Director Tina Brock brings spot-on casting, lightning-quick pacing, and non-stop hysteria (of both the panicked and hilarious varieties) to Idiopathic Ridiculopathy Consortium’s FringeArts production of Eugène Ionesco’s RHINOCEROS. The devastating consequences of mindless conformity, social apathy, and turning a blind eye to a growing threat are the important themes of the darkly comic Theater of the Absurd masterpiece.
As indicated by Phindie’s 2014 Critics’ Awards, the Philadelphia Artists’ Collective is one of the most consistently excellent independent theater companies in the city. Their last few shows (Creditors [Fringe…
What makes film different from theater is that film is fixed forever, performances and lines repeating endlessly year after year, while theater has the ability to surprise us. And what makes theater different from life is that theater is scripted and life is random, unexpected, not planned out ahead of time. And what makes Philadelphia’s FringeArts Festival fun is that it delights in performances that confound expectations.
Aleksandra Berczynski once again brings a short, delightfully self-indulgent mono-drama to Fringe audiences.
Have you ever been caught between two conflicting emotions at the same time? Have those ambivalent feelings left you hanging, unable to decide what to think or how to act? Have you turned to your most primal impulses to figure out who you are and where you’re going? Baring body and soul, Brian Sanders’ JUNK explores the psychology and physicality of uncertainty and transition in SUSPENDED.
Phindie is providing more Festival coverage than any other publication, and BETTER!
Alan Ayckbourn’s inventive rom-com about failing and budding mid-life relationships in suburban London is that the play (or more accurately, the first volume of the playwright’s original two-volume work that is performed here) offers sixteen plot options and eight different endings. And for the first time in its production history, 1812 shines the spotlight on random members of the audience to decide spontaneously which path the characters should take as they reach a series of crossroads in their lives.
Part of an ongoing international tour, FringeArts’ 13-performance engagement of White Rabbit, Red Rabbit follows the playwright’s rules: A script waits in a sealed envelope. ach night, a different actor steps on stage and opens the envelope, reading the script aloud for the first—and last—time.
Chralotte Ford’s interview by Josh McIlvain for the FringeArts blog sent shock waves through the Philadelphia theater community. An admired and artistically successful performer and creator, Ford revealed that she…
Theater writer Jessica Foley is seeing 20 Fringe plays in 20 days. Why is she starting with Ionesco’s Rhinoceros?
In this special Phindie feature, Chris interviews Doug about safe spaces, role-playing, and the playwriting process.
Mike Durkin’s 10 Fringe Picks: Fringe-tastic and great-image choices from The Renegade Company director
Mike breaks down his picks into two categories: Fringe-tastic are those that embrace the festival, try new ways to story-tell and create an exciting audience experience. The Guide Image picks are picked solely on their image in the guide,
Every fan of the Philadelphia Fringe Festival has seen Josh McIlvain’s work—even if they haven’t seen his theatrical work. For the past few years Josh has edited the Fringe blog and…
Now in its 18th year, the Philadelphia Fringe Festival has changed a lot since its early days. Once a small weeklong Old City event, with shows and happenings across the…
Sometimes, the best thing you’ll see in a Fringe Festival will be an unexpected delight at the FREE late night cabaret. (Last years highlight: Greg Giovanni’s impromptu story about his…
Some contemporary choreographers prefer not to explain, in concrete terms, what they intend their choreography to mean, but Trajal Harrell is happy not only to talk about his dance works, but also his creative process. In a phone interview from Berlin earlier this month, Harrell delved into the various aspects of his dance-theater opus Antigone Sr. / Twenty Looks or Paris is Burning at the Judson Church (L), before its opening as one of the centerpiece shows at 2014 FringeArts.
Phindie spoke to Colie McClellan about her Fringe show THEY CALL ME ARETHUSA, a story of intimate partner violence interweaved with Greek mythology and Southern folklore.