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.
NELLIE/NELLIE combines whimsy and imagaination with the true story of American journalist Nellie Bly and her 10 days in a mental institution.
BALLETX’s intimate performance featured a company dancer and performers from Murmuration, a dynamic and experimental ensemble.
THE ABSOLUTELY, POSITIVELY, FORGET-ABOUT-IT, LAST NIGHT AT VON DAHM’S SPORTS BAR, WING HUT, AND KARAOKE PALACE (Actors International Theatre): Fringe Review 48
Some Fringe shows display great production values and artistic quality. VON DAHM’s isn’t one of those, but it’s still a joy.
Two original one-hour plays inspired by the life and popular children’s book of Scottish author J.M. Barrie
KIM COLES: OH, BUT WAIT . . . THERE’S MORE! (Kim Coles / Dir. Scotch Ellis Loring): Fringe Review 46
The actor, best known for work on “Living Single,” opens it all up with a solo show that is hilarious, hopeful, and surprisingly heartfelt.
The creative young minds of Salamé Studios have put together a show that anyone willing to try something untrodden will enjoy
This is no mere retelling of Romeo and Juliet. What we get is a conjuring, a blood-letting, a full-throated cry of rage.
Truth Be Told Productions BENT isn’t innovative, but it is a quality production of a culturally significant play.