Fringe Festival

The 2017 Philly Fringe Festival runs September 7-24, 2017. and Phindie is the place for coverage, with previews, interviews with artists, and reviews of more Fringe theater productions than any other publication.

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A STREETCAR NAMED DESIRE (Deep Blue Theatre Collective): 2016 Fringe review 20.1

Deep Blue goes for the jugular with a serious staging of STREETCAR, Tennessee Williams’s beloved, hard, and overheated play

Photo by Jen Cleary

THE SINCERITY PROJECT (Team Sunshine Performance Corporation): 2016 Fringe review 19.1

Uproariously funny, liberatingly bare-assed, and gut-wrenchingly real

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THEN ATHENA (Allentown Public Theatre): 2016 Fringe review 18

A devised piece that addresses the roles of women in combat with both earnestness and humor

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BEFORE I DIE (Tongue & Groove): 2016 Fringe review 17

The talented, quick-witted ensemble cast of comedians are accompanied by a live musician whose witty commentary drives plot forward.

Bedlam Shakespeare-in-Rehab-Acrtress-Elise D'Avella. Photo by Rachel OHanlon Rodrigeuz

BEDLAM: SHAKESPEARE IN REHAB (Manayunk Theatre Company): 2016 Fringe review 16

Welcome to the Asylum! In Shakespeare’s day, thrill seekers had a choice between catching a show at the Globe and viewing the lunatics in Bedlam, the setting for more than…

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WHO WOULD BE KING (Liars and Believers): 2016 Fringe review 15

An ancient story with artful clowning and spacy synth score.

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FEED (Applied Mechanics): 2016 Fringe review 14

Narrative, fiction, performance, and reality collide through the breaking of bread.

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DROWNING OPHELIA (Ensemble Atria & EagerRisk Theater): 2016 Fringe review 13

Jane’s subconscious is in the bathtub, and her name is Ophelia

photo credit: 
Jessica Jackson Tingling and Oliver Tingling of Boogie Down Spring Productions.

A GOOD NIGHTS SLEEP (The Colored Girls Museum): 2016 Fringe review 12

A GOOD NIGHTS SLEEP is about the reclamation of the colored girl’s experience, finding the strength and beauty in it, acknowledging barriers to healing and developing tools for survival and liberation.

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THE SWORD OF THE UNICORN (New Works): 2016 Fringe review 11

A multi-colored, multi-realm reimagining of the hero’s journey as it relates to the never-ending quest of being true to oneself

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IN THE CLEARING (Birds on a Wire): 2016 Fringe review 10

An all girls dance group presents a mysterious dance performance.

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NOTES OF A NATIVE SONG (Stew and Heidi Rodewald): 2016 Fringe review 9

“Won’t you follow me down to Baldwin Country? This ain’t your mama’s Baldwin Country.” The show opens with offhand remarks by Stew, a large black man up front at a…

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Fringe in Sketch: ANIMAL FARM TO TABLE

Sketch artist Chuck Shultz chowed down and recorded what he saw.

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THE CHAIRS (Idiopathic Ridiculopathy Consortium): 2016 Fringe review 8

IRC presents a must-see revival of Eugene Ionesco’s 1952 classic THE CHAIRS, a defining work of the theater of the absurd.

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“Casting call” for the chairs in Ionesco’s THE CHAIRS: Interview with IRC artistic director Tina Brock

The Idiopathic Ridiculopathy Consortium brings Eugene Ionesco’s hilarious, controversial, absurdist classic THE CHAIRS to the 2016 Fringe Festival. We talk to director Tina Brock about the show.

View of the performance, Levée des conflits extended / Suspension of Conflicts Extended in the series, “Musée de la danse: Three Collective Gestures.” October 25, 2013 through October 27, 2013. The Museum of Modern Art, New York. Photographer: Julieta Cervantes. The Museum of Modern Art, New York, NY, U.S.A. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY

LEVÉE DES CONFLITS (Boris Charmatz): 2016 Fringe review 7

Between chaos and synchronicity, individualism and collectiveness, exists the human search for life without conflict.

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ONE DAY OLD (Iraisa Ann Reilly): 2016 Fringe review 6

Drawing on J.M. Barrie’s Peter Pan, the play reflects upon both a quintessentially American experience—immigration—and the universal experience of growing up.

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CELLOPHANE (jenny&john): 2016 Fringe review 5

We are brought face-to-face with the vast Digital Age to consider the implications it has on our cultural conversation—for better or worse.

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ALICE (Aleksandra Berczynski & MBgruparealizacji): 2016 Fringe review 4

Like sad lyrics to a happy beat. this 20-minute one-woman show takes an idiosyncratically personal look at human sadness in its many guises.

It's only in the second half of ANIMAL FARM TO TABLE that the carrots really start flying. Photo by Daniel Kontz.

ANIMAL FARM TO TABLE (Renegade Company): 2016 Fringe review 3

Class. Money. Power: The carrots start flying at the Urban Creators farm collective.