In this special Phindie feature, Chris interviews Doug about safe spaces, role-playing, and the playwriting process.
Mike Durkin’s 10 Fringe Picks: Fringe-tastic and great-image choices from The Renegade Company director
Mike breaks down his picks into two categories: Fringe-tastic are those that embrace the festival, try new ways to story-tell and create an exciting audience experience. The Guide Image picks are picked solely on their image in the guide,
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…
Now in its 18th year, the Philadelphia Fringe Festival has changed a lot since its early days. Once a small weeklong Old City event, with shows and happenings across the…
Sometimes, the best thing you’ll see in a Fringe Festival will be an unexpected delight at the FREE late night cabaret. (Last years highlight: Greg Giovanni’s impromptu story about his…
Some contemporary choreographers prefer not to explain, in concrete terms, what they intend their choreography to mean, but Trajal Harrell is happy not only to talk about his dance works, but also his creative process. In a phone interview from Berlin earlier this month, Harrell delved into the various aspects of his dance-theater opus Antigone Sr. / Twenty Looks or Paris is Burning at the Judson Church (L), before its opening as one of the centerpiece shows at 2014 FringeArts.
Phindie spoke to Colie McClellan about her Fringe show THEY CALL ME ARETHUSA, a story of intimate partner violence interweaved with Greek mythology and Southern folklore.
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.
The Renegade Company presents a new work, The Hunchback of Notre Dame…A Mute Play, as its offering for the 2014 Philadelphia Fringe Festival.
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.
Geoff Sobelle’s The Object Lesson, which premiered at the 2013 Philadelphia Fringe Festival, is the winner of the 2014 Carol Tambor Best of Edinburgh award.
Dance writer Lew Whittington gives 10 “moving” picks for the 2014 Fringe Festival
Plays and Players Theatre is host to x shows in this year’s Philadelphia Fringe Festival and the upstairs bar is a regular after-show spot for Fringe performers, so Daniel Student, artistic director of the resident theater company, has his finger on the festival pulse. Daniel told Phindie what he’s looking forward to this year, at P&P and beyond.
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,”…
Gunnar Montana rises: Interview with the experimental Fringe stalwart about his show RESURRECTION ROOM
Philadelphia artist and choreographer Gunnar Montana is no stranger to the Fringe Festival. Since his show ‘RUB’ debuted in 2012, the seriously experimental Montana has brought some of the most…
Playwright Douglas Williams collaborated on a stand-out Fringe hit of 2013, Holly’s Dead Soldiers Doug shared five picks the 2014 Fest.
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.
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.
RED-EYE TO HAVRE DE GRACE (Lucidity Suitcase Intercontinental): New York Theatre Workshop sees a reshaped Philly Fringe hit
I have taken the train up from Philadelphia to the New York Theatre Workshop to see how RED-EYE to HAVRE de GRACE has fared since I last saw it. I had discovered it in the Philadelphia Live Arts workshop production in 2005. Between that iteration and the world premiere at Philadelphia Fringe Festival in 2012, an evolutionary process took place.