IRVING BERLIN’S HOLIDAY INN takes us back to a kinder, gentler time when people could burst into song for no reason whatsoever.
Publicity for the show focuses on the question, “What is beauty?,” but the show itself goes much deeper.
CLOSE YOUR LEGS, HONEY — A NEW MUSICAL (PHIT/Hannah Parke & Shamus Hunter McCarty): 2018 Fringe review
CLOSE YOUR LEGS, HONEY is a cheery musical tackling the difficult subject of societal expectations for women and the shit women have to put up with.
This celebration of all things Philly and silly gets the audience strutting in their seats and laughing as they leave. Shakespeare it’s not, but Ogborn and the producers hope it will be adopted as a Philadelphia staple with a life of its own.
A revitalized opera company offering musical performances in Philly in the summer is a good thing. But maybe some things just aren’t funny anymore, like teen suicide, gay jokes, and trying to blow up a school.
Is it adaptations of familiar works, or is there another, more intimate kind of musical that can be done without gadgets and effects and superheroes flying across the stage?
If Jesus were to appear today, what form would he take? A loving son of God, a Marxist activist, or a corporate exec who wants everyone to be rich?
Whether you were a fan of The Honeymooners, or have never seen more than a clip on YouTube, this homage to The Great One reminds us of what comedy used to be like.
EVERYTHING ONE IN THE DISC OF THE SUN (Royal Osiris Karaoke Ensemble/FringeArts): Letting go of expectations and having fun
As a child of the sixties who used to go to “happenings” (our version of Fringe) and a devotee of several self-help modalities, I knew I had to go to EVERYTHING ONE IN THE DISC OF THE SUN, .
In a time-bending script that requires each of the actors to play multiple roles across the last century or so, “Watson”, played in all his guises by Griffin Stanton-Ameisen, is the force that ties them all together.
WOMEN UN PLUGGED is about women and what they say to each other when they think no one is looking.
This is an opera about monsters—the Frankenstein of the title, a monster we know well from films if not from literature, and the ways in which people become monsters.
What makes film different from theater is that film is fixed forever, performances and lines repeating endlessly year after year, while theater has the ability to surprise us. And what makes theater different from life is that theater is scripted and life is random, unexpected, not planned out ahead of time. And what makes Philadelphia’s FringeArts Festival fun is that it delights in performances that confound expectations.
SOME ARE PEOPLE is about summer people. Those people who come into our lives for a time and then go back to wherever they came from, leaving us changed forever.