Phindie writer Michael Fisher introduces his multi-part critical experiment, using the Lantern’s production of ARCADIA as his guinea pig subject.
Nine point five hours, five pieces of theater, ten bicyclists, and no great plan on how we’re gonna eat: that was the format for day two of PHINDIE’S OFFICIAL FRINGE BIKE TOUR.
“Your little ducks,” Leah says, as we look over our shoulders at the line of weaving their way south on 21st, “they’re all in a row.”
Conversations are not always comfortable, but when Colie McClellan had an issue with a Phindie review, she decided to start one.
Phindie is providing more Festival coverage than any other publication, and BETTER!
Every fan of the Philadelphia Fringe Festival has seen Josh McIlvain’s work—even if they haven’t seen his theatrical work. For the past few years Josh has edited the Fringe blog and…
In this special Phindie feature, Holly’s Dead Soldiers alums Douglas Williams and Chris Davis talk about Chris’s new work and his recent trip to Scotland for the world-famous Edinburgh Fringe.
Wanna experience the best of Fringe, but don’t know how? Overwhelmed by the offerings of the Guide? Fearful to take your first taste of Philly’s oldest and largest performance festival and somehow get it wrong? Or else just don’t want to do it alone?
Join Phindie for a one-day Fringe immersion, led by Julius Ferraro—Phindie.com theater editor, journalist, playwright, performer, and veteran fringehopper.
For the second year, Phindie asked local theater writers to vote on the best theatrical work produced in or near the city in the 2013/14 theater season.
Dance writer Lew Whittington gives 10 “moving” picks for the 2014 Fringe Festival
Perennial Fringe favorite Brian Sanders and his dare-devil dance company JUNK have created a provocative new offering for this year’s Festival. Described as a journey “through a fantastical titillating abyss,”…
A backwoods exorcism by a snake-handling preacher, a community-building sleepover play about death, devised theater by dangerous women, and a gallery where live mannequins and their art intersect: we’re hoping the newly-birthed Fringe/Fringe Festival turns out to be as freaky and compelling as its play synopses promise.
In shooting YOU KNOW MY NAME: A DANIEL TALBOTT TRIO, I wanted to capture not only the unique world in which Talbott’s plays occur, but the very different worlds of these three short plays. A kitchen (Break My Face on Your Hand), a public bench (You Know My Name), and a bedroom (What Happened When) become joyous, sinister, hopeful, despairing, or reassuring places as the plays move along and flow into one another.
Katelyn Behrman’s three-part series on the Walnut Street Theatre concludes with a consideration of the Walnut’s place in the changing landscape of Philadelphia theater.
Kyle Cassidy photographs Commonwealth Classic Theatre Company’s production of Tennessee Williams’s THE GLASS MENAGERIE, now onstage at the Off Broad Street Theatre.
“What doesn’t kill me makes a great story later”: Interview with Robert Patrick on the birth of Off-Off-Broadway and 50 years of gay theater in America
Robert Patrick, born into a migrant worker’s family in 1937, wrote many plays, songs, poems and stories. According to the Samuel French script company, he was the most produced playwright in New York City in the 1970s. His two most famous plays are Haunted Host and Kennedy’s Children. He currently lives in L.A. and earns a living writing porn reviews.
Philadelphia’s first and largest LGBTQ theater festival, GayFest! by Quince Productions, returns this August 5-23 to Plays and Players Skinner Studio. Opening this year’s festival is the The Bang Group’s HEAD OVER HEELS, a high energy mix of concert dance, slapstick, and musical theater in a cabaret setting. Artistic director and choreographer David Parker took time with me to offer some insights into the dance and his New York City dance ensemble’s interests in creating the piece.
In the second of her three-part series on the Walnut Street Theatre, Katelyn Behrman looks at how the Walnut puts together its season of popular productions, and considers the opportunities presented by the second stage and rented facilities.