How do you become a man? A black man? A black African man?
“I am simply here to dance,” says Faustin Linyekula.
In a Philadelphia theater season with an auspicious beginning, this production of MRS. WARREN’S PROFESSION might be the most auspicious of all.
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.
Aaron Posner’s hilarious reinvention of The Seagull captures all of Chekhov’s laughable characters, absurdities of life, and self-references to the theater from a 21st-century perspective.
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