The 2nd production by People’s Light from Wilson’s “Century Cycle”, FENCES is an engaging and profound examination of very human characters dealing with very challenging circumstances,
David Hirson’s riotous comedy in rhyming couplets evokes the farcical Baroque style of Molière while conveying a timeless message about high art versus low art.
FROM OUR LIVING ROOM comprises five original pieces—four duets and one solo—choreographed and performed by the all-female members of the emerging company Birds on a Wire.
Award-winning choreographer and artistic director Christopher Fleming has created a beautiful program of new works to open BalletFleming’s 2014-15 season.
Each of the daring and demanding 14 SEQUENZAS features virtuoso musicians and masterful performances.
Ombelico’s latest al fresco offering, FLIM FLAM PHANTOM SHAM, is a delightful synthesis of traditional Commedia dell’Arte with current Philadelphia references, delivered in Italian and English—or Philly’s local version thereof!—which kept me in stitches throughout the entire all-ages show.
THE BODY LAUTREC is not everyone’s cup of tea: a shockingly hard-core depiction of the depravities and debaucheries of Henri de Toulouse-Lautrec and his art.
The compelling two-act opus captures the historic characters, events, and mood with passion and clarity.
Two original one-hour plays inspired by the life and popular children’s book of Scottish author J.M. Barrie
KILL SHAKESPEARE: LIVE GRAPHIC NOVEL (Revolution Shakespeare and Hear Again Radio Project): Fringe Review 42
Revolution Shakespeare (dedicated to new approaches to the playwright) and Hear Again Radio Project (specializing in the recreation of vintage radio programs) have teamed up for an entertaining presentation of the popular graphic novel series KILL SHAKESPEARE.
THE HUNCHBACK OF NOTRE DAME . . . A MUTE PLAY captures the narrative, message, emotion, and beauty of its literary source without speaking a word
One way to focus on the extraordinary eloquence and drama of Shakespeare’s language is to eliminate all visual distraction, and that is precisely what John Schultz has done in TILL BIRNAM WOOD—a rapid-fire 55-minute adaptation of Macbeth that is performed before a blindfolded audience.
Robin Malan’s iHAMLET, a stripped-down contemporary one-man adaptation of Hamlet, is performed in The Philadelphia Shakespeare Theatre’s Fringe production by one impressive woman. Actor/musician/composer Melissa Dunphy displays a remarkable command of the non-linear script, not once misspeaking a word of her 55-minute solo performance.
Trajal Harrell’s TWENTY LOOKS comes in a selection of lengths and sizes, and although the Presented Fringe version of his solo show runs extra small, at a mere 25 minutes to a 25-person audience (hence the XS in the extended title), you will be reminded that good things come in small packages.
Part performance piece and part group therapy session, the self-devised offering is a soul-baring exposé of the growing pains of real people, in which an all-female ensemble of five creators/performers (Jess Brownell, Nina Giacobbe, Rachel O’Hanlon-Rodriguez, Rae Bradley, and Samantha Rose Schwab) explores the concept of “home” through memorable events from their own personal backgrounds.
Rhrough minimal, absurd dialogue and highly stylized, disjointed movement, the ensemble-devised work evokes the boredom and bad behavior of a privileged vacationing family of film artists and their guests.
PAC’s THE RAPE OF LUCRECE is not only the performance of a lifetime by Dan Hodge, but also a momentous socio-political statement and a stirring call to activism.
Shakespeare meets South Philly in Tribe of Fools’ TWO STREET, a high-energy take on Romeo and Juliet through the perspective of a contemporary gay couple. But here the tale of…