Talia Mason by Irina Varina

ONION DANCES (Talia Mason): 2017 Fringe review

Talia Mason’s DANCES is a one-woman dance / narrative piece about her Jewish heritage

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CLOSE MUSIC FOR BODIES (Michael Kiley): 2017 Fringe review

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…

Alexandra Tatarsky by Lydia Kincaid3

AMERICANA PSYCHOBABBLE (Alexandra Tatarsky): 2017 Fringe review

Tatarsky’s daring, inventive, rapid-fire wordplay is unlike anything you’ll see on a Philly stage

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BAD ACTIVIST (Humble Mumbles): 2017 Fringe review

The story of a third-wave feminist / lefty peace activist unable to resist her essentially Orientalist fantasies

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TILDA SWINTON ADOPT ME PLEASE (The Greenfield Collective): 2017 Fringe review

A mythical world of secret rituals: special handshakes, dream sharing, playacting the stories of their ancient namesakes

Smoked Trout by Andy Sowers

I HAVE THIS MANY *** (Mariana Catalina // Andy Sowers): 2017 Fringe review

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

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HELLO BLACKOUT (New Paradise Labs): 2017 Fringe review

More engrossing, more alienating, and more disciplined than its predecessor.

nicole shante white, Calli Roche, Shreya Pokharel by Gaciru Matathia

URGENT CARE: A Social Care Experience (The Colored Girls Museum): 2017 Fringe Review

The unifying question for the museum: why would the “ordinary, extraordinary colored girl” care about this?

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EUGÈNE IONESCO’S THE BALD SOPRANO (Idiopathic Ridiculopathy Consortium): 2017 Fringe review

  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…

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The Art of a Show: Creating graphics for an independent theater production

A play with gorgeous graphics for its marketing just looks like it has its shit together. How does that happen?

Photo by Bill Hebert

WITH FLINT AND STEEL (duende): 2016 Fringe review 85

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.

Photo by Luca Del Pia.

JULIUS CAESAR. SPARED PARTS (Romeo Castellucci / Socíetas Raffaello Sanzio): 2016 Fringe review 83

We were fortunate. Apparently, the horse does not always shit, but in our case his entrance precipitated a great outpouring of feces.

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PANDÆMONIUM (Nichole Canuso Dance Company): 2016 Fringe review 42.2

An exploration of divorce and disconnection in the California desert.

Photo by Kate Raines Plate 3 Photography

I FUCKING DARE YOU (Berserker Residents): 2016 Fringe review 31

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

Jenna Horton gets truthy in THE SINCERITY PROJECT. Photo by Jen Cleary.

THE SINCERITY PROJECT (Team Sunshine Performance Corporation): 2016 Fringe review 19.2

THE SINCERITY PROJECT treats sincerity like a destination as intangible as a hyperobject is immeasurable—a destination to approach but never arrive at.

Photo by Jillian Glace

TWO STORIES (Jillian Glace): 2016 Fringe review 23

A fine Fringe premier for choreographer Jillian Glace and her performers.

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BEOWULF/GRENDEL (Renegade): The difficulty of the walking play

The Renegade Company’s BEOWULF/GRENDEL, directed by the multitalented Maura Krause, leads the audience through West Philly’s scenic Mount Moriah Cemetery.

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I’D RATHER CHOKE THAN BE A QUITTER (Sam Tower + Ensemble): Grace versus crushing rage

A multimedia collaboration helmed by choreographer Sam Tower, who created last year’s Fringe hit 901 Nowhere Street.

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LOCAL GIRLS (Azuka): High school rage

In Azuka Theatre’s world premier production of Emma Goidel’s newest play, three young metalheads need to replace the “screamer” in their band before battle of the bands.

Photo by Maria Baranova

EMPLOYEE OF THE YEAR (Fringe): Preteens tell a story of universal significance

“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.