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.
Phindie will provide more Philly Fringe Festival coverage than any publication in the world! Coverage begins with 15 picks from star Phindie writer Deb Miller.
In the first section three-part series, Kathryn Behrman sits down with Walnut artistic director Bernard Havard and other local theater folk to consider the playhouse’s commitment to popular entertainment.
Lately I’ve been thinking about that “worthwhile strategy” in regards to making a living as a theatre artist. Too many of my colleagues can’t afford to get sick, and certainly can’t afford to start a family. An interview with Charlotte Ford (revealing she’s stepping away from theater to go back to school for speech pathology) seems to have sparked a vigorous public debate about how difficult it is to make a living as an artist, and what can be done about it.
“There aren’t enough cocktails to help me understand why I continue to be an actor! This shit is for the birds!”
Thus begins the Facebook entry by Joey, a dancer-actor-singer who played many roles along the U.S. east coast, but recently did not get hired for a new musical.
Philly Performing Artists Discuss their Untenable Careers: Video from the Philadelphia Artists Summit
Josh McIlvain’s interview with Charlotte Ford “The untenable career of a successful Philadelphia theater artist” sparked some soul-searching among Philadelphia performers. They met on June 23rd to discuss.
“It’s really hard to do acting and make a living unless you’re really good—and a Caucasian man.”
Downtown theater company Quince Productions – the punchy, LGBTQ-leaning bunch that puts on GayFest! every August – opens their sixth annual Full House cabaret series this Thursday in its ancestral home, the Red Room at the Society Hill Playhouse, and it’s looking as wicked, delightful and boozy as ever. (Boozy because your ticket includes the price of a drink.)
Director Manon Manavit had not heard of Heinrich von Kleist when she found a copy of his Michael Kohlhaas on a street in Montreal. It’s easy to understand why she was attracted to the text.
Phindie talks to Manon Manavit, a future star of Philadelphia performing arts, before her debut show in the city. She just relocated from Montreal, where she worked with Cirque Du Soleil.
Kate Brennan lit up the Philadelphia stages for years as an actor and producer for BCKSEET Productions. Now NYC-based, she’s back in town this summer for an offbeat theater camp. Phindie asks her about this and her memories of Philly.