How do you become a man? A black man? A black African man?

“I am simply here to dance,” says Faustin Linyekula.

In a Philadelphia theater season with an auspicious beginning, this production of MRS. WARREN’S PROFESSION might be the most auspicious of all.

Toby Zinman gives bullet reviews of nine Shakespeare-ish shows in this year’s Fringe.

You won’t get many opportunities to see KING JOHN; you’re unlikely to see one as well-rendered as Revolution Shakespeare’s.

Tristan Tzara called his play THE GAS HEART “the greatest three-act hoax of the century.”

Improvisation is an enticing, yet dangerous, approach to performing.

WITH FLINT AND STEEL, this year’s Fringe offering by experimental music and dance group duende, consists of seven separate pieces, each by a different choreographer.

Excerpted by kind permission from thINKingDANCE. In FORE-IGN/ FORE-OUT, four choreographers explore states of liminality—of how to be between things. In Matriz, Evalina Carbonell uses a stage-spanning black banner and fluid…

We were fortunate. Apparently, the horse does not always shit, but in our case his entrance precipitated a great outpouring of feces.

Aaron Posner’s hilarious reinvention of The Seagull captures all of Chekhov’s laughable characters, absurdities of life, and self-references to the theater from a 21st-century perspective.

An autobiographical solo dance work tracing how a family history in a Japanese Internment Camp has affected succeeding generations.

Playwright Patrick Ross, who gives us a history of sexism, quotes and references to literature and mythology, and plenty of Hawthorne in a smartly woven one-woman show

THE ONE, THE OTHER ONE, & THE MANY reflected an everlasting struggle, a universal dynamic to shift parochial perspectives through time and evolving relationships

the rich layering of performance capacity matched the layers of movement space that Leah Stein’s PORTAL attended to

Colossal curtains beautifully billowing with the breeze, are hanging around, literally, throughout the vast Municipal Pier 9 facility

It’s “like Hamlet”, with all the key plot points, “only scrambled” in a light-hearted Commedia dell’arte of masks, jokes, music, and puppets.

The Kathak performance weaved together photography and dance, narrative and abstraction, the traditional and the contemporary in an exploration of life’s many off-kilter moments.

Wild, unabashed, meta upon meta, with a depth of emotional honesty that brings one dangerously close to heartbreak

Four minutes of prolonged eye contact can incur a boost of oxytocin, a chemical that decreases stress and instills positive emotions.