This is a seasoned company that dances with maturity and intent.

The Trenton-based dance company DanceSpora premiered two works at the Fringe Festival.

How do you become a man? A black man? A black African man?

“I am simply here to dance,” says Faustin Linyekula.

In a Philadelphia theater season with an auspicious beginning, this production of MRS. WARREN’S PROFESSION might be the most auspicious of all.

Toby Zinman gives bullet reviews of nine Shakespeare-ish shows in this year’s Fringe.

You won’t get many opportunities to see KING JOHN; you’re unlikely to see one as well-rendered as Revolution Shakespeare’s.

Tristan Tzara called his play THE GAS HEART “the greatest three-act hoax of the century.”

A land where fairy tales take a wicked turn, and the innocent and optimistic stories of happily-ever-after wrought into the harsh realities of life.

Improvisation is an enticing, yet dangerous, approach to performing.

Italian director Romeo Castellucci re-envisions his groundbreaking 1997 production Giulio Cesare as a series of “fragments” rearranged and positioned against each other

WITH FLINT AND STEEL, this year’s Fringe offering by experimental music and dance group duende, consists of seven separate pieces, each by a different choreographer.

Excerpted by kind permission from thINKingDANCE. In FORE-IGN/ FORE-OUT, four choreographers explore states of liminality—of how to be between things. In Matriz, Evalina Carbonell uses a stage-spanning black banner and fluid…

We were fortunate. Apparently, the horse does not always shit, but in our case his entrance precipitated a great outpouring of feces.

A young girl attempts suicide and wakes up trapped in a cosmic vaudevillian game show that she must win in order to enter the void of death.

Aaron Posner’s hilarious reinvention of The Seagull captures all of Chekhov’s laughable characters, absurdities of life, and self-references to the theater from a 21st-century perspective.

An autobiographical solo dance work tracing how a family history in a Japanese Internment Camp has affected succeeding generations.

Playwright Patrick Ross, who gives us a history of sexism, quotes and references to literature and mythology, and plenty of Hawthorne in a smartly woven one-woman show

THE ONE, THE OTHER ONE, & THE MANY reflected an everlasting struggle, a universal dynamic to shift parochial perspectives through time and evolving relationships

the rich layering of performance capacity matched the layers of movement space that Leah Stein’s PORTAL attended to