Erin Washburn responds to Jo Stromgren Kompani’s THERE at Philly Fringe.
There’s a way that the people around me and with me have developed a way of interacting with the world and creating meaning with their bodies—with their physicality and their energy—that is in opposition to expectations.
No sensible person pretends the Edinburgh Festival Fringe is a breeze. Every August, performers and audiences and critics swarm the charming Scottish capital for three weeks of thrumming, sleep-deprived, often soggy mayhem. Founded in 1947, it’s billed as the largest arts festival in the world.
It’s basically “A Christmas Carol” meets the Spectrum [queer club in Brooklyn]. (maniacally laughs).
Philadelphia’s Fringe Festival is comprised of two types of fringe-ing. There’s the Independent/Neighborhood Fringe–which is Fringe as we typically understand it, independent producers sprawled all over the city making weird experimental pieces. Then there’s the Curated Fringe, which consists of productions FringeArts has invested money
CHICKEN TENDERS: Peter Whitehead, poultry, and the art of collapse in Sister Sylvester’s They Are Gone But Here Must I Remain
Sister Sylvester’s new piece, They Are Gone But Here Must I Remain, opens with the company’s founder and director, Kathryn Hamilton, cheerfully and pragmatically laying out a few basic facts concerning her subject of interest: a documentary film called The Fall shot in 1968 by
DANCENOWNYC celebrates 20 years with the 2015 Festival at Joe’s Pub.
An interview with Francis Weiss Rabkin
Jerry Lieblich talks with Kareem Fahmy and Victor Lesniewski about Couriers and Contrabands, upcoming at TGB Theater.
Fire, as a concept or symbol, has taken on a wide range of meaning throughout literary and dramatic history. I think almost immediately of The Firebugs, a German play written in 1953 by Max Frisch, in which a duo of arsonists go house to house
Mariah MacCarthy’s play Magic Trick unfolds itself over the course of about two and a half hours in semi-fragmented short-to-medium length scenes, weaving a narrative that functions primarily as a lover’s messy triangle story (in which one person leaves a second person and shacks