Photo by Mark Garvin

RED (Walnut): Talking Rothko

Rothko’s and his young assistant’s dialogue on art reflects the way art is in conversation with itself, but it doesn’t manage to capture Mark Rothko as a fascinating and challenging character.

Emily R. Johnson as Amy in Inis Nua’s SPINE (Photo credit: Katie Reing)

SPINE (Inis Nua): Beauty in the library stacks

Dramatizing the effects of public library closings doesn’t sound like the most engaging of topics, but playwright Clara Brennan weaves a beautiful story about the importance of seeing the people behind numbers and statistics.

Adam Altman, Jenna Kuerzi, and Luke Moyer in DOGFALL. Photo by josiahandstephphotography

DOGFALL (Iron Age): Let slip the dogs of war

DOGFALL looks good and has good intentions, but as everyone aware of military history knows, high aspirations don’t always lead to success.

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GOD BLESS BASEBALL (FringeArts/Toshiki Okada): Explaining the rules of the game

Toshiki Okada’s new play is an allegorically complex performance about baseball that isn’t about baseball.

Henry Clarke, Matt Zambrano, and Ron Menzel in Philadelphia Theatre Company's BASKERVILLE: A SHERLOCK HOLMES MYSTERY (Photo credit: Mark Garvin)

BASKERVILLE (PTC): The adventure of the omnipresent detective

Ken Ludwig’s idea of turning a Sherlock Holmes story into a comedy isn’t groundbreaking, which means the execution of the idea needs to be really good to stand out

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A PORCH AT THE EDGE OF THE WORLD (Transmissions): The magic happens in magical realism

A magical realism play based on a true story could easily be a disaster, but Transmissios Theatre makes the magic happen.

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LIGHTS RISE ON GRACE (Azuka): Cultural identities in the stage lights

Three cleverly interconnected survival stories about the complicated nature of life, love, and family.

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DISGRACED (PTC): Talking politics, religion, and culture

Ayad Akhtar’s Pulitzer-winning play is a conversational piece with a high-paced ending and plenty of thought-provoking ideas.

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ANTIGONE (Wilma): Spectacular, but a spectacular failure

The man behind the 2013 Fringe Festival hit AJAX, The Madness directs his version of ANTIGONE for the Wilma Theater.

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HOOKED (Inis Nua): A pub play in a pub

Entertaining for anyone looking for a fun and a little different night at the pub, or just an excuse to spend the night at the pub.

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THE CHILDREN’S HOUR (EgoPo): A superbly acted historical anecdote

EgoPo Classic Theater continues its foray into classics of American drama with a focus on female playwrights.

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THE CART OF LOVE/EL CARRO DEL AMOR (Ana María Ruimonte/Owlsong Productions): Fringe review 52

An ambitious art project that seeks to combine multimedia, puppeteering, a baroque chamber orchestra and the singing of mezzo-soprano Ana María Ruimonte in a bilingual presentation.

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THE BORDER (Jo Strømgren Kompani): 2015 Fringe review 32.2

THE BORDER delivers on all the essential aspects of Scandinavian life: there’s dry humor, a self-deprecating take on one’s life and, of course, melancholic dance music.

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SLAUGHTER/ETTE (Butter & Serve): 2015 Fringe review 20

In this parody of The Bachelor, reality television contestants hope to score themselves an eligible bachelor by any means necessary.

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A DOLL’S HOUSE (Jo Strømgren Kompani): 2015 Fringe review 9.2

Jo Strømgren Kompani boldly promise to deliver the essence of the celebrated play despite making ambitious changes to it.

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AFTER THE REHEARSAL / PESONA (Toneelgroep Amsterdam): 2015 Fringe review 7.2

Ivo van Hove’s reimagining of the Bergman classics is full of visual and interpretative ideas, but lacks overarching purpose.

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I PROMISED MYSELF TO LIVE FASTER (Pig Iron): 60-second review

An absurd sci-fi epic with countless phallic symbols and absolutely no sense of “too much”. What more could you ask for?

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BROWNSVILLE SONG (B-SIDE FOR TRAY) (PTC/Long Wharf): Telling an urban tragedy

An admirable attempt to address the contemporary and timely tragedy of urban violence that doesn’t quite manage to ring true.

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NOW NOW OH NOW (Rude Mechanicals): Role-playing and improv combine

The idea of combining improv with role-playing works very well since both rely on improvisation within certain parameters and they’re also both just a lot of fun.

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THE RAPE OF LUCRECE (Philadelphia Artists’ Collective): 60-second review

Dan Hodge’s one-man performance of Shakespeare’s poem RAPE OF LUCRECE is back! And it is not to be missed (again).