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.

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V to X (GoKash Productions): Clear and present injustice

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

Illustration by Mike Jackson.

THE GOVERNMENT INSPECTOR (IRC): Corruption!

A production that forefronts Gogol’s surprising, desperate, hypnotizing dialogue. Illustration by Mike Jackson.

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#THEREVOLUTION (InterAct): The vapid rebellion

What would happen if a bunch of early-20-something city-dwelling music-video-watching lower-middle-class variously privileged poorish Americans launched a violent revolution against the state?

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GENTLEMEN VOLUNTEERS (Pig Iron): Psychology, trickery, live foley, everything you want

GENTLEMAN VOLUNTEERS displays charm, psychological interest, and fringe sentiment which planted the roots of Pig Iron’s experimentation.

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A PORCH AT THE EDGE OF THE WORLD (Transmissions): Extremist religion and unrequited love

In deep Siberia, Karp Lykov and his grown children encounter their first outsiders in fifty years.

Illustration of Luna Theater's ANIMAL FARM by Mike Jackson. alrightmike.com.

ANIMAL FARM (Luna): From pig to (wo)man, and from (wo)man to pig

Impressive theatricality in an imperfect production of Orwell’s allegory of the Russian Revolution and Stalin’s real-life dystopia.

Scott Sheppard and Matteo Scammell in HOLDEN. Photo by plate3.com.

Holden (George + Co.): Violence in the 21st

In George + Co.’s HOLDEN, J. D. Salinger hasn’t published another book since two assassins blamed his The Catcher in the Rye for their own acts of violence.

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What Theater Can Do that TV Can’t

The success of TV is based on its ability to entertain. Theater must be its own medium. It must say new things, create new forms, eschew entertainment in order to challenge, and let audiences turn on their minds.

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A DOLL’S HOUSE (Jo Strømgren Kompani): 2015 Fringe review 9.1

This DOLL’s HOUSE is human and multifaceted, lighthearted and ironic, narrative with a dancer’s expression of character.

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AFTER THE REHEARSAL / PERSONA (Toneelgroep Amsterdam): 2015 Fringe review 7.1

Toneelgroep’s take on these classic screenplays retains all of the rawness of and cruelty of Bergman’s films.