CLOSE MUSIC FOR BODIES is sensual choral performance. Sixty-five of us follow the directions of the performers and position, and re-position, ourselves around the big, open space at the Christ Church…
Tatarsky’s daring, inventive, rapid-fire wordplay is unlike anything you’ll see on a Philly stage
A mythical world of secret rituals: special handshakes, dream sharing, playacting the stories of their ancient namesakes
A dramatization of the Freudian tripartite adapted to contemporary ideals, where a placid, self-realizing id advocates for complete acceptance of the self and indulgence in sexual urges
More engrossing, more alienating, and more disciplined than its predecessor.
The unifying question for the museum: why would the “ordinary, extraordinary colored girl” care about this?
The Bald Soprano always wears her hair in the same style. And The Bald Soprano, written in 1950 by Eugene Ionesco as a “tragedy of language,” is probably the…
A play with gorgeous graphics for its marketing just looks like it has its shit together. How does that happen?
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.
We were fortunate. Apparently, the horse does not always shit, but in our case his entrance precipitated a great outpouring of feces.
An exploration of divorce and disconnection in the California desert.
The two pieces foment a rowdy audience that’s comfortable interacting and even going up on stage to help the chosen one achieve her mission
THE SINCERITY PROJECT treats sincerity like a destination as intangible as a hyperobject is immeasurable—a destination to approach but never arrive at.
A fine Fringe premier for choreographer Jillian Glace and her performers.
The Renegade Company’s BEOWULF/GRENDEL, directed by the multitalented Maura Krause, leads the audience through West Philly’s scenic Mount Moriah Cemetery.
A multimedia collaboration helmed by choreographer Sam Tower, who created last year’s Fringe hit 901 Nowhere Street.
“This is my house,” she says. She raises the other arm about 45 degrees. “This is that game with the sticks.” The arms stay in the air as she continues.