NOT FOR PROFIT (Ferdinand): 2015 Fringe review 64
A theater company, in the midst of financial crisis, ventures into new and risky territory in its upcoming production of The Tempest.
View More NOT FOR PROFIT (Ferdinand): 2015 Fringe review 64
100 (Sam Henderson): 2015 Fringe review 63
100 is more than an elegantly written play told in random pieces—it’s an intense experience if you are open to it.
View More 100 (Sam Henderson): 2015 Fringe review 63
Fringe in Sketch 9: SOLDIER BEAR (Leila and Pantea Productions)
As part of Phindie’s coverage of the 2015 Fringe Festival, Aaron Krolikowski is attending a series of shows and sketching what he sees.
View More Fringe in Sketch 9: SOLDIER BEAR (Leila and Pantea Productions)
2,000 MOVEMENTS (Gregory Holt): 2015 Fringe review 62
An exploration of unrepeated and layered movements, Gregory Holt’s 2,000 MOVEMENTS is a living archive of body and space
View More 2,000 MOVEMENTS (Gregory Holt): 2015 Fringe review 62
LOVE’S LABOUR’S LOST (Revolution Shakespeare): 2015 Fringe review 61
A clever new take on Shakespeare’s early romantic comedy imparts the flavor of 1960’s-70s Americana with live country-rock music and a multi-talented cast of actors/singers/musicians.
View More LOVE’S LABOUR’S LOST (Revolution Shakespeare): 2015 Fringe review 61
Fringe in Sketch 8: JUMP THE MOON (Philadelphia Opera Collective)
As part of Phindie’s coverage of the 2015 Fringe Festival, Aaron Krolikowski is attending a series of shows and sketching what he sees.
View More Fringe in Sketch 8: JUMP THE MOON (Philadelphia Opera Collective)
THEY ONLY COME OUT AT NIGHT: A GRAVEYARD CABARET (REV Theatre): 2015 Fringe review 60
Charles Dickens comes undead at this haunting site-specific show.
View More THEY ONLY COME OUT AT NIGHT: A GRAVEYARD CABARET (REV Theatre): 2015 Fringe review 60
INTO THE LIGHTS (Dancefusion & Ballet Fleming): 2015 Fringe review 59
Modern dance meets contemporary ballet in an expressive collaboration by two of Philadelphia’s top-notch companies.
View More INTO THE LIGHTS (Dancefusion & Ballet Fleming): 2015 Fringe review 59
IN TRANSIT: DANCE|MUSIC|THEATER (FringeArts / PMA): 2015 Fringe review 58
Staged in the American Art Galleries in the Philadelphia Museum of Art, this interactive pop-up work of art, gives a new insight into how to “experience” the…
View More IN TRANSIT: DANCE|MUSIC|THEATER (FringeArts / PMA): 2015 Fringe review 58
JUMP THE MOON (Philadelphia Opera Collective): 2015 Fringe review 57.2
o subtitles necessary to hear praises sung for women astronomers of the late 19th century.
View More JUMP THE MOON (Philadelphia Opera Collective): 2015 Fringe review 57.2
JUMP THE MOON (Philadelphia Opera Collective): 2015 Fringe review 57.1
An experimental world-premiere opera gives voice to the unsung women heroes of astrophysics at Harvard in the 1890s, with a cutting-edge score, non-linear libretto, and expressionist movement.
View More JUMP THE MOON (Philadelphia Opera Collective): 2015 Fringe review 57.1
CAREFUL INJURIES (Other Case Notes Ensemble): 2015 Fringe review 56
Composed as a series of vignettes, CAREFUL INJURIES “began as an examination of physical states and expressions of comfort, fear, and exhaustion.”
View More CAREFUL INJURIES (Other Case Notes Ensemble): 2015 Fringe review 56
SUITE N˚2 (Encyclopédie de la Parole / Joris Lacoste): 2015 Fringe review 55
Part chorale work, part theater, and part compelling curated art, this peculiarly affecting piece examines the diversity of contemporary communication.
View More SUITE N˚2 (Encyclopédie de la Parole / Joris Lacoste): 2015 Fringe review 55
Fringe in Sketch 7: UNARMED (Arielle Pina)
As part of Phindie’s coverage of the 2015 Fringe Festival, Aaron Krolikowski is attending a series of shows and sketching what he sees.
View More Fringe in Sketch 7: UNARMED (Arielle Pina)
“Performing Ionesco is a sport”: Interview with EXIT THE KING director Tina Brock
Henrik Eger talks to director Tina Brock about this intriguing Fringe production.
View More “Performing Ionesco is a sport”: Interview with EXIT THE KING director Tina Brock
KILL WILL (Philadelphia Shakespeare Theatre): 2015 Fringe review 54
Seven actors explain, enact, and parody a series of Shakespeare’s “bloody bits” in this fast, furious, and funny mash-up of The Bard’s iconic death and battle scenes.
View More KILL WILL (Philadelphia Shakespeare Theatre): 2015 Fringe review 54
DANCES WITH SOCKS (Megan Flynn Dance): 2015 Fringe review 53
A series of short sketches of people in process. Carefully crafted dances that pulled the audience into the performers’ private worlds.
View More DANCES WITH SOCKS (Megan Flynn Dance): 2015 Fringe review 53
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
ACCORDING TO GOLDMAN (Act II): How to write a script
Act II opens its new season with a bang with Bruce Graham’s ACCORDING TO GOLDMAN
View More ACCORDING TO GOLDMAN (Act II): How to write a script
IT’S SO LEARNING (Berserker Residents): 2015 Fringe Review 51
Go back to school with The Berserker Residents in this highly interactive ensemble-devised piece, in which you are the student and your teachers are berserk!
View More IT’S SO LEARNING (Berserker Residents): 2015 Fringe Review 51