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Dinner Theater, Recooked

Irreverent local performers present two strange and sumptuous evenings of independent theater and comedy alongside food and cocktails

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GROUNDED (InterAct): The killing screens

GROUNDED is a tale for our times: war is most hellish when it resembles office life, reality is most profound rendered in pixels.

Paul Kuhn's scenic design for Curio's production of The Birds earned him  a well-deserved and long-overdue nomination.

THE BIRDS (Curio): Terror takes flight

This adaptation by master Irish playwright Conor McPherson finds its horror in the claustrophobic relationships between its four characters

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Thomas Choinacky Says There’s No Hope

The founder of SoLow Fest talks about his latest work, HOPELESSNESS, performed one night only October 8.

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Philly’s Kinda Cool episode 2.1: We back!

Would Sebastian would rather sleep with Hillary or Donald, what the hell his Fringe show was about, and what’s the worst way to cook an omelette?

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Drone Warfare Hits Home: Kittson O’Neill on InterAct’s GROUNDED

Kittson O’Neill plays a fighter pilot and expectant mother living in a desert suburb in the U.S. Southwest, controlling weapons which kill people in a distant foreign desert.

Photo by Joanna Austin/ AustinArt.org.

HOW WE GOT ON (Azuka): A rapper’s delight straight outta the suburbs

Idris Goodwin’s play displays the same playful humor, poetic intelligence, and human insights as the early hip hop music it salutes.

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RIZZO (PTC): A larger-than-life life onstage

An entertaining work about a compelling character, RIZZO displays pitfalls common to biographical drama.

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KING JOHN (Revolution Shakespeare): 2016 Fringe review 88

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

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SCARLETT LETTERS (Ross & Diggs): 2016 Fringe review 81

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

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The Bastard of KING JOHN: Carlo Campbell on Revolution Shakespeare Fringe offering

Rev Shakes’ annual mainstage productions begin the final weekend of the Fringe and showcase a sensibility at home in the festival

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OMELETTO (Ombelico Mask Ensemble): 2016 Fringe review 77

It’s “like Hamlet”, with all the key plot points, “only scrambled” in a light-hearted Commedia dell’arte of masks, jokes, music, and puppets.

Credit: Will Drinker

EXPLICIT FEMALE (Here[begin] Dance): 2016 Fringe review 73

Zornitsa Stoyanova asks us to consider the female body as embodiment of generations of ancestral procreation, a host for the alien parasites of new generations, and—through a glass, darkly—as a sexual object.

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DOUBT, A PARABLE (Way Off Broad St. Theater Company): 2016 Fringe review 64

Way Off Broad St. Theater Company justify the festival inclusion of this modern classic with a site-specific setting in a chapel of the Arch Street United Methodist Church and a solid take on an excellent play.

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DUTCH MASTERS (AMH Productions): 2016 Fringe review 60

AMH Productions finds the humor and poignancy in Keller’s quietly affecting consideration of race, class, and human connection

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WROUGHTLAND (Gunnar Montana): 2016 Fringe review 55

Gunar Montana’s choreography is seriously energetic, more downright sexual than subtly sensual.

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BIRDIE’S PIT STOP (On the Rocks): 2016 Fringe review 53

Haygen Brice Walker doesn’t aim for subtlety in the roasting humor of both Millennial political correctness and stereotypical southern backwardness, but he finds rich veins of comedy in his broad mine

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ARTSHIP OLYMPIA (Philadelphia Sculptors): 2016 Fringe review 39

Museums are always looking for ideas to bring new visitors to aging attractions, and in ARTSHIP OLYMPIA Independence Seaport Museum has found a charming, fringey way.

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MAKING THE FRINGE GREAT AGAIN (The Waitstaff): 2016 Fringe review 33

Fringe is like Christmas without all the bullshit and not just because of all the hanging balls you see.

Pictured: Jessica Otterbine. Photo credit: Rebecca Cureton.

CRAVE (Svaha Theatre): 2016 Fringe review 28

Depression and mental collapse run through Sarah Kane’s CRAVE, an indictment and exploration of love presented in a series of late-night showings.