Rothko’s and his young assistant’s dialogue on art reflects the way art is in conversation with itself, but it doesn’t manage to capture Mark Rothko as a fascinating and challenging character.
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Author: Ninni Saajola
Ninni Saajola is a screenwriter who has written both for television and radio theatre in her far, far away homeland and is now finishing her second B.A. in Philadelphia while working with miscellaneous theatre projects and continuing to write professionally in Europe.
SPINE (Inis Nua): Beauty in the library stacks
Dramatizing the effects of public library closings doesn’t sound like the most engaging of topics, but playwright Clara Brennan weaves a beautiful story about the importance of seeing the people behind numbers and statistics.
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DOGFALL (Iron Age): Let slip the dogs of war
DOGFALL looks good and has good intentions, but as everyone aware of military history knows, high aspirations don’t always lead to success.
View More DOGFALL (Iron Age): Let slip the dogs of war
GOD BLESS BASEBALL (FringeArts/Toshiki Okada): Explaining the rules of the game
Toshiki Okada’s new play is an allegorically complex performance about baseball that isn’t about baseball.
View More GOD BLESS BASEBALL (FringeArts/Toshiki Okada): Explaining the rules of the game
BASKERVILLE (PTC): The adventure of the omnipresent detective
Ken Ludwig’s idea of turning a Sherlock Holmes story into a comedy isn’t groundbreaking, which means the execution of the idea needs to be really good to stand out
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A PORCH AT THE EDGE OF THE WORLD (Transmissions): The magic happens in magical realism
A magical realism play based on a true story could easily be a disaster, but Transmissios Theatre makes the magic happen.
View More A PORCH AT THE EDGE OF THE WORLD (Transmissions): The magic happens in magical realism
LIGHTS RISE ON GRACE (Azuka): Cultural identities in the stage lights
Three cleverly interconnected survival stories about the complicated nature of life, love, and family.
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DISGRACED (PTC): Talking politics, religion, and culture
Ayad Akhtar’s Pulitzer-winning play is a conversational piece with a high-paced ending and plenty of thought-provoking ideas.
View More DISGRACED (PTC): Talking politics, religion, and culture
ANTIGONE (Wilma): Spectacular, but a spectacular failure
The man behind the 2013 Fringe Festival hit AJAX, The Madness directs his version of ANTIGONE for the Wilma Theater.
View More ANTIGONE (Wilma): Spectacular, but a spectacular failure
HOOKED (Inis Nua): A pub play in a pub
Entertaining for anyone looking for a fun and a little different night at the pub, or just an excuse to spend the night at the pub.
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THE CHILDREN’S HOUR (EgoPo): A superbly acted historical anecdote
EgoPo Classic Theater continues its foray into classics of American drama with a focus on female playwrights.
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THE CART OF LOVE/EL CARRO DEL AMOR (Ana María Ruimonte/Owlsong Productions): Fringe review 52
An ambitious art project that seeks to combine multimedia, puppeteering, a baroque chamber orchestra and the singing of mezzo-soprano Ana María Ruimonte in a bilingual presentation.
View More THE CART OF LOVE/EL CARRO DEL AMOR (Ana María Ruimonte/Owlsong Productions): Fringe review 52
THE BORDER (Jo Strømgren Kompani): 2015 Fringe review 32.2
THE BORDER delivers on all the essential aspects of Scandinavian life: there’s dry humor, a self-deprecating take on one’s life and, of course, melancholic dance music.
View More THE BORDER (Jo Strømgren Kompani): 2015 Fringe review 32.2
SLAUGHTER/ETTE (Butter & Serve): 2015 Fringe review 20
In this parody of The Bachelor, reality television contestants hope to score themselves an eligible bachelor by any means necessary.
View More SLAUGHTER/ETTE (Butter & Serve): 2015 Fringe review 20
A DOLL’S HOUSE (Jo Strømgren Kompani): 2015 Fringe review 9.2
Jo Strømgren Kompani boldly promise to deliver the essence of the celebrated play despite making ambitious changes to it.
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AFTER THE REHEARSAL / PESONA (Toneelgroep Amsterdam): 2015 Fringe review 7.2
Ivo van Hove’s reimagining of the Bergman classics is full of visual and interpretative ideas, but lacks overarching purpose.
View More AFTER THE REHEARSAL / PESONA (Toneelgroep Amsterdam): 2015 Fringe review 7.2
I PROMISED MYSELF TO LIVE FASTER (Pig Iron): 60-second review
An absurd sci-fi epic with countless phallic symbols and absolutely no sense of “too much”. What more could you ask for?
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BROWNSVILLE SONG (B-SIDE FOR TRAY) (PTC/Long Wharf): Telling an urban tragedy
An admirable attempt to address the contemporary and timely tragedy of urban violence that doesn’t quite manage to ring true.
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NOW NOW OH NOW (Rude Mechanicals): Role-playing and improv combine
The idea of combining improv with role-playing works very well since both rely on improvisation within certain parameters and they’re also both just a lot of fun.
View More NOW NOW OH NOW (Rude Mechanicals): Role-playing and improv combine
THE RAPE OF LUCRECE (Philadelphia Artists’ Collective): 60-second review
Dan Hodge’s one-man performance of Shakespeare’s poem RAPE OF LUCRECE is back! And it is not to be missed (again).
View More THE RAPE OF LUCRECE (Philadelphia Artists’ Collective): 60-second review