Acting CEO, Tara MacLeod share the impact of corporates and philanthropist working together:
In sport, the best teams don’t win by chance. They win because every player understands the plan and commits to the outcome. Having spent much of my career in high-performance environments, that mindset shapes how I think about partnerships in the arts.
At Adelaide Fringe, partnerships play a central role in how we break down barriers, create possibilities and ensure the arts remain accessible to all. In my five and half years working in this industry, I’ve seen firsthand how the landscape has shifted. Audiences are sharper. Artists are more vulnerable. Communities expect corporate values shown through genuine action.
The partnerships that succeed today move beyond logo visibility and focus on impact. They usually start with a simple question “How can we help?” and stay focused on outcomes, more than recognition.
Support Act is a model I’ve worked closely with at Adelaide Fringe, and it remains the benchmark for how I approach partnerships.
Support Act is a subsidised ticket initiative for emerging South Australian artists in their first five years of practice, jointly backed by Adelaide University and the Nunn Dimos Foundation. Each contributes $25,000. Not just to be seen, but to be felt. The structure is intentionally simple: Audiences can access $10 tickets to eligible Fringe shows. Artists get paid in full. The partners cover the difference.
In sport, clarity matters. Everyone needs to understand the play. Support Act works because you can explain it in one breath, and because every dollar goes straight to the outcome. From a governance perspective, it’s clean and accountable. Uptake is measurable. Reimbursements go directly to artists.
But the real impact isn’t found in the data alone. Lowering the cost of entry gives audiences permission to take a chance on new work. It builds confidence for artists and momentum across a season — and often, a career. When you reduce the risk for audiences without reducing value for artists, you widen the circle of who gets to participate. That’s how you grow the game.
This model works because purpose is aligned across sectors. No one compromises their objectives. Everyone advances them.
This is why I believe equitable access moves faster when corporates and philanthropy link arms. When reach, resources and purpose are aligned, impact follows — for artists, audiences and communities alike.
Support Act isn’t a feel-good story. It’s a practical one. Proof that doing good doesn’t need to be complicated, just intentional.
In any high-performing team, success comes from backing the play and trusting each other to execute. In the arts, it’s no different. When partners commit to outcomes that matter, we don’t just support culture, we shape the future of it.
In sport, the best teams don’t win by chance. They win because every player understands the plan and commits to the outcome. Having spent much of my career in high-performance environments, that mindset shapes how I think about partnerships in the arts.
At Adelaide Fringe, partnerships play a central role in how we break down barriers, create possibilities and ensure the arts remain accessible to all. In my five and half years working in this industry, I’ve seen firsthand how the landscape has shifted. Audiences are sharper. Artists are more vulnerable. Communities expect corporate values shown through genuine action.
The partnerships that succeed today move beyond logo visibility and focus on impact. They usually start with a simple question “How can we help?” and stay focused on outcomes, more than recognition.
Support Act is a model I’ve worked closely with at Adelaide Fringe, and it remains the benchmark for how I approach partnerships.
Support Act is a subsidised ticket initiative for emerging South Australian artists in their first five years of practice, jointly backed by Adelaide University and the Nunn Dimos Foundation. Each contributes $25,000. Not just to be seen, but to be felt. The structure is intentionally simple: Audiences can access $10 tickets to eligible Fringe shows. Artists get paid in full. The partners cover the difference.
In sport, clarity matters. Everyone needs to understand the play. Support Act works because you can explain it in one breath, and because every dollar goes straight to the outcome. From a governance perspective, it’s clean and accountable. Uptake is measurable. Reimbursements go directly to artists.
But the real impact isn’t found in the data alone. Lowering the cost of entry gives audiences permission to take a chance on new work. It builds confidence for artists and momentum across a season — and often, a career. When you reduce the risk for audiences without reducing value for artists, you widen the circle of who gets to participate. That’s how you grow the game.
This model works because purpose is aligned across sectors. No one compromises their objectives. Everyone advances them.
This is why I believe equitable access moves faster when corporates and philanthropy link arms. When reach, resources and purpose are aligned, impact follows — for artists, audiences and communities alike.
Support Act isn’t a feel-good story. It’s a practical one. Proof that doing good doesn’t need to be complicated, just intentional.
In any high-performing team, success comes from backing the play and trusting each other to execute. In the arts, it’s no different. When partners commit to outcomes that matter, we don’t just support culture, we shape the future of it.
