Chelsea & Magda speak directly from their vaginas. If you’re not into that kind of thing, don’t see THE VULGAR EARLY WORKS.
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, .
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.
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
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.
Award-winning choreographer and artistic director Christopher Fleming has created a beautiful program of new works to open BalletFleming’s 2014-15 season.
Each of the daring and demanding 14 SEQUENZAS features virtuoso musicians and masterful performances.
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.
“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.”
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.
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.”
Named after a Mark Rothko painting cycle, Castellucci’s piece is a sort of abstract impressionism on stage
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.
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.
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.
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.
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.”