PERICLES (Die Cast): 2017 Fringe review

Jacobean literature and Shakespearean drama are at their best when they’re steeped in the depraved, vengeful affairs of nobility, and rooted in mythos. The complex, meandering tale of PERICLES depicts…

THIS WONDERFUL LIFE (Act II): Every time a bell rings…

Tony Braithwaite re-enacts a holiday film classic in Act II Playhouse’s THIS WONDERFUL LIFE.

BREATHE SMOKE (Orbiter 3): These are times of change

Williams avoids the metatheatrics associated with plays about performance for an inquiry into painful transitions we all must undergo.

THE LEGEND OF GEORGIA MCBRIDE (Arden): “Your First Shade!”

Dito van Reigersberg in a new drag persona steals the spotlight in this riotuous, fierce production.

THE GAS HEART (Once More Theatre): 2016 Fringe review 87

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

FOUR MINUTE BOOTH (Gatto + Hirano): 2016 Fringe review 75

Four minutes of prolonged eye contact can incur a boost of oxytocin, a chemical that decreases stress and instills positive emotions.

HAPPY YUMMY CHICKEN (Love Drunk Life): 2016 Fringe review 70

Sincere, amusing, and an absolute treat (and inside joke) for artmakers

AN EVENING WITH MISTER JOHN (John Francisco/Mister John’s Music): 2016 Fringe review 51

BYOB elementary school music class: A PARTY WITH MISTER JOHN is the evening out you didn’t know you needed.

AN OBVIOUSLY FOGGOT (Poison Apple Initiative): 2016 Fringe review 50

Sometimes brutal, but always on point, AN OBVIOUSLY FOGGOT is the explosive, vibrant queer play we’ve been waiting for in this year’s festival.

SHAKESPEARE @ THE BAR: THE TAMING OF THE SHREW (Margo Jones Syndicate): 2016 Fringe review 43

The Bard, no longer relegated to elite theatrical institutions, has found his way to a popular University City bar.

ASHES OF A DEAD PHILOSOPHY (Forgotten Lore Theatre Company): 2016 Fringe review 41

Edgar Allen Poe’s macabre imagination manifests itself through Forgotten Lore Theatre Company’s ASHES OF A DEAD PHILOSOPHY. This promenade theatre installment occupies a room in a Port Richmond warehouse. Director…

SHADOW HOUSE (Brenna Geffers and Philadelphia Opera Collective): 2016 Fringe review 2

This site-specific installation unravels the layers of emotion and humanity that the historic Powel House contains

HARBOR (Quince): A house of mirth

The second play in this year’s GayFest expertly navigates between comedy and tragedy.

An Interview with Morriah Aleese Young, Creator of BUILDING A WORLD, BUT BUILDING A WORLD FOR WOMEN

We sat down with Morriah to discuss her utopian artscape, feminism, boob-themed carnival games, and Beyonce.

THE JAWS PROJECT (Robert Daponte, Mary Tuomaney, Sam Henderson): SoLow review

The ensemble’s naturalistic performances and fast-paced dialogue create a very funny play, and the extremely minimal production elements and do-it-yourself approach to theater makes the audience an intrinsic part of the show.

UNDERGROUND RAILROAD GAME (FringeArts/ Lightning Rod Special): The safe word is “Sojourner”

The most talked-about play from the 2015 Fringe is revived in an equally stellar production at FringeArts.

MOTH (Azuka): Another teen angst drama

While its opening moments certainly intrigue and amuse, MOTH loses steam as it chugs along.

SMOKE (Theatre Exile): Sexy but unsettling

Kim Davies’s SMOKE is a dangerous experiment in sexual politics In the taboo world of kink parties.

THE SISTERHOOD (Mauckingbird): Queering Moliere

It doesn’t take a Moliere scholar to enjoy these zany characters, brilliantly brought to life by the ensemble.

EXIT STRATEGY (PTC): All due respect

Holter’s play calls out and subverts the “inspirational white teacher” motif in popular culture because EXIT STRATEGY avoids the Hollywoodization of the decay of America’s public school system.