Anyone who says that Philadelphia is provincial hasn’t attended the annual Philadelphia Fringe Festival. Here’s the latest sampling of shows, performances, playwrights, and artists from around the world. Phindie writer…
WHAT I LEARNED ABOUT OUTER SPACE (Pennsylvania Ballet, Curtis Institute of Music, FringeArts): Fringe Review 14
If dance is a language, it is spoken in a variety of accents. With WHAT I LEARNED ABOUT OUTER SPACE, FringeArts commissioning three contemporary choreographers—Zoe Scofield, Georg Reischl, and Itamar Serussi—to create pieces on PA Ballet dancers.
This year’s Fringe offering by one of Philadelphia’s most consistently impressive young collectives transports us through a maritime dreamscape of sailors and pirates, shipwrecks and skeletons, sea shanties and sea creatures, as two children drift into a fitful sleep filled with the imagery of bedtime stories and seafaring tales
This love story, full of gags, comedic misunderstandings and lotsa heart, encompasses two smitten gay mummers, family devotion, and mummer-love.
In THEY CALL ME ARETHUSA, Southern-tinged Greek myths tie together documentary theater-style interviews reminiscent of Anna Deavere Smith’s one-woman shows.
Staging a Happening used to be straightforward. To jangle the audience out of the role of The Observer, you redefined art from what-I-the-Artist-do-up-here into what-is-happening-between-you-and-me. You and the audience would…
Each Fringe, the Pig Iron Theatre Company show is one of the most highly anticipated. This year’s offering, 99 BREAKUPS, may be untidy and inconsistent but it’s already almost completely sold out.
HBO After Dark meets Bunraku-style puppetry meets documentary theater in Laurencio Carlos Ruiz’s INCONGRUOUS. The piece is constructed of six short stream-of-conscious monologues from six characters who are dramatizations of real-life…
Director Tina Brock brings spot-on casting, lightning-quick pacing, and non-stop hysteria (of both the panicked and hilarious varieties) to Idiopathic Ridiculopathy Consortium’s FringeArts production of Eugène Ionesco’s RHINOCEROS. The devastating consequences of mindless conformity, social apathy, and turning a blind eye to a growing threat are the important themes of the darkly comic Theater of the Absurd masterpiece.
As indicated by Phindie’s 2014 Critics’ Awards, the Philadelphia Artists’ Collective is one of the most consistently excellent independent theater companies in the city. Their last few shows (Creditors [Fringe…
What makes film different from theater is that film is fixed forever, performances and lines repeating endlessly year after year, while theater has the ability to surprise us. And what makes theater different from life is that theater is scripted and life is random, unexpected, not planned out ahead of time. And what makes Philadelphia’s FringeArts Festival fun is that it delights in performances that confound expectations.
Aleksandra Berczynski once again brings a short, delightfully self-indulgent mono-drama to Fringe audiences.
Have you ever been caught between two conflicting emotions at the same time? Have those ambivalent feelings left you hanging, unable to decide what to think or how to act? Have you turned to your most primal impulses to figure out who you are and where you’re going? Baring body and soul, Brian Sanders’ JUNK explores the psychology and physicality of uncertainty and transition in SUSPENDED.
Phindie is providing more Festival coverage than any other publication, and BETTER!
Alan Ayckbourn’s inventive rom-com about failing and budding mid-life relationships in suburban London is that the play (or more accurately, the first volume of the playwright’s original two-volume work that is performed here) offers sixteen plot options and eight different endings. And for the first time in its production history, 1812 shines the spotlight on random members of the audience to decide spontaneously which path the characters should take as they reach a series of crossroads in their lives.
Part of an ongoing international tour, FringeArts’ 13-performance engagement of White Rabbit, Red Rabbit follows the playwright’s rules: A script waits in a sealed envelope. ach night, a different actor steps on stage and opens the envelope, reading the script aloud for the first—and last—time.
Theater writer Jessica Foley is seeing 20 Fringe plays in 20 days. Why is she starting with Ionesco’s Rhinoceros?