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