Romeo Castellucci has poured his personal inspirations and philosophy into this remarkable abstract production, but ultimately viewers must determine its meaning for themselves. To this viewer, the piece is a resounding “NO.”
KILL SHAKESPEARE: LIVE GRAPHIC NOVEL (Revolution Shakespeare and Hear Again Radio Project): Fringe Review 42
Revolution Shakespeare (dedicated to new approaches to the playwright) and Hear Again Radio Project (specializing in the recreation of vintage radio programs) have teamed up for an entertaining presentation of the popular graphic novel series KILL SHAKESPEARE.
Whit MacLaughlin is going off the deep end with this one. Are you willing to jump in with him? New Paradise Laboratories’ handsomely crafted, meticulously acted, and totally weird production, is not easily accessible. Nothing much can be taken literally here, and the production doesn’t reward searching for specific meanings as it creates its own tilted world with its own skewed logic.
Tongue & Groove’s team is pretty fearless, and though the performance has some slower moments, they’re quick to cut off a bit that isn’t working and move forward. Musician Carol Moog sits off to the side, riffing on a harmonica whenever she decides a scene has ended.
From a toe-tapping Peet Seeger sing-along to a head-banging rock and roll number, dozens of unique performances crowded the World Café Live Stage for PHILLY SONG SHUFFLE. Hosted by the Xtreme…
Named after a Mark Rothko painting cycle, Castellucci’s piece is a sort of abstract impressionism on stage
THE HUNCHBACK OF NOTRE DAME . . . A MUTE PLAY captures the narrative, message, emotion, and beauty of its literary source without speaking a word
“You don’t have to like classical music, but you have to like beer,” sings a lonely bassoon player in the charming SPEED DATING TONIGHT!
A combination of sketch, stand-up and improv comedy, THE WINGMEN PRESENT: THE NEIGHBORHOOD sets out to deliver a lively and fun night for its neighborhood audience.
Short, sweet, and a little bit uplifting. STAND BACK I’M GOING TO UKE is an enjoyable evening of old-timey music.
Each night, a new actor opens a manila envelope and reads the script for the first time. The spontaneity of the performance allows the author to engage with the audience from miles away and years ago.
One way to focus on the extraordinary eloquence and drama of Shakespeare’s language is to eliminate all visual distraction, and that is precisely what John Schultz has done in TILL BIRNAM WOOD—a rapid-fire 55-minute adaptation of Macbeth that is performed before a blindfolded audience.
A morally ambiguous and deeply political tale of two cultures clashing when an American photographer comes to stay with a family in rural Iran.
Robin Malan’s iHAMLET, a stripped-down contemporary one-man adaptation of Hamlet, is performed in The Philadelphia Shakespeare Theatre’s Fringe production by one impressive woman. Actor/musician/composer Melissa Dunphy displays a remarkable command of the non-linear script, not once misspeaking a word of her 55-minute solo performance.
HUMAN FRUIT BOWL draws audience members into the mind of a nude model as they witness an open depiction of this model as an aware and vocal object.
Compelling in its investigation of untruths, half-truths, white lies, omissions, and embellishments, WOULD I LIE TO YOU? left me with questions. What is a lie? Is something a lie if we lie only to ourselves?
Trajal Harrell’s TWENTY LOOKS comes in a selection of lengths and sizes, and although the Presented Fringe version of his solo show runs extra small, at a mere 25 minutes to a 25-person audience (hence the XS in the extended title), you will be reminded that good things come in small packages.