NOTES OF A NATIVE SONG (Stew and Heidi Rodewald): 2016 Fringe review 9
“Won’t you follow me down to Baldwin Country? This ain’t your mama’s Baldwin Country.” The show opens with offhand remarks by Stew, a large black man up front at a…
K.J. Hardy
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COCKTAIL PLAYS (Juniper Productions): 2018 Fringe review Slightly buzzed from our gin-and-honey bees knees, we find the site-specific plays by a diverse group of local playwrights make for welcomin... 
TRUE WEST (Subscension): 2018 Fringe review This little company has heft and promise. The Fringe has given them the opportunity to launch and they’ve certainly taken advantage of it. 
BON IVER FIGHTS A BEAR (mauraampersanddoug): 2018 Fringe review Justin is a heartbroken young musician who escapes to his father’s cabin in the middle of nowhere 
WOLFCRUSH: a queer werewolf play (On the Rocks): 2018 Fringe review WOLFCRUSH misses the no-holds-barred humor, shock value, and pop culture-infused insight into youth culture of playwright Haygen-Brice Walke... 
I An artful blend of theater and history thrives among the tombstones at Old Swedes Church
From the archives…
Finding Pedro Pan: Iraisa Ann Reilly’s Fringe show ONE DAY OLD and the Cuban Lost Boys
With the Syrian refugee crisis becoming a major international issue, the Cuban exodus of the 1960s and its continued legacy merits renewed consideration. Iraisa Ann Reilly’s new play ONE DAY OLD tells the story of one aspect of this migration, Operacion Pedro Pan, through a dream, placing it in a modern context. Ahead of her world premiere Fringe production, performed at the Hamilton Family Arts Center at The Arden through a corporate sponsorship from Cuba Libre Restaurant, Iraisa tells Phindie about this under-considered historic episode and the play it has inspired. more…
