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.


DEATH IS A CABARET OL’ CHUM: A GRAVEYARD CABARET (REV Theatre Company): 2016 Fringe review 94

REV Theatre Company let loose a quirky combo of fright-night-meets-kickline-cabaret for this year’s Fringe.


MARTHA GRAHAM CRACKER CABARET (Martha Graham Cracker): 2016 Fringe review 93

Martha Graham Cracker brought the Fringe Festival to a close last Saturday with a marvelous set of compositions


PHILADANCO IN CONCERT (Philadanco): 2016 Fringe review 92

This is a seasoned company that dances with maturity and intent.


CONVERGENCE (DanceSpora): 2016 Fringe review 91

The Trenton-based dance company DanceSpora premiered two works at the Fringe Festival.


PORTRAIT OF MYSELF AS MY FATHER (nora chipaumire): 2016 Fringe review 90

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


LE CARGO (Faustin Linyekula) 2016 Fringe review 89

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


Shakespeare Fringe Roundup: Misadventures among the classics

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


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.


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.”


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.


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.


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


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


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


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.


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.