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Adelaide Fringe has appointed Canadian arts and culture executive Marc Carnes as its new chief executive, bringing in the former chair of North America's largest fringe festival to lead the world's second-largest open-access arts event into its next phase of growth.
Carnes, who most recently served as CEO of CKUA Radio in Alberta, will commence the role on 1 July 2026, with Tara MacLeod continuing as acting CEO until then.
His appointment follows a global search triggered by the departure of long-serving director Heather Croall, who stepped down in November 2025 after a decade at the helm during which ticket sales grew from 450,000 to more than one million and tourist numbers quadrupled.
Prior to leading CKUA Radio, Carnes chaired the board of the Edmonton International Fringe Theatre Festival, North America's largest fringe festival, giving him direct governance experience in the open-access model that underpins Adelaide Fringe.
His first festival as CEO will be the 2027 Adelaide Fringe, with the 2026 edition running from 20 February to 22 March under interim leadership.
Adelaide Fringe chair Paul Hamra says the board is confident Carnes is the right appointment to build on the festival's momentum.
“The Adelaide Fringe is a special institution and we have been searching very wide for a special leader; someone who could recognise and celebrate the position Fringe has attained and build it further for artists, audiences and venues over the next five years,” says Hamra.
“As CEO, Marc will work closely with Adelaide Fringe’s existing executive team to grow audiences and continue strengthening the festival’s position as a major cultural and economic driver for South Australia and the nation.”
Carnes, who will relocate to Adelaide ahead of his July start date, says the opportunity to lead Adelaide Fringe is one he has not taken lightly.
“I believe passionately in the role the arts have in building communities rich in stories and experiences that bring us together," he says.
"Adelaide Fringe is one of those rare cultural organisations that belongs deeply to its artists, its audiences and its city. To be invited to help steward something of that scale, history and impact is a real privilege.
“I come to this role with enormous admiration and respect for the artists, venues, staff, partners and community who have built Adelaide Fringe into Australia’s biggest arts festival.
"It is an artist-led festival at its heart, and I see the role of CEO as one of custodianship, listening closely, learning deeply and understanding how my experience across arts, culture, tourism and audience development can best serve the people who make the festival what it is.”
In 2025, the festival paid $26.7 million directly to artists and venues across 1,532 shows staged at 575 venues, with 1.066 million tickets sold. Visitors stayed just over a week on average, spending about $4,825 each.
The Honey Pot marketplace, an industry program that connects artists with presenters and promoters, generated more than $6 million in touring deals during the 2025 season, while $1.1 million in grants was distributed to artists and venues and 10,485 disadvantaged attendees were supported through accessibility programs.
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