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.
A collaboration between three inventive local playwrights, SAFE SPACE provides its audience a Fringe adventure: a choose your own adventure.
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…
Conversations are not always comfortable, but when Colie McClellan had an issue with a Phindie review, she decided to start one.
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.
This Neighborhood Fringe show, directed by Sean Connolly, transpires in the murky basement of an old church in Manayunk. The space lends an ideal sinister atmosphere to a play which, like many psychological thrillers, is more intimation and suspense than action.
Imagine if Frank Herbert’s “Dune” had been adapted not by David Lynch but instead by the Mummers. That’s not too far off from what we get with SEPHRO: EARTH’S REVENGE.