Phindie talked to Tamanya Garza, a longtime leader of the Philadelphia Latino theater community and director of EL NOGALAR, part of the three-play 30/30 series exploring Latino theater.
Philadelphia’s theater scene is better than ever—haven’t you heard? But so few of its practitioners can eke out a living wage from it. This interview Charlotte Ford takes a serious look at how poor the health of the theater industry is in this city.
In ALWAYS COMING SOON: THE FUTURE, BRAT Productions takes another look at what the future holds, and the auguries are not pretty: Derelict clowns, aggressive barkers, and obscene control culture. But THE FUTURE is funny and fun: It’s another of the entertaining rock cabarets which the company has launched in recent years,
The fault, dear Brutus, Act III: Makoto Hirano interviews Lantern AD Charles McMahon about “Super Racist” Julius Caesar
Makoto Hirano asks Lantern artistic director Charles McMahon some tough questions about the “Super Racist” Julius Caesar. And a clearly contrite McMahon does his best to explain the process that lead to the company’s misguided choices.
Together with collaborator Nick Gillette, Ben Grinberg founded Almanac Dance Circus Theatre to offer production of his unique brand of acrobatic theater. Almanac’s inaugural show, Communitas, launches this May 22-24 at Christ Church Neighborhood House. Phindie asked Ben a few questions about the show and his new company.
Adrienne Mackey, 32, is the artistic director of Swim Pony Performing Arts, a performing arts company that prides itself on presenting work that is “loud, strange, and never seen before on earth.”
Phindie looks at tax returns for local theaters to see how much they brought in from what sources. We also look at who the best paid employee was for each “non-profit”.
A typical concert dance performance does not usually conjure up thoughts of social justice and governmental reform. At first glance, dance and politics might not seem to go together. That is not to say that the art form is entirely apolitical – different genres of art can certainly serve as a persuasive medium for declaring political statements. From a historical perspective, analysis of the arts can be used to study social change and political reform, and dance is no exception to this.
In shooting Richard Greenberg’s THREE DAYS OF RAIN, my first photographic challenge was to capture the unique structure of the play: the first act is set in 1995 and involves a brother/sister and their old friend – the son of their father’s architecture partner and oldest friend. In Act II, the three actors play the parents of their Act I characters. So it was a dual challenge to photograph basically two casts instead of one, and to try and paint a visual portrait of what is both similar and different between each character and his/her parent, and to portray the look of two very different decades.
My mother tells a story about a time when I was young—3-years-old or 4—and I was trying desperately to get the swing I was seated on moving. My little legs kicked and kicked but I stayed motionless. After a minute or two, an adult came over and gave me a push and that’s all it took. I caught the momentum and I was swinging! As she tells it, I turned to the little boy on the swing next to mine and exclaimed in a giddy, high-pitched voice “I was getting so frustrated! Were you getting frustrated, too, Brooksie? I was getting so frustrated!”
Writing this play has been hard. It feels like squinting into the distance at an object that I think I should be identifiable but is just too blurry. Luckily, I have a cohort on this trek. If you met Lena (Barnard) and I, it would feel a lot like an episode of Gilmore Girls or the West Wing. We talk over each other and make obscure references and laugh at inside jokes that no one else gets. Being around Lena makes me feel entirely secure. I can be myself with her. I like to think the feeling is mutual. Who else will get all her Julie Andrews references?
On March 1, White Pines Productions, which had been without a headquarters since its displacement from historic Elstowe Manor in 2013 (read about the displacement here), happily relocated back to…
“Will it be in yellow face,” my friend asked when I told him about Lantern Theater Company’s decision to stage Shakespeare’s Julius Caesar in feudal Japan, when what the meant was “in kimonos with some Japanese screens and music” seemed somehow culturally tone deaf.
On their website, Team Sunshine Performance Corporation calls themselves “an unstoppable force for good.” Among other things, they love play fighting and projects that sound insane. In that vein is their current collaboration with Shakespeare in Clark Park, HENRY IV: YOUR PRINCE AND MINE.
Photographer Kyle Cassidy is a Philadelphia treasure. He has been documenting American culture since the 1990s, photographing goths, punks, cutters, politicians, metalheads, dominatrices, scholars, and alternative fashion, in addition to…
On the Universality of Shakespeare: Roman History through a Shoji Screen in the Lantern’s THE TRAGEDY OF JULIUS CAESAR
Director Charles McMahon, founding artistic director of the Lantern Theater Company, asserts that all of Shakespeare’s plays, whenever or wherever they’re set, are in fact observations about contemporary England. By shifting the locales to places outside of his homeland.
The performance spaces which have made Kensington their home (Walking Fish Theatre, Hella Fresh, Mascher Space, and fidgetspace) are remote, both financially and physically, from the city, yet still close enough to converse artistically with downtown venues and even to attract funding.