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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THE INSTITUTE FOR RELATIVITY STUDIES (Brian Shapiro Presents): 2016 Fringe review 37

Comedy for people who want to have a little extra to think about after the show

Love, Pasodoble style. Photo by Michael Ermilio.
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THE 7-PERSON CHAIR PYRAMID HIGH WIRE ACT (Der Vorfuhreffekt Theatre): 2016 Fringe review 35

A Smokey Robinson-loving yeti aims to win a dance contest and a randomly chosen audience member delivers a love letter to the electromagnetic spectrum on behalf of a bat.

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THE CHILDREN OF EDGAR AND NINA (Jarrett McCreary and Bridget Reynolds) 2016 Fringe review 34

To move towards one another through the “sadness and pain of blues and seas.”

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MAKING THE FRINGE GREAT AGAIN (The Waitstaff): 2016 Fringe review 33

Fringe is like Christmas without all the bullshit and not just because of all the hanging balls you see.

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ANTIHERO (Tribe of Fools): 2016 Fringe review 32.1

Tribe of Fools returns to Fringe with a satirical look at the culture of comic book heroes.

Photo by Kate Raines Plate 3 Photography

I FUCKING DARE YOU (Berserker Residents): 2016 Fringe review 31

The two pieces foment a rowdy audience that’s comfortable interacting and even going up on stage to help the chosen one achieve her mission

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CITIZEN (Reggie Wilson/Fist and Heel Performance Group): 2016 Fringe review 30

Wilson and his dancers beautifully articulate humankind’s desire to belong.

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A Little Bird Who Fucks Everything Up: Interview with Haygen Brice Walker, the new enfant terrible of Philadelphia

Henrik Eger talks to Fringe playwright Haygen Brice Walker of BIRDIE’S PIT STOP (AND THE TRIBE OF QUEERS WHO FUCKED EVERYTHING UP).

Jenna Horton gets truthy in THE SINCERITY PROJECT. Photo by Jen Cleary.

THE SINCERITY PROJECT (Team Sunshine Performance Corporation): 2016 Fringe review 19.2

THE SINCERITY PROJECT treats sincerity like a destination as intangible as a hyperobject is immeasurable—a destination to approach but never arrive at.

Photo: Jorge Cortez

THE SOUNDPROOF ROOM (The Soundproof Room): 2016 Fringe review 29

If upon arrival it feels as though you’ve stumbled into a new age-y meet-up, that’s because in a way it is

Pictured: Jessica Otterbine. Photo credit: Rebecca Cureton.

CRAVE (Svaha Theatre): 2016 Fringe review 28

Depression and mental collapse run through Sarah Kane’s CRAVE, an indictment and exploration of love presented in a series of late-night showings.

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PANGAEA: A Folk Opera (Hum’n’bards): 2016 Fringe review 27

PANGAEA: A FOLK OPERA doesn’t seem to ask a question, but gives a heartfelt answer

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REALITY CHECK (ETC Theater): 2016 Fringe review 26

Not without its own brand of social commentary, but mainly it’s just one damn good time

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THEY’LL BE CALLIN’ US WITCHES (Queen Mab’s Men): 2016 Fringe review 25

Five wicked young women flavor this theatrical piece like a craft brew.

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A STREETCAR NAMED DESIRE (Deep Blue Theatre Collective): 2016 Fringe review 20.2

Upon entering the MAAS Space, with it’s exposed beams and brick walls, and wooden floors, the very sensation of being engulfed in 1940s New Orleans in summer ensues. An ensemble…

Photo by Sara Judge.

STORY OF MY EYE (GOATPIG): 2016 Fringe review 24

The principle of Chekov’s Cucumber mandates that if you introduce an object to the audience it must be used to sodomize someone at some point in the production.

Photo by Jillian Glace

TWO STORIES (Jillian Glace): 2016 Fringe review 23

A fine Fringe premier for choreographer Jillian Glace and her performers.

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HER: THE FEMALE EXPERIENCE FROM BIRTH TO DEATH (Basement Poetry): 2016 Fringe review 22

An invitation to dwell inside the place that is unarguably woman, the womb

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ROOM 21 (Jace Clayton): 2016 Fringe review 21

We were lucky to have been in attendance for ROOM 21’s only performance—one as unique and undying in our minds as the Barnes itself.