Flynn and VanDenend Sorge captured the spirit of the Fringe season by experimenting within their art form as they intimately shared their pasts.
Throughout, the play is ridden with fearful moments, guilty consciences, and serious reflections of what life may be like for creatures being surrounded by uneasiness and pain.
Aaron Cromie’s good-natured portrayal reflects the real Lautrec, who retained his artist’s eye and famed geniality even as he joined his friends in their sad retreat into alcoholism and the dementia of syphilis.
Wild Plum Productions’ abridged staging of THE YELLOW WALLPAPER succeeds in capturing the chills and insight of the original work.
This is an opera about monsters—the Frankenstein of the title, a monster we know well from films if not from literature, and the ways in which people become monsters.
This project consists of six short dance films—three by collaborators Ashley Searles and Wim Winklewagon, and three by Anne-Marie Mulgrew & Dancers Company with Carmella Vassor-Johnson.
Everything about BENGAL TIGER AT THE BAGHDAD ZOO asserts the production as one of the best works in this year’s Fringe.
The show, which is all about loss and violence in a dark corner of the world, is too bright – it has no real darkness to it at all
Dramatic narrators voice acutely detailed stories of sexual exploits, dating disasters/successes, and intimate gatherings.
“Your little ducks,” Leah says, as we look over our shoulders at the line of weaving their way south on 21st, “they’re all in a row.”
The timely BROKEN WING, offered to the FringeArts festival in an beautifully executed performance by Pantea Productions, tells the story of a brash American photographer (Bob Stineman) who, while traveling in Iran, sleeps with his host’s young wife Arezoo.
Starting in bustling Rittenhouse Square, MIRRORING SKY guides participants along familiar city streets, ending at the Schuylkill River Park
Playwrights are do not come fully formed. Directors have to start somewhere. And the Philly Fringe Festival is traditionally a great place for artists to take their first artistic steps.
Ombelico’s latest al fresco offering, FLIM FLAM PHANTOM SHAM, is a delightful synthesis of traditional Commedia dell’Arte with current Philadelphia references, delivered in Italian and English—or Philly’s local version thereof!—which kept me in stitches throughout the entire all-ages show.
After years of milking their hit show The Real Housewives of South Philly until it jumped the shark, The Waitstaff return to the Fringe with another set of funnybone-tickling sketch comedy
What is necessary? In NECESSARY EFFORTS, the mixed-bill production by The Naked Stark, the answer offered is the work of making.
THE BODY LAUTREC is not everyone’s cup of tea: a shockingly hard-core depiction of the depravities and debaucheries of Henri de Toulouse-Lautrec and his art.
It would be fun to call ANNA K an irreverent romp through Tolstoy’s 1870s novel, Anna Karenina, but in fact playwright Chris Davis reverences the material in his own way. For all its comedy, and there’s plenty in his South Philly-style version, the play scans the storyline and retains underlying issues.
UNDERGROUND EPISODES carries us from Olney to past City Hall and then back again in poems, half-spoken and half-recited, sometimes direct and sometimes inscrutable.
The compelling two-act opus captures the historic characters, events, and mood with passion and clarity.