The much-talked-about BLEED, running this weekend only as the next page in FringeArts’ idiosyncratic year-round programming, opened in New York last year to what seems like universal praise. The dance piece is the culmination of two years of work and three other dance pieces, which O’Connor made, then digested and collapsed into BLEED.
View More BLEED (FringeArts): Tere O’Connor’s dance embraces all
Enter the world of Japanese Japanese theater company Niwa Gekidan Penino: claustrophobic, hallucinatory, voyeuristic, surreal. Niwa is the Japanese word for “garden.” For over a decade…
View More THE ROOM NOBODY KNOWS (FringeArts): Put your secret emotions, dangerous illusions here
EL AÑO EN QUE NACÍ (THE YEAR I WAS BORN) is the January installment in FringeArts’ year-round programming at their Race Street Pier theater, and…
View More EL AÑO EN QUE NACÍ (FringeArts): Living mosaic
TWELFTH NIGHT being the 1602 equivalent of a holiday special, there’s no shortage of booze-riddled merriment in Pig Iron’s revival from the 2011 Fringe Festival.
View More TWELFTH NIGHT, or WHAT YOU WILL (Pig Iron/FringeArts): The 1602 equivalent of a holiday special
“Let’s assume you’re traveling,” says Thaddesus Phillips, placing the audience as the sojourner. And he whisks us off. With co-creators Tatiana Mallarino and Patrick Nealy, and director Rebecca Wright, Phillips has concocted something special with 17 BORDER CROSSINGS.
View More 17 BORDER CROSSINGS (Lucidity Suitcase Intercontinental/FringeArts): Voyage of imagination
Since my initial tour of the new FringeArts headquarters in August 2012, the projected opening (originally set for the Spring of 2013, then for the…
View More FringeArts Progress Report: The latest on the High Pressure Fire Service Building of 1903
In the new FringeArts building, we are presented with what looks like a floating basement, decorated many decades ago, sitting on sloppily placed cinderblocks. Out of pure…
View More THE ELEPHANT ROOM (FringeArts): 60-second review
The retrospective of Judson Church choreographer-dancer Lucinda Childs’ SELECTED DANCES, 1963-78 last week was instructive and artistically purposeful. This work is still so vibrant in its exploratory nature that Childs’ innovations are part of the evolving dance stream.
View More Modern dance DNA is Childs’ play
Dim lighting, old motion clips, tap shoes, broad sounds, and internationally acclaimed Colin Dunne in the flesh, calling Irish dance “exhibitionistic”: these elements and more…
View More [58] OUT OF TIME (Colin Dunne): Fringe review
Like vague early childhood memories of “home”, the eight players of WHERE (WE) LIVE assemble without an introduction, scattering to spaces cluttered with objects, lights,…
View More [34] WHERE (WE) LIVE (So Percussion): Fringe review
The FringeArts-sponsored On the Concept of the Face Regarding the Son of God is one of the most anticipated shows of the 2013 Fringe Festival.…
View More Fringe interview: BSM Pastor Bill Golderer talks about the controversial On the Concept of the Face Regarding the Son of God
As its mission, Phindie provides independent coverage of Philadelphia theater and arts, with a focus on independent theater. So the Philly Fringe Festival* is a…
View More 2013 Philly Fringe Festival :: the MOST coverage and Six Picks for the Festival
To call this play My Big Fat Greek Endurance Test would be flippant, but it wouldn’t be far off the mark. Certainly AJAX, THE MADNESS…
View More [2.2] AJAX, THE MADNESS (Attis Theatre): Fringe review
Men are made into animals. Animals turn into men, and then are murdered. Bloody, bloody Ajax. His story settles in on you, in the way…
View More [2.1] AJAX, THE MADNESS (Attis Theatre): Fringe review
Published by The Dance Journal. Reprinted with kind permission. Leah Stein has had a very prolific year performing and choreographing with several projects overlapping, including…
View More Fringe Preview: Architectural dance alchemy, Adjacent Spaces by Leah Stein Dance Company
Published by The DANCE Journal, republished by kind permission. The hot, muggy dog days of Summer are upon us and things have slowed down a…
View More Dance at Fringe 2013
Originally published on the FringeArts blog. Republished with kind permission. “I see 150 to 180 plays a year, and still always regret missing a bunch.”…
View More Just one asshole with an opinion: theater critic Mark Cofta on the art of reviewing and observations on Philly’s theater scene
Like the rest of us, theater companies have to file taxes. This tax day, we look at some information from the most recent publicly available tax returns (generally 2012) for some major and independent Philadelphia companies.
View More Tax time. Is there any money in theater?
The historic High Pressure Fire Service Building on the corner of Race Street and Columbus Boulevard will have a new life as the permanent headquarters…
View More Philadelphia FringeArts Unveils Plans for its New Headquarters