Opera Philadelphia’s innovative general director previews the upcoming O17 Festival.
The narrative of the play dances around anxiety, narcissism, and companionship, and the cards let truth be told.
A RIDE ON THE IRISH CREAM (Erin Markey/ FringeArts): The mind does crazy, sexy, cool things with memories
In A RIDE ON THE IRISH CREAM the script and choreography embodied the textures and lyricism of the music.
SANS EVERYTHING (FringeArts): Artificial Intelligence with Lightning Rod Special + Strange Attractor
Humanity creates its own godhead – AI – that longs to experience its creators through Shakespeare
The boundaries are always open.
Events like AT HOME WITH THE HUMORLESS BASTARD need to happen more often. It isn’t just dance; it is socially provocative artwork.
“Is this a dance performance or a social experiment?”
“I am simply here to dance,” says Faustin Linyekula.
Four minutes of prolonged eye contact can incur a boost of oxytocin, a chemical that decreases stress and instills positive emotions.
An exploration of divorce and disconnection in the California desert.
A testament to what Fringe can do: defy genre, defy theme, defy medium, and somehow still manage to be cohesive and emotionally haunting
Wilson and his dancers beautifully articulate humankind’s desire to belong.
A Little Bird Who Fucks Everything Up: Interview with Haygen Brice Walker, the new enfant terrible of Philadelphia
Henrik Eger talks to Fringe playwright Haygen Brice Walker of BIRDIE’S PIT STOP (AND THE TRIBE OF QUEERS WHO FUCKED EVERYTHING UP).
THE SINCERITY PROJECT treats sincerity like a destination as intangible as a hyperobject is immeasurable—a destination to approach but never arrive at.
Uproariously funny, liberatingly bare-assed, and gut-wrenchingly real
Reggie Wilson spoke with FringeArts about finding inspiration for CITIZEN in the life and work of Zora Neale Hurston, his family history, and his travels as well as the evolution of the piece.