Reviews

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SONG OF MY SELF-CARE (Jimmy Grzelak/PHIT): 2018 Fringe review

Gzelak finds the poetry and the absurd in the mundane.

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B. FRANKLIN: WORDS MATTER (Vagabond Productions): 2018 Fringe review

An extraordinarily splendid opportunity for an informative and fun visit with Benjamin Franklin

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BEHOLD HER (Half Key Theatre Company): 2018 Fringe review

Publicity for the show focuses on the question, “What is beauty?,” but the show itself goes much deeper.

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THE ACCOUNTANT (Trey Lyford): 2018 Fringe review

Do the math. That’s what accountants do, right? The show is 75 minutes long. I looked at my watch about ten times, from which we can deduce by simple arithmetic…

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SONGS OF WARS I HAVE SEEN (Heiner Goebbels): 2018 Fringe review

An imaginatively textured musical performance in which music, sounds, and speaking are of a piece

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CHAOS THEORY (Jessica Creane): 2018 Fringe review

The reliance on audience volunteers yields some interesting moments, framed in a series of games, but too often Creane pushes moments past humor.

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CLOSE YOUR LEGS, HONEY — A NEW MUSICAL (PHIT/Hannah Parke & Shamus Hunter McCarty): 2018 Fringe review

CLOSE YOUR LEGS, HONEY is a cheery musical tackling the difficult subject of societal expectations for women and the shit women have to put up with.

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AIRPORT OPENED (Brian Shapiro): 2018 Fringe review

AIRPORT OPENED takes you on an enjoyably elucidating human journey well worth experiencing!

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ECCENTRICITIES OF A NIGHTINGALE (Idiopathic Ridiculopathy Consortium): 2018 Fringe review

ECCENTRICITIES is lush, loquacious and very typical Tennessee Williams: lonely, sex-starved women, men struggling against overbearing mothers, desperation everywhere.

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MARY ROSE (Philadelphia Artists’ Collective): 2018 Fringe review

However crammed your Fringe calendar may be, don’t miss this one.

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FIGMAGO (Meg Sagilman Studio): 2018 Fringe review

  FIGMAGO is an escape off of the beaten path, an imaginative walking tour that begins to reveal unknown peculiarities about six muses that inspire muralist Meg Sagilman. Each room correlates with…

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UNHINGED (Matter Movement Group): 2018 Fringe review

Gather yourself for an illuminating walk along a dim, roughly hewn path into untamed territory where sounds and other sensory elements gather in corners to conspire. Your brutally handsome, knowledgeable…

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LAY ME DOWN SOFTLY (Irish Heritage Theatre): 2018 Fringe review

A version of this review was also published on Foley Got Comped. Irish Heritage Theatre is purely a labor of love. All of the company members have day-jobs, rehearse 25…

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VOLTA (Cirque du Soleil): A review in word and images

VOLTA is a performance with both visual play and psychological depth.

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SUPPORT THE GIRLS (dir. Andrew Bujalski): Film review

A common refrain in the world of workplace woes goes like this: “People don’t quit jobs. They quit managers.” This is undoubtedly true for the handful of jobs I’ve left….

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SKATE KITCHEN (dir. Crystal Moselle): Film review

While watching Skate Kitchen, I found myself entertained, engaged, and delighted, but it wasn’t until it ended – until I realized that rolling credits meant the end of my time…

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A MIDSUMMER NIGHT’S DREAM (Mechanical Theater): Spiriting Shakespeare at Laurel Hill

Double dealing, doubling of characters, double entendre and double dating, of a sort, are doubly fun to watch.

till from Wil-o-Wisp (Moiré Installation), 2018, by Rachel Rose (American, born 1986). Video installation with sound, double-lined mesh scrim, carpet, projection screen, and semi-transparent projection scrims. Jointly commissioned and owned by the Philadelphia Museum of Art and Fondazione Sandretto Re Rebaudengo. Funding is made possible for the Philadelphia Museum of Art through the Contemporary Art Revolving Fund. Image © 2018 Rachel Rose.

A Dilettante at Large reviews two new shows at the Philadelphia Museum of Art

Toby Zinman considers “Rachel Rose: Wil-o-Wisp/The Future Fields Commission” and “Biting Wit and Brazen Folly: British Satirical Prints, 1780s–1830s”