. They represent a key aspect of television and cultural history in America, from the earliest panel shows and the quiz-show scandals of the 1950s to big-money mainstays of evening television.“It is something we feel uniquely qualified to do,” Mr. Bensch said of the museum, which opened in 1982.The archive’s creation is part of the broader expansion at the museum, which is being supported by a $60 million campaign. The cost of the archive is yet to be determined.Several marquee names have already lined up in support of the project, according to the museum, which said that the archive’s co-founders are Howard Blumenthal and Bob Boden, the producers of “Where in the World is Carmen Sandiego?” and “Funny You Should Ask.”The museum, which is already home to the World Video Game Hall of Fame and the National Toy Hall of Fame, has found another key ally: Ken Jennings, the record-setting “Jeopardy!” champion.“There’s like a pleasant nostalgia to game shows for generations of Americans,” Mr. Jennings said in an interview on Wednesday.Calling the preservation effort overdue, Mr. Jennings said that people were starting to realize the importance of game shows the way they did with other great 20th century art forms like jazz and comic books.“I think it’s the game show’s turn,” he said.In a statement released through the museum, Wink Martindale, the veteran game show host, said there was a certain urgency to the preservation effort.“Without this initiative, many primary resources relating to these shows, as well as oral histories of their creators and talent, risked being lost forever,” he said.The museum, which welcomed nearly 600,000 visitors in 2019 before the pandemic, said it was seeking to acquire everything from set pieces and audience tickets to press photographs.“It deserves a place where it can be preserved, a place where scholars, media and the general public can access it,” Mr. Bensch said.The museum is not limiting its focus to those in front of the camera. Officials said contestants, television crews and audience members would play an important role in preserving the history of game shows.“There are so many significant folks who have shaped this industry over the years,” Mr. Bensch said. “They deserve a chance to tell their stories. We also have plans to do video oral histories with key people so we will capture their stories directly and share those with the world.”It seems the museum has a lead on an artifact.“If they want a necktie I lost on ‘Jeopardy!’ with,” Mr. Jennings said, “they’re happy to have it.” More