Fringe reviews

Reviews of theater and performing arts events in the Philadelphia Fringe Festival. Phindie is providing more critical coverage of the festival than any other publication in Philadelphia.

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LE CARGO (Faustin Linyekula) 2016 Fringe review 89

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

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Shakespeare Fringe Roundup: Misadventures among the classics

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

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KING JOHN (Revolution Shakespeare): 2016 Fringe review 88

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

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THE GAS HEART (Once More Theatre): 2016 Fringe review 87

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

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RHIZOMAS (Ryuzo Fukuhara): 2016 Fringe review 86

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

Photo by Bill Hebert

WITH FLINT AND STEEL (duende): 2016 Fringe review 85

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.

Photo: Blue Chemical Photography

FORE-IGN/ FORE-OUT (Carbonell, Chisena, Gavino, McKenzie): 2016 Fringe review 84

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…

Photo by Luca Del Pia.

JULIUS CAESAR. SPARED PARTS (Romeo Castellucci / Socíetas Raffaello Sanzio): 2016 Fringe review 83

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

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WALK TO TOPAZ (Brendon Tetsuo): 2016 Fringe review 82

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

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SCARLETT LETTERS (Ross & Diggs): 2016 Fringe review 81

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

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THE ONE, THE OTHER ONE, & THE MANY (The Naked Stark): 2016 Fringe review 80

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

Photo by Michael Bartmann.

PORTAL (Leah Stein Dance Company): 2016 Fringe review 79

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

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HABITUS (Ann Hamilton): 2016 Fringe review 78

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

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OMELETTO (Ombelico Mask Ensemble): 2016 Fringe review 77

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.

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BALANCE (JheeSha Productions): 2016 Fringe review 76

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.

Photos by Paola Nogueras.

THE ELEMENTARY SPACETIME SHOW (César Alvarez): 2016 Fringe review 68.2

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

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FOUR MINUTE BOOTH (Gatto + Hirano): 2016 Fringe review 75

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

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KAPPAROT (Daughters of Disruption): 2016 Fringe review 74

In the Art Church, a house of a theater with carpeted stairs and a open room set with rows of chairs, performer collaborators Chana Rothman and Annie Lewis greeted the…

Credit: Will Drinker

EXPLICIT FEMALE (Here[begin] Dance): 2016 Fringe review 73

Zornitsa Stoyanova asks us to consider the female body as embodiment of generations of ancestral procreation, a host for the alien parasites of new generations, and—through a glass, darkly—as a sexual object.

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GILBERT AND SULLIVAN’S SWITCHED! OR THE INSIDER AND THE OUTSIDER (Tavern Productions and PAFA Performs): 2016 Fringe review 72

“It’s this topsy-turvydom that people are drawn to,” lyricist Kevin Stackhouse said when we talked before the show. “People like to feel smart, and what comes out of Gilbert &…