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.
While most political theater in Philly is unfortunately limp, V TO X presents a clear and despicable injustice, and does so with real, emotionally complex characters
GENTLEMAN VOLUNTEERS displays charm, psychological interest, and fringe sentiment which planted the roots of Pig Iron’s experimentation.
In deep Siberia, Karp Lykov and his grown children encounter their first outsiders in fifty years.
Impressive theatricality in an imperfect production of Orwell’s allegory of the Russian Revolution and Stalin’s real-life dystopia.
This DOLL’s HOUSE is human and multifaceted, lighthearted and ironic, narrative with a dancer’s expression of character.