Sydney Fringe Festival is set to ignite the city like never before.
Spanning Parramatta to Bondi and Lane Cove to Hurstville, the 2025 festival is the most expansive and daring yet, with newly-appointed CEO Patrick Kennedy steering the creative charge.
Kennedy, who officially took over in July after serving as Head of Marketing since March 2024, brings a rare blend of commercial acumen and experimental theatre chops. He’s worked on some of the world’s biggest commercial productions, from 'Mary Poppins' to '& Juliet', but has also run his own avant-garde company, Patrick Kennedy Theatre Machine. That combination gives him a unique perspective on what Sydney Fringe needs: a platform that nurtures independent artists while drawing audiences at a scale rarely seen in Australia’s arts scene.
“I’m still settling in,” Kennedy admits with a laugh. “I knew the festival from last year, so shepherding this year’s programme has been manageable. But from next year, it’ll really be my take on Sydney Fringe.” His excitement is palpable, and there’s an edge of urgency. With the first shows just days away, the festival’s energy is already in the air.
This year, Sydney Fringe covers the full 12,000 square kilometres of Sydney, and Kennedy sees it as a chance to get people exploring the city. Lane Cove joins the festival for the first time, blending its own local programming with open-access acts from across Sydney. “It’s an invitation for people to step outside their usual spots,” he says. “I’ve lived in Paddington for years and mostly stick around Darlinghurst. Seeing the arts in other parts of Sydney has been amazing.”
'I Watched Someone Die On TikTok'
Navigating 460 shows across the city could be overwhelming, but Kennedy and his team have made it easier by grouping shows into themed hubs. Musicals and mid-career productions headline the Off Broadway hub at Darlinghurst’s Eternity Playhouse. International touring acts are staged in Newtown. Comedy has its home at the Factory Theatre in Marrickville. Immersive experiences take over heritage spaces in The Rocks, with productions like 'When Night Comes' turning an old building into a dark, cocktail-fuelled evening.
Kennedy’s approach is informed by his own experiences as a fringe artist. “The reality for independent artists in Sydney is the lack of venues,” he says. “I’ve been there. In London, I was producing experimental theatre while climbing the commercial ladder. My commercial work paid the bills and allowed me to create art. Here, I want to give emerging artists those opportunities.”
That dual perspective – understanding both the commercial and creative sides – drives Kennedy’s vision for growth. Sydney Fringe aims to reach 500,000 attendees over the next five years, up from 105,000 last year. Big partnerships and strategic investments will fund headline acts while drawing audiences into smaller shows across the city. Kennedy cites last year’s Soweto Gospel Choir performance as an example: the high-profile event introduced 30 percent of attendees to smaller, independent shows, creating a ripple effect across Sydney.
'Orpheus'
Sydney Fringe is also building international pathways. Kennedy points to immersive artist Sam Kissajukian, whose 2022 show '300 Paintings', traveled from Sydney to Adelaide, Perth, Edinburgh, and now potentially New York. “We want more of that,” Kennedy says. “Sydney Fringe should be a place where global audiences and producers discover the next generation of cultural innovators.”
Even as the festival grows, the grassroots spirit remains central. Partnerships with government and corporate sponsors allow independent artists to access spaces they normally couldn’t. Dividing the city into inner west, eastern, greater, and central zones helps audiences navigate shows near where they live, making the festival accessible and welcoming.
The programme itself reflects Sydney Fringe’s diversity. Kennedy highlights 'Or What’s Left of Us' by UK duo Sh!t Theatre, a moving and genre-defying exploration of grief and creativity. There’s 'The Ghana Road Show', a vibrant mix of West African dance, music, and visual art. And for anyone with a sweet tooth, 'Feast: Morning Tea Edition' on Father’s Day delivers pastries and panels with culinary innovators like Jennifer Wong and Kate Reid. One quirky personal pick? 'I, Julia', a one-woman show in Erskineville where an artist attempts to summon Julia Louis-Dreyfus herself through a spot-on impersonation.
'When Night Comes' – Image © Jeff Busby
For Kennedy, Sydney Fringe is about showing the city’s true character.
“Sydneysiders are sophisticated but often like things close to home,” he says. Micro-festivals across precincts, collaborations with local businesses, and curated experiences make it easy for audiences to engage without straying far from their daily routines. Free activations like Fringeville in Hurstville showcase local performers and celebrate the city’s diversity, proving that the festival can be as inclusive as it is expansive.
Patrick Kennedy’s leadership promises a festival that is bigger, bolder, and more dynamic than ever. From global acts to intimate, experimental theatre, Sydney Fringe 2025 is a celebration of independent art, local culture, and the city’s creative heart. As Kennedy puts it: “It’s about opening doors for artists, creating opportunities for audiences, and showing Sydney at its most imaginative, diverse, and alive.”
Sydney is ready to step into Kennedy’s vision – and discover its festival anew.
Check out the programme.
Sydney Fringe Festival 2025 is on from 1-30 September.
