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.
Idris Goodwin’s play displays the same playful humor, poetic intelligence, and human insights as the early hip hop music it salutes.
You won’t get many opportunities to see KING JOHN; you’re unlikely to see one as well-rendered as Revolution Shakespeare’s.
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
Rev Shakes’ annual mainstage productions begin the final weekend of the Fringe and showcase a sensibility at home in the festival
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.
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.
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.
AMH Productions finds the humor and poignancy in Keller’s quietly affecting consideration of race, class, and human connection
Gunar Montana’s choreography is seriously energetic, more downright sexual than subtly sensual.
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
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.
Fringe is like Christmas without all the bullshit and not just because of all the hanging balls you see.