As it approaches its 10th anniversary, the Philadelphia Live Arts Festival and Philly Fringe is losing some familiar faces.

First, the festivals' external relations director of seven years, Sarah Anton, e-mailed to say she was leaving to take what she called "an overdue break." Then came an e-mail from founding organizer Deborah Block, Live Arts/Fringe producing director Nick Stuccio's right-hand woman and program director. Block's message said the festivals would incorporate "more multiyear planning" and that Stuccio would oversee programming choices, eliminating the position of program director and assistant program director. Block and assistant program director Sara Madden, who'd been with the festivals for six years, would leave the organization by the end of 2005.

"The organization will no longer be taking formal submissions; if you are an artist you will receive an e-mail shortly which will update you on the Live Arts and Philly Fringe," stated Block's e-mail.

What?

"This was Nick's decision in how to restructure the programming," says Block about Stuccio's decision to let her go. She's discussing the situation while running between breakfast at Sabrina's and rehearsals for Eternal Spiral Project's production of Patty Red Pants at the Adrienne, a show she's directing. "Nick wanted to oversee more, to be more hands-on across the board."

"I wanted the freedom to work with more folks," says Stuccio, who hopes to attract new curators, inside and outside Philadelphia. "It has nothing to do with Deborah. We want to be able to do more — more with more artists, with the shows we have — which is why we went from a hectic schedule of a hundred shows to thirty and hopefully, next year, even less," says Stuccio of the Live Arts portion. "We want to maximize each show's potential — longer runs, more ancillary events."

Stuccio points out that Block's role was more important when the festival did cast such a wide net, sifting through 500 artists and venues. When the split occurred between Live Arts and the more self-sufficient Fringe, Stuccio took over the lion's share of the Live Arts programming.

Nothing has changed between the two as friends or as artists. There were no arguments, flying fists. There'll be no lingering bitterness. Both say as much.

"I don't take this personally," says Block, who says she's as saddened as Stuccio by the switch. (Madden could not be reached for comment.) "I'm concerned that Nick is taking on more than he knows. But that's the decision made where programming is concerned. The festival will change."

Perhaps it has to. "When the Kimmel starts bringing in the likes of Kiki & Herb, acts that we used to corner the market on, you know you have to change," says Stuccio.

Block feels the change Stuccio seeks — outside curators, new young influences, other points of view — will change the composition. That's what Stuccio wants. "I don't have expertise in a lot of places," says Stuccio. "But I've met people more inside the fields of visual arts and music — for instance — than we are." Though Stuccio will not say who that is ("too close, too soon," he says), it is those types of curators that he wants to work with as he oversees the next seasons.

As for Anton, it was simply a break she needed and not a lost job. She sees the changes within as necessary and positive for the Live Arts fest's growth. "My situation's different than Deb's since they'll still have marketing," says Anton. "But when a lot of long-term people leave at the same time, it could be a very good time for new development. That's evolution."

These departures come after a few years of changes for the festivals — the split into Live Arts and Fringe, the increased use of venues outside of Old City — and the word (confirmed by Block and Stuccio) that attendance this year was down from last year. Block doesn't think this year's drop in attendees had much to do with the programming. Full numbers and a complete market analysis are still forthcoming. Even so, Block claims that Stuccio made most of 2005's programming choices, an assessment Stuccio agrees with. "That trajectory, where Nick started doing more programming, occurred prior to this festival," says Block.

Block may have future relationships with the festival on a "project-by-project basis," with movement and straight theater events that she had little time for while Fringe-ing. Stuccio says he certainly hopes so.

"One of the things I'm saddened by is the fact that I won't be [a part] of this festival in the same way," says Block. "I feel like it's strengthened this community. I'm just happy to be working in a community that has become strong because of the Fringe."