FringeArts

Magda San Millan and Chelsea Murphy. Photo by Josh McIlvain..

THE VULGAR EARLY WORKS (Chelsea & Magda): Sex, society, slapstick

Chelsea & Magda speak directly from their vaginas. If you’re not into that kind of thing, don’t see THE VULGAR EARLY WORKS.

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EVERYTHING ONE IN THE DISC OF THE SUN (Royal Osiris Karaoke Ensemble/FringeArts): Letting go of expectations and having fun

As a child of the sixties who used to go to “happenings” (our version of Fringe) and a devotee of several self-help modalities, I knew I had to go to EVERYTHING ONE IN THE DISC OF THE SUN, .

FEST Ivo Dimchev

Sex on Stage in FEST (FringeArts) and KEIN APPLAUS FÜR SCHEISSE (American Realness [NYC])

What occurs in a theater when sex happens? Ivo Dimchev’s FEST and Florentina Holzinger and Vincent Riebeek’s KEIN APPLAUS FÜR SCHEISSE present two very different looks.

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Scratch Night returns to FringeArts

FringeArts’ monthly Scratch Night is a great place to see inventive performance art in an embryonic form.

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IN THE PONY PALACE/ FOOTBALL (Half Saddle): Fringe Review 80

With dialogue like “I thought this player was a golden unicorn in the last game” the presentation is recognizable, but slightly askew, and ten times more fun

Clay and Tara visit WetlLand

WETLAND (Mary Mattingly): Fringe Review 78

Since the WETLAND exhibit is a free ‘installation’ piece, we visited, filmed, spoke, and voila: a VIDEO blog.

Kate Abernethy and Rachel Icenogle rehearsing “Little Red: an improvisation” in FROM OUR LIVING ROOM by Birds on a Wire (Photo credit: Plate 3 Photography)

FROM OUR LIVING ROOM (Birds on a Wire Dance Theatre): Fringe Review 74

FROM OUR LIVING ROOM comprises five original pieces—four duets and one solo—choreographed and performed by the all-female members of the emerging company Birds on a Wire.

Ballet Fleming, AFTER THE SUMMER SUN poster

AFTER THE SUMMER SUN (BalletFleming): Fringe Review 72

Award-winning choreographer and artistic director Christopher Fleming has created a beautiful program of new works to open BalletFleming’s 2014-15 season.

A Change of Harp, Bowerbird, 14 SEQUENZAS

14 SEQUENZAS (A Change of Harp and Bowerbird): Fringe Review 66

Each of the daring and demanding 14 SEQUENZAS features virtuoso musicians and masterful performances.

Aaron Cromie with puppets in Aaron Cromie and Mary Tuomanen’s THE BODY LAUTREC (Photo credit: www.plate3photography.com)

THE BODY LAUTREC (Aaron Cromie and Mary Tuomanen): Fringe Review 53.2

Aaron Cromie’s good-natured portrayal reflects the real Lautrec, who retained his artist’s eye and famed geniality even as he joined his friends in their sad retreat into alcoholism and the dementia of syphilis.

Leah waits with me outside of the Idiopathic Ridiculopathy Consortium's RHINOCEROS. Phindie's Official Fringe Bike Tour

Fringe Bike Tour Was Awesome: Three shows, twelve bikes, dinner, and some rides

“Your little ducks,” Leah says, as we look over our shoulders at the line of weaving their way south on 21st, “they’re all in a row.”

Aaron Cromie stars in THE BODY LAUTREC (Photo credit: Mary Tuomanen)

THE BODY LAUTREC (Aaron Cromie and Mary Tuomanen): Fringe Review 53

THE BODY LAUTREC is not everyone’s cup of tea: a shockingly hard-core depiction of the depravities and debaucheries of Henri de Toulouse-Lautrec and his art.

An image from Romeo Castellucci's THE FOUR SEASONS RESTAURANT, featuring nudity.

THE FOUR SEASONS RESTAURANT (Societas Raffaello Sanzio): Fringe Review 36.2

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.”

Sam Sherburne and Hannah Van Sciver in MARBLES (Photo credit: JJ Tiziou)

MARBLES (Hannah Van Sciver): Fringe Review 37

Hannah Van Sciver examines the difficult connection and disconnect between two Millennials in her original work MARBLES.

An image from Romeo Castellucci's THE FOUR SEASONS RESTAURANT, featuring nudity.

THE FOUR SEASONS RESTAURANT (Societas Raffaello Sanzio): Fringe Review 36

Named after a Mark Rothko painting cycle, Castellucci’s piece is a sort of abstract impressionism on stage

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WHITE RABBIT, RED RABBIT (Nassim Soleimanpour, performed by Mary Lee Bednarek): Fringe Review 31

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.

Melissa Dunphy stars in iHAMLET at The Philadelphia Shakespeare Theatre (Photo credit: Kendall Whitehouse) 

iHAMLET (Philadelphia Shakespeare Theatre): Fringe Review 28

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.

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TWENTY LOOKS OR PARIS IS BURNING AT THE JUDSON CHURCH (XS) (Trajal Harrell): Fringe Review 25

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.

New Paradise Laboratories The Adults Fringe

THE ADULTS (New Paradise Laboratories): Fringe Review 20

Rhrough minimal, absurd dialogue and highly stylized, disjointed movement, the ensemble-devised work evokes the boredom and bad behavior of a privileged vacationing family of film artists and their guests.

Visitor tagging art at UNTITLED. Photo by Osenlund.

UNTITLED: WHAT YOU SEE OR WHAT DO YOU SEE (KrieArt): 2014 Fringe Review 19

This entry in the Visual Art category is an art exhibit based on the association between the person looking at the art and the meaning ascribed to the art itself. The artist, Krie Alden, who spoke to me at the event, is excited to be a part of FringeArts, and she loves the idea of “the Fringe being on the fringe, where they support the unexpected.”