The SETC Fringe Festival is a non-competitive performance festival that takes place each year during the annual SETC Convention. The performances are open to all convention attendees.
2019 Fringe Festival
Save the Date:
The 2019 Fringe Festival will take place as part of the 70th annual SETC Convention in Knoxville, TN. Performances will be held on Friday, March 1, and Saturday, March 2, 2019 and are open to all convention attendees.
Interested in Performing?
Check back soon for the 2019 application.
History of the Fringe Festival
In 2004, the Fringe Festival was kicked-off to a standing-room-only audience late Thursday night during SETC’s 55th Convention. Performances for the following two days showcased a wide variety of work from SETC members. From one-person shows and experimental theatre to theatre for youth productions and state festival runner-up performances, audiences continued to come and enjoy theatre. The festival has become a convention favorite.
Who Selects Productions?
SETC Vice President of Services, Lee Crouse, leads the selection process for performances to produce a program that is varied in type, origin, intention, audience and geography.
Important Details for Fringe Festival Participants
- Appropriate rights and royalty information must be obtained and provided for all work performed in the Fringe Festival
- The amount of time allocated for each Fringe Festival production is 75 minutes, with up to 30 minutes for set-up and strike. Rehearsal time is not scheduled.
- All participants must be members of SETC and must pre-register for the SETC Convention by the early-bird deadline.
- All production costs are the responsibility of the production company.
- Some of the work may come from the state festival’s high school and community theatre festivals. It is up to the judges at each festival to recommend work. The most suitable work for a “fringe” festival might not be the runner-up or alternate production.
Last Year’s Festival
The 2018 Fringe Festival took place as part of the 70th annual SETC Convention in Mobile, AL. Check out last year’s exciting lineup of performances:
Hot for T-Rex
Thursday, March 8 | Midnight
Performed by: Brittanie Gunn
Creator/Playwright: Taylor Gruenloh
Description: Winner of the 2017 St. Louis Fringe Festival. Mia was told she wasn’t talented but she made it rich writing Dino-Erotica. Yes, you read that correctly, Dino-Erotica. Now, she outranks all her former classmates in book sales and is officially on a revenge tour of everyone who wrote critical reviews of her work. If you’ve made negative comments about Hung Like a Dinosaur, The Flirtatious Period, Getting Dino-Sore (or any of her other popular titles), Mia will find you. And she’ll show you how love has no boundaries (including size, species, and time).
Friday, March 9 | 10:00 a.m.
Performed by: WINGS Performing Arts
Creators/Playwrights: Tonya Hays and Genesis Briggs
Description: Framed loosely by Lewis Carroll’s Alice books, “Wonderland” is a musical journey where audience and artists will understand and realize the potential of others who are different but not less. The diverse multi-musical styles including spoken word and rap and the use of puppetry and mask invite all to join the adventure of “Wonderland” and take the first step in understanding autism. A Q&A will follow the show.
Criteria: A One-Man Comic Sci-Fi Thriller!
Friday, March 9 | 11:30 a.m.
Performed by: Timothy Mooney Repertory Theatre
Creators/Playwrights: Timothy Mooney
Description: “Criteria” is set 300 years in the future, finding a world where numberism has replaced racism, and your social security number determines the very nature of your existence. One man, on a mission to wipe out the “bloated, bourgeois Fives,” reveals a United States transformed into the logical product of Homeland Security, the Patriot Act, and the bureaucracy of the Social Security Administration.
Shuddersome, Tales of Poe
Friday, March 9 | 4:30 p.m.
Performed by: DeKalb School of the Arts Drama Ensemble
Creators/Playwrights: Adapted from the works of Edgar Allen Poe by Lindsay Price
Description: The thumping of a heart beat. The creaking of a door. The howl of a bitter wind. The gong of a clock tower. The sound of beating wings getting closer and closer… Specters, ghosts and ghouls come alive in this vivid theatrical adaptation of some of Poe’s best-known works.
’33 (a kabarett)
Friday, March 9 | 10:00 p.m.
Performed by: Bremner Duthie
Creator/Playwright: Bremner Duthie
Description: The Impressario tubmles into his ruined cabaret theatre and finds himself alone. His friends and colleagues arrested by the authorities. He turns to run, but an audience has slipped in the broken door and expect a show. Joyously, defiantly, he recreates the acts, and the troupe spring to life as he pays homage to his friends. “Stunningly theatrical achievement.” – Vue Magazine | “Laughter and jaw-dropping physicality… a must-see.” – Theatre Jones, Dallas | “An incredible one-man show.” – PBS
The Vicious Hillbilly: Dating in the Deep South
Friday, March 9 | 11:30 p.m.
Performed by: Dawn Larsen
Creators/Playwrights: Dawn Larsen
Description: This one-woman show with original music, lyrics and spoken word is a poignant comedy about a progressive hillbilly woman’s experiences of dating in the deep South. It combines songs with the story of the journey of her discovery of who she is, what she wants, and that love is her divine right.
Lady Macbeth and Her Pal, Megan
Saturday, March 10 | 10:00 a.m.
Performed by: Megan Gogerty
Creator/Playwright: Megan Gogerty
Description: When comedian Megan Gogerty is informed that she can’t play Lady Macbeth — because Lady Macbeth is a tragic figure of powerful darkness, and Megan is the human equivalent of a golden retriever — she sets out to prove them all wrong, only to discover that not only must she reevaluate her preconceptions of Lady of Macbeth, she must reconsider herself as both a woman and as a stand up comedian.
7 (x1) Samurai
Saturday, March 10 | 11:30 a.m.
Performed by: David Gaines
Creator/Playwright: David Gaines
Description: One man performs the entire epic story of Kurosawa’s “Seven Samurai” (a three-hour movie) in 60 minutes — using only his body, gestures, voice (but no words), and two Kabuki-like masks — complete with victimized peasants, marauding bandits, samurai warriors and spectacular fight scenes — retold at comic breakneck pace. It is unique, riveting and very funny.