FringeArts Blog

Embracing the Chaos with Jeffrey Cousar

Posted September 13th, 2017

This year storied and beloved Philadelphia theater company New Paradise Laboratories have returned to the Fringe Festival with one of the most enigmatic and exhilarating shows you’re likely to see this month.

Hello Blackout! picks up well before the events of NPL’s previous Fringe-presented work O Monsters. That show followed the seemingly human, but exceedingly alien Kissimmee triplets and their mother in the present day. This time around we are with them at the beginning of, well, everything. Taking place before, during, and after the Big Bang, Hello Blackout! unfolds like a compellingly surreal take on the creation myth, where all conventions are thrown aside in favor of inviting unlimited possibility with open arms. It is at times deeply unsettling, at others riotously funny.

In dipping into the past, NPL has resurrected the family’s previously absent patriarch to reveal just what became of him. Taking on this demanding role of the father/king and joining the cast on their ride through the beginning of all things is performer Jeffrey Cousar. 

A Philly native, Cousar began his performance training very young, first attending Philadanco as a child and later, at 13, moving on to Freedom Theatre. After graduating from the Philadelphia High School for the Creative and Performing Arts, he started working professionally as an actor.

He first became involved with NPL earlier this year, performing in their immersive detective adventure Gumshoe. The interactive mystery took audiences throughout the Free Library as they were trained to be agents of the “Bureau of Mysteries” by various agents. Cousar played the role of Saiph, an agent who specialized in secrets and conspiracies. “I had to take into account the fact that there was no buffer between me and the audience,” Cousar explained, describing the considerations required for executing the site-specific piece. “I could improv working as a colonial merchant in Old City, but Saiph also had specific text to relate to the audience. Doing that in a space where someone could interrupt you mid-dialogue keeps you alert.” While that piece required quick thinking and a strong awareness of his surroundings, Hello Blackout! presents a wildly different set of challenges.

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A Guide to Megapolis Audio Festival, Pt. 3: Molding Sounds

Posted September 13th, 2017

From September 16-17 the fifth Megapolis Audio Festival will descend upon Philadelphia, drawing world class musicians, sound artists, radio producers, and all around audio adepts to join the artistic frenzy that is the Philadelphia Fringe Festival. Much like the 2017 Festival’s program, Megapolis’ schedule of events might appear a little daunting at first glance, so to help you navigate it we at the FringeArts Blog are going to break it all down for you into some easily digestible categories. Follow these links to Parts 1 (sound tours), 2 (performances), and 4 (installations and digital works).

For Part 3 we’ll be taking a look at workshops where pass holders can get hands on experience with some complex hardware, learn more about the art of radio storytelling, and more.

 

Voltage is Sound, Voltage is Drawing
Tim Nohe
Sept 16, 11am @ PhillyCAM
This hands on, all ages workshop encourages participants to experiment with live technological art to create mathematically derived music and drawings. Led by artist, composer, and educator Tim Nohe, the workshop is rooted in expressive drawing, fascinating mathematical discoveries of the 19th century, and the “switched-on” synth music of the 1960s. Participants will experiment with a range of electronic tools from various eras. Compose electronic drawings on an ‘80s era Vectrex game box by controlling a modular synthesizer. Utilize wireless infrared controllers, iPad apps, and touch sensors to shape sounds and draft kinetic drawings.

 

Blinks, Bleeps, and Bits in the Wild: Breaking the boundaries of littleBits
Ed Bear and Monty Kim
Sept 16, 1pm @ Community College of Philadelphia
littleBits makes technology kits composed of electronic building blocks that empower everyone to create inventions, large and small. To go really large, however, requires some experience, which this workshop will provide. Led by littleBits designers Ed Bear and Monty Kim, participants will be introduced to basic programming, soldering, and design skills. They will learn how to unlock the powerful control, audio synthesis, programming, and connectivity of littleBits to build large multi-channel sound systems, interactive LED sculptures, Bluetooth controlled motors or generators, and whatever else they can invent. No experience necessary.

 

Makin’ Radio Ravioli
Olivia Bradley-Skill
Sept 16, 1pm @ PhillyCAM
New York based radio producer and sound artist Olivia Bradley-Skill breaks down the nuts and bolts of cut-ups and sound collage and discusses how different sounds marinate together to tickle the ears and echo the extremes of our subconscious. Utilizing sound effects, cut-up speech, and music, nonsense will turn from goofy to maniacal, organic to robotic, and the other way around. At the end participants will build their own collages that create new meanings and flavors.

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Making Art in 2017: Barry Rowell on Floydada

Posted September 13th, 2017

(Left to right) Nomi Tichman and Catherine Porter. Photo by Peculiar Works Project.

Name: Barry Rowell

Company: Peculiar Works Project

Show in 2017 Festival: Floydada

Role: Co-Founder, Co-Artistic Director

Past Festival shows: This is our first time bringing a show here—but we’ve been coming to see the festival since 2000. One year, we managed to see 10 shows in 3 days . . . but we were younger then.

FringeArtsTell us about your show. 

Barry Rowell: I was driving in West Texas about 25 years ago and saw the road sign for Floydada—yes, it’s a real town—and I told my wife, Catherine Porter, that I should write a Dada play set there. The idea changed a lot over the years but eventually it became a play about two estranged sisters opening a Dada cabaret in 1927 rural Texas. We also explore the creative impulse: I think everyone has it and most of us find some way to channel it. Finally, it’s about two middle aged women—one with a lifetime of stifled desires, another who can no longer follow hers—and the joy they find in creating art that frees them both.

FringeArtsHow have your interests in or approach to art making changed in the last year? 

Catherine Porter. Photo by Peculiar Works Project.

Barry Rowell: Peculiar Works is constantly exploring new ways to create our work. We’ve recently begun to focus on creating more physical performance—our partner, Ralph Lewis, is using his circus training for his next project; Catherine is developing a solo piece inspired by Virginia Woolf’s Orlando to take on traditional gender roles. We’re also looking at the audience/actor relationship. I’ve been working on a site-specific play for bars that would incorporate the audience, allow actors to interact with them one-on-one, and incorporate them into multiple narratives woven through the evening. We’ve done a lot of promenade performance, where audience follow actors through a show venue, and we’re always honing that: what worked last time and what didn’t, when we can make the audience’s experience more theatrical or heightened and when it should be more intimate and naturalistic, how we can craft surprises and excitement into their journey to give them a unique adventure.

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A Good Balance of Comfort and Discomfort: An Interview with Steven Dufala

Posted September 12th, 2017

This week, two Philly Fringe favorites are returning to the Festival with two very different shows. Absurdist theater artist Geoff Sobelle will mount HOME on September 13, an ambitious new piece that ruminates on the transitory nature of dwelling, the impossible structural demands of a house, and the absurdity of making a home. Meanwhile, on September 14, theater maker and performer Thaddeus Phillips will premiere his latest work, A Billion Nights on Earth, a fantastical show for all ages that dives into the realms of parent–child relationships, as pair stumble through alternate realities in search of a beloved stuff whale. Though both of these shows are starkly different, they do have one thing in common. That would be artist Steven Dufala.

Dufala has been creating work in a variety of media for decades now. He has regularly collaborated with his brother Billy, under the name The Dufala Brothers, and together their work—often humorous, hyperbolic reimaginings of everyday or iconic items—has been exhibited widely. They’ve also organized absurdist artistic happenings, including a toilet-trike race through Old City during the 2005 Fringe Festival.

Recently, Steven Dufala has lent his exceptional talents to some ambitious works of theater, designing sets and making some larger than life visions a reality. Perhaps most notable among these collaborations was his work on Geoff Sobelle’s widely lauded show The Object Lesson, which had its premiere during the 2013 Fringe Festival and has since been taken all over the world. Turning theaters into storage spaces with boxes stacked high to the ceiling and filled with the usual household wares, the kind of miscellanea that does little but collect dust but somehow stays with you for years, as well as some more surreal keepsakes—”moss to mystic” designated actual moss with a strong whiff of incense, “acorn collection” ought to be self explanatory—his design and installation work on the show was critical to achieving its uncanny yet strikingly down to earth vibe.

We recently caught up with Dufala to learn more about his artistic practice and what it’s been like splitting his time between these two aesthetically divergent shows.


FringeArtsTell us a bit about your background. 

Winslow Fegley in A Billion Nights on Earth

Steven Dufala: I grew up in south Jersey, the middle of five boys in a creative household. Our parents were pianists and teachers, and all the brothers make things. So I’ve always been making things.

FringeArtsWhat was the Philadelphia arts community (or communities) like when you first arrived at the Pennsylvania Academy of Fine Arts? 

Steven Dufala: I used to like to say the scene was mostly living rooms and basements, and I guess that’s still kind of true, but everything was really DIY. Pig Iron was making shows in basements, the best music was at peoples houses, the best parties, the best art shows didn’t really look like shows, but were kind of one or two night show/parties. Old City was kind of too fancy, and no one really went north of Spring Garden. 

When I got to Philly, I didn’t go straight to the academy, I was at UArts for two years in film and animation. That basically cracked open a whole world of creativity I’d never really explored and that’s why I went to PAFA—to try and get a better foundation for making things in general.

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Making Art in 2017: Annielille Gavino & Evalina Carbonell on Mujeres

Posted September 12th, 2017

Name: Annielille “Ani” Gavino & Evalina “Wally” Carbonell

2017 Festival ShowMujeres

Past Festival shows: Fore-ign/Fore-out

Roles: Choreographers, Performers

(Top to bottom) Evalina Carbonell & Annielille Gavino. Photo by Edgar Anido.

FringeArtsTell us a bit about your show. 

Ani Gavino: The show is a split bill between Evalina Carbonell and myself. Both choreographers will present their woman centered dance works, hence the title, Mujeres. I will be presenting HERstory which is supported by the Small But Mighty Art Grant. HERstory is a story of ancestral memories and lost histories. This 40 minute work is an interdisciplinary performance, celebrating goddesses, priestesses, female chieftains, and matriarchal archetypes present in indigenous society. HERstory questions the authenticity of history, and challenges our formalized, biased education. HERstory celebrates ancient spirituality, its presence in ancient mythologies, and its absence after the rise of European colonialism.

As a Filipino artist, I investigate pre-colonial Philippines and the role of colonialism in the fall of my indigenous matriarchal culture. HERstory, began as a thought after the birth of my daughter in 2008. Over eight years, this simmered in my subconscious, waiting to boil. Until motherhood, I never thought deeply about my relevance as a woman. Questions arose as I analyzed western archetypes such as the damsel in distress, the virgin, the evil mother, the seductress and the hag. The thought of my daughter’s acceptance of these portrayals as part of cross-cultural convention triggered this resistance.

Evalina Carbonell: My new work, Milk, deals with give and take, as it relates to the female body and motherhood. Using rhythm, breath, effort, and flow, the cast of dancers pour themselves into dance, relating this movement to motherhood. This work was awarded the Ellen Forman Dance Award, which will allow me to further my exploration of the project with Drexel University’s dance ensemble.

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2017 Festival Spotlight: Created by People of Color, Pt. 2

Posted September 12th, 2017

Disrupting the pervasive whiteness of Fringe, these artists are breathing fresh air in to the new works scene in Philadelphia with these exciting Festival offerings!

We Shall Not Be Moved @ Wilma Theater
Opera Philadelphia

What’s at stake here is America and its future. Who’s invited to participate?

On the run after a series of tragic incidents, five North Philly teens find refuge in an abandoned house in West Philadelphia at the exact location that served as headquarters of the MOVE organization, where a 1985 standoff with police infamously ended with a neighborhood destroyed and eleven people dead, including five children. This self-defined family is inspired by the ghosts who inhabit this home and begin to see their squatting as a matter of destiny and resistance. The group, named the Family Stand, is headed by self-appointed leader Un/Sung, and crosses paths with Glenda, a Philadelphia police officer, whose encounters with the family leads to a standoff that could threaten to repeat history. A co-presentation with Opera Philadelphia. More info and tickets here.

 

Andean Mountains (Montañas Andinas)
Carl(os) Roa, José Avilés, Elyas Harris

Andean Mountains is a digital journey through the mountains. Above all, it is a piece about personal geography: the way we relate to our place of origin versus where we’ve relocated. Featuring a performance by a juicy Colombian bear, the piece is both a Google Street View tour as well as an exploration of culture loss. More info and tickets here.

 

Urgent Care: A Social Experience @ The Colored Girls Museum
The Colored Girls Museum

The Colored Girls Museum takes community matters into her own hands converting the three-story Victorian memoir museum into a Social Care Experience. Her new exhibits redefine the concept and practice of “urgent care” from triage to aftercare. Curators, artists, and ordinaries construct Colored Girlhood as an imaginative and powerful space. More info and tickets here.

 

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A House is Merely a Container

Posted September 11th, 2017

This is a guest post written by writer, editor, critic, and professor Stefanie Sobelle. She is also the dramaturg of HOME, the latest work from Geoff Sobelle. Her book The Architectural Novel is forthcoming from Oxford University Press, and her criticism has been published in Bookforum, the Financial Times, BOMB, Words Without Borders, Jacket2, and the Review of Contemporary Fiction.


What do we mean when we call a place “home”? Home might be the place where we live. It might also be, in game terms, the place we are trying to reach—the goal. We often associate with “home” concepts of comfort, safety, family. When we add an article, home can become more dire: they took her to “a home.” Home is not a house per se; a house is merely a container. It holds residents and furnishings, performances and privations. A house has identifiable limits—walls, doorways, staircases. A house can be discomfiting, sinister, cold, hostile, welcoming, familiar, secure. A house can be empty or full, dead or alive. A house can even be a dream.

We clean these houses to ward off chaos from the outside world; we remodel them and decorate them to bring them closer to our idea of who we want to be; we move into them and out of them; we buy them and we sell them; we take them and we lose them; we raise them and we raze them; we rent them and are rent from them. More often than not, these days at least, a house is often constructed by unknown contractors before we arrive, and destroyed by unpredictable forces after we leave, as if by magic. Its builders and demolishers are faceless and nameless. Its systems are complex and often mysterious.

We live in these houses alone and with others. Geoff and I each rent small Brooklyn apartments minutes from one another, small enclaves in larger houses populated by owners we call friends. But we grew up sharing spaces—bathrooms, backyards, garages, bunk bed hideaways, hillside forts, paper castles, bookstore attics, witchy ponds, and station wagon waybacks. We share so many memories of these childhood spaces—they tell us who we are and who we’ve been—and so we always feel a bit unsettled when we discover where those memories diverge.

I suppose we are all haunted by our memories of previous houses we have inhabited and of the traces left behind by those that came before us. In turn, we haunt those that come next, and this can be true whether the house takes the form of a single family dwelling, an apartment complex, a hotel, a bivouac, a congress, a prison, a theater. But home is less a material thing and more an idea, an experience, a feeling, an illusion. James Baldwin writes in his beautiful brief novel Giovanni’s Room that home can also be a person, or at least how we feel when we see or think of that person. “Perhaps home is not a place,” he writes, “but simply an irrevocable condition.”

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2017 Festival Spotlight: Created by People of Color, Pt. 1

Posted September 11th, 2017

Disrupting the pervasive whiteness of Fringe, these artists are breathing fresh air in to the new works scene in Philadelphia with these exciting Festival offerings!

 

To My Unborn Child: A Love Letter from Fred Hampton @ Iron Age Theater
Philadelphia Ethical Society

Murdered by Chicago Police at 21 as he lay by his pregnant lover, visionary Black Panther Fred Hampton preached a humane, compassionate revolution against racist brutality, child hunger, poverty, and capitalism. Fred cries, “Power to the People,” in Rich Bradford’s world premiere play reviving a critical voice for justice. More info and tickets here.

 

Mujeres @ CHI Movements Art Center
Gavino + Carbonell

Mujeres is a compilation of dance works by female choreographers, Gavino and Carbonell. Gavino’s HERstoryexplores pre-colonial matrilineal bloodlines from the perspective of an indigenous Filipina. Carbonell’s Milk delves into motherhood, investigating sustenance passed from mother to child. More info and tickets here.

 

Cotton & Gold @ Circle of Hope
AMH Productions

Writer/director Alyse Hogan explores history to tell this story of struggle, healing and resilience. Through Afrofuturism, the town of Tulsa is re-imagined from the forgotten history of Tulsa, Oklahoma’s Black Wall Street. Join Loron Sr. as he escapes to an economically advanced Tulsa, searching for answers to save his hometown of Rankin from the watchful eye of COINTELPRO. More info and tickets here.

 

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Making Art in 2017: Nate Barnett and Nick Schwasman on Wedgwood on the Green

Posted September 11th, 2017

Image by Jordan Schellinkhout.

Name: Nate Barnett and Nick Schwasman

Company: Drip Symphony

Show in 2017 Festival: Wedgwood on the Green

Role: Co-Directors, Performers

Past Festival Shows: Millennia, Damn Dirty Apes, Pay Up!

FringeArtsTell us about your show. 

Nick SchwasmanWedgwood started as poetic memoir that Nick wrote in 2014. We mounted it in the 2015 Solow Festival as a live radio play. Now we’re collaborating with a variety of artists to create a fully visual show. The story deals with a group of young men who are discovering dark truths about their supposed masculinity as they approach the threshold of adulthood. We tell the story in and out of the round: the audience is seated in a circle of swivel chairs. A narrator sits in the middle, but all around is the world of Wedgwood. They choose what they do and do not see.

FringeArtsHow have your interests in or approach to art-making changed in the last year? 

Courtney Cooke and Devin Preston. Photo by Nate Barnett.

Nick Schwasman: I think the two of us are feeling like we are coming out of a part of our life where we were holding tight to our training and technique. We spent quite a few years admiring the complexities of artistic traditions, studying in discipline and reverence, the music of Leonard Bernstein, poems of WB Yeats, artists whose work have become sturdy pillars by now. I think lately, we’re less interested in the classic stuff, we’ve become obsessed with experimental techniques. For us, the clearest way forward to making new and better art is by bringing an almost scientific attitude towards its creation—testing new ideas rigorously, imagining future possibilities based on experience. It’s the artists that have done this whom we most admire, and how we intend to move forward.

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Making Art in 2017: Michael Kiley on Close Music for Bodies

Posted September 10th, 2017

Name: Michael Kiley

Show in 2017 Festival: Close Music for Bodies

Past Festival shows: Sound design and original music for Nichole Canuso Dance Company’s Wandering Alice (also performer, 2008), Takes (2010), and The Garden (2013), as well as Animina, A Race Street Pier Soundwalk (Digital Fringe, 2015)

Fun fact: My first job in Philadelphia was house managing Christ Church for the 1999 Fringe Festival.

FringeArtsTell us a bit about your show. 

Michael KileyClose Music for Bodies is an immersive voice work. It evolved from collaborations on several choreographic processes (with luciana achugar, Faye Driscoll, Chelsea and Magda), where I was invited to collaborate as a composer/designer, and brought my skills as a voice teacher into the fold. I began to get excited about how the moving body affects vocal production, and vice versa. This led to breakthroughs with my voice practice, moving it into a more fully embodied experience, which I now call Personal Resonance. The deep connections I’ve made with people through teaching Personal Resonance made me wonder if I could create that level of intimacy and community in a performance setting. Vocal education will be a facet of this performance.

It is a social and cultural norm to judge people by the sound of their voice. We do it without realizing it. This judgement is magnified when it comes to the sound of someone’s singing voice. As a result, the act of singing has become an elitist form. Early on in life, people are told that they can either sing or they can’t, in relation to their natural ability to duplicate pitches in a pleasing tone. But singing is one of the most mentally and physically beneficial acts possible in the human form. That benefit has absolutely nothing to do with how you sound, and everything to do with how it feels, physically in your body. I’m interested in discovering what happens when a community of voices is unbridled by the expectation of sounding perfect, and only seeks that which is physically pleasurable.

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Living a Billion Nights: An Interview with Michael and Winslow Fegley

Posted September 10th, 2017

This week sees the premiere of A Billion Nights on Earth, the latest work from acclaimed theater maker and performer Thaddeus Phillips in collaboration with artist Steven Dufala. The show—appropriate and ideal for audiences of all ages—follows a father and son as they venture into their fridge in search of a beloved stuffed whale and find themselves on a spectacular quest through space and time. With stunning scenic work by Dufala and Phillips, taking inspiration from the shapeshifting nature of Kabuki theater design, the piece is a dazzling, ever-evolving work of visual art and a touching, imaginative dive into the realms of parent–child relationships, exploring their varying perspectives on reality.

If you find the relationship between the father and son characters deeply palpable, it might be because stars Michael and Winslow Fegley are father and son. And also exceptionally talented performers. Michael Fegley has been working in theater and film for decades now, as has his wife Mercedes, and now all three of their children are following in their footsteps.

I caught up with Michael and Winslow to learn a little more about their experiences performing, how this collaboration with Phillips came about, and what it’s like living in the fantastical world of A Billion Nights on Earth.


FringeArtsTell us a little about your performance backgrounds.

Michael: I’m a member of AEA and SAG-AFTRA and have been working professionally for over twenty years. I’ve performed extensively in New York and Philadelphia in works ranging from classical to the avant-garde, including the Off-Broadway production of Small Potatoes.

Winslow: I’ve been doing plays and movies for a while now. Plus my whole family acts, and I watch them working all the time. I’ve learned a lot, and I like working with my dad.

FringeArtsIs there a strong theater or performance community in Allentown?

Michael: Allentown has the wonderful, talented people of the Civic Theatre of Allentown, where our family has been a part of productions for years. Winslow, like his sister August and brother Oakes, have all taken many turns on that stage. However, it is a non-equity house, so I have to find work in Philadelphia and elsewhere. Last year I was in the world premiere of The Ballad of Trayvon Martin at Freedom Theatre here in Philadelphia.

Winslow: I like working in Allentown, but it’s cool when we get to go to new places and work in different theaters.

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Making Art in 2017: Keila Cordova on KITH

Posted September 10th, 2017

(Left to Right) Matt Austin, Loren McFalls, Kathy Kerner. Photo by Kathryn Raines.

Name: Keila Cordova

Company: 3 Pony Show / keila cordova dances

Show in 2017 Festival: KITH

Past Festival shows: Linear DefaultAs Pretty Does, Volcano, My Love, Agnes Falling, Gold, Janet 2.0, Girl “Y”

FringeArtsTell us a bit about your show.

Keila Cordova: KITH comes out of my on-going interest in looking at how people connect to each other.  We created a survey as a portal where people in the community can share their stories and connect to the performance experience. Dance can be the vocabulary for telling our story, or for releasing our story into the universe.

FringeArts: How have your interests in or approach to art making changed in the last year?

Keila Cordova: I’m learning that there are infinite amounts of magic in not knowing.  So I find playing to be a great space for discovery. When you go through the trouble of bringing the right people onto your team, it’s important to value their uniqueness and make sure they’re a part of the development process.

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2017 Festival Spotlight: Free Fringe

Posted September 9th, 2017

Seeing groundbreaking performance art doesn’t have to break the bank. Check out these free or pay-what-you-want shows at this year’s Fringe Festival.

 

Borderlands @ Studio 34
Philadelphia Theatre of the Oppressed

“To survive the Borderlands you must live sin fronteras be a crossroads.” — Gloria Anzaldúa. Come break the fourth wall as Philadelphia Theatre of the Oppressed explores the personal journeys of immigration & homecoming from prison. Devised & performed by formerly incarcerated Philly women who have reentered society. More info and tickets here.

 

 

Monarch @ Fleisher Art Memorial
Christine Doidge, Amanda Holston, James Miller

Monarch is one woman’s retelling of the story of Queen Elizabeth I and Mary, Queen of Scots. Fleisher Art Memorial’s beautiful sanctuary sets the stage for past to become present. Fill in the blanks of history (with an irreverent dose of fiction) as a centuries old rivalry comes to a head. Queens will rage. Crowns will fall. Heads will roll. More info and tickets here.

 

 

Perspectives @ The Galleries at Moore
AIM Academy Drama

“You look at me. What do you see? You don’t know who I am.” Young writers share their perspectives on body shaming, gender identity, anxiety, online personas, loss, and ADHD and invite the audience to join them as they confront preconceived ideas, assumptions, and judgments. More info and tickets here.

 

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Making Art in 2017: Paige Lizbeth Morris on Something Blue

Posted September 9th, 2017

Photo by Stephanie Price.

Name: Paige Lizbeth Morris

Show in 2017 Festival: Something Blue

FringeArtsTell us about your show.

Paige Lizbeth MorrisSomething Blue is a body of work that I have been developing since 2013. The concept evolved from my own personal experiences in heteronormative relationships, as well as an assessment of my sisters’ relationships in comparison to my own. I am also inherently curious about the media’s portrayal of women in romantic settings where women are represented as though they are in a constant and endless search for love, and how their obsessive tendencies interfere with their perceived biological aspirations. Through research on the scientific and sociological aspects of human intimacy, I intend to create narratives of love, loss, hope, and regret. My installations utilize the power of objects to activate familiar feelings while raising questions about how we want to be perceived.

FringeArtsHow have your interests in or approach to art making changed in the last year? 

Photo by Stephanie Price.

Paige Lizbeth Morris: I think the biggest obstacle I have to tackle when making is myself and my own critiques of my work. As a method to practice making, I assign myself five-minute sculptures, setting up different parameters that I have to work within, such as a theme or types of materials. Doing this has made me quicker and more confident in making. It has also allowed me to be more welcoming to the idea of listening to my instincts and understanding that sometimes it may make more sense for me to create based off of my emotions instead of my own critical analysis.

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A Guide to Megapolis Audio Festival, Pt. 2: Performing Sounds

Posted September 8th, 2017

From September 16-17 the fifth Megapolis Audio Festival will descend upon Philadelphia, drawing world class musicians, sound artists, radio producers, and all around audio adepts to join the artistic frenzy that is the Philadelphia Fringe Festival. Much like the 2017 Festival’s program, Megapolis’ schedule of events might appear a little daunting at first glance, so to help you navigate it we at the FringeArts Blog are going to break it all down for you into some easily digestible categories. Follow these links to Parts 1 (sound tours), 3 (workshops), and 4 (installations and digital works).

This time around we’re taking a look at a wide variety of performances happening all weekend. Though some of them have interactive elements, for the most part all they ask of you is that you soak in the sublime sonics.

 

Playing the Victim
Phoenix Lio(n)
Sept 16, 10:30am @ United by Blue, Old City
Sept 17, 3pm @ United by Blue, Old City
Two live demo performances of an installation available to the public all weekend, Playing the Victim centers on a mask that plays audio narratives about rape culture and queerness. Using augmented reality and physical computing, the mask can be used to trigger audio and visuals on various speakers and monitors. As a live demo performance, Phoenix invites audience to watch as they manipulate their memories themselves. By engaging their experiences and identity as tools for art they rework the heaviest, hardest parts of themself like pigments dragged across canvas.

 

Radio Atlas
Radio Atlas
Sept 16, 5pm @ WHYY
Radio Atlas is the English-language home for subtitled audio from around the world. For this event for Megapolis, the podcast presents a screening of some of the best foreign language radio works in the world. Among other sonic surprises, this event will premiere a Belgian radio story about a residential home for the senile where music is an important form of occupational therapy; patients who can’t remember their children can remember songs of their youth in perfect detail, a frivolous way of conjuring a merciless deterioration.
Tickets for this performance are sold separate from Megapolis weekend and day passes.

 

Blevin Blectum / Radio Wonderland
Blevin Blectum & Radio Wonderland
Sept 16, 8pm @ WHYY
An evening of performances from two esteemed artists with unparalleled creative visions.
Blevin Blectum is a Providence-based interdisciplinary artist who combines sound, imagery, and costume to create eccentric and mesmerizing performances that explore everything from science fiction to ornithology. She has been performing and touring extensively since 1998, and when she’s not working on her own music she’s creating sounds for Hasbro Toys.
Joshua Fried, aka Radio Wonderland, turns live radio into recombinant funk, with a boombox, Buick steering wheel and four old shoes. Robert Barry, a writer for the esteemed music publication The Wire, described his works as, “Rather like Negativland remixed for a house party…undeniably fun.”
Tickets for this performance are sold separate from Megapolis weekend and day passes.

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Making Art in 2017: Gerre Garrett on Labor of Love

Posted September 8th, 2017

(Left to right) Joanne Cunningham, Gerre Garrett, Sara Carano, Jim Boyle, Chris McGovern, Eric Singel. Photo by Ryan McMenamin.

Name: Gerre Garrett

Company: Waitstaff Sketch Comedy

Show in 2017 Festival: Labor of Love

Role: Performer, Co-Creator

Past Festival Shows: We have performed in 16 previous Philly Fringe Festivals. Our shows have included The Real Housewives of South Philly, The WaitStaff Jumps the Shark  and Making the Fringe Great Again.

FringeArtsTell us a bit about your show.

Gerre Garrett: We had to title the show BEFORE writing it. We settled on Labor of Love because we love creating something that exists simply to make people laugh. While we do pride ourselves on offering material that is as smart as it funny, there is no important message or examination of the human condition here. As writers we are struggling with just how much of the show should lampoon current politics. Saturday Night Live has pretty much cornered the market on impressions (not necessarily our strong suit) and with shows like Last Week Tonight and The Daily Show, we are wondering if audiences aren’t over-saturated with political material.

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Making Art in 2017: Sonya Aronowitz on #CocktailPlays

Posted September 8th, 2017

Sonya Aronowitz. Photo by Marv Kaplan.

Name: Sonya Aronowitz

Company: Juniper Productions

Show in 2017 Festival: #CocktailPlays

Role: Producer

Past Festival shows: This is our first production!​

FringeArtsTell us about your show. 

Sonya Aronowitz: I founded Juniper Productions this year to be a new independent “spirit” in the performing arts. I’ve written plays myself and know how difficult/impossible it is to have work produced. Our starting point is serving emerging talent, in particular playwrights, by providing more development and production opportunities. At the same time, I want to open up theater to more audiences by making work in places where people gather anyway. The short play format allows us to introduce a new audience to several emerging playwrights in one evening of performance. So, in short, the questions I seek to answer are: How do we introduce a broader public to the great talent we have in Philadelphia? How do we continue to cultivate and sustain our theater artists?

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Recollections of Home from Geoff and Stefanie Sobelle

Posted September 7th, 2017

Next week sees the premiere of HOME, the latest work from acclaimed theater artist Geoff Sobelle. As a house comes together on stage and its residents—present, past, and future—begin to crowd in, audience members are confronted with the transient nature of dwelling, the constraints of time and money, the impossible structural demands of a house, and the absurdity—and at times the impossibility—of turning a house into a home. It’s a startlingly down to earth and moving meditation contained within a dazzling theatrical spectacle that asks us “What makes a house a home? What’s the difference? How do we confuse the two?”

The piece’s dramaturge—writer, editor, professor, and sister of Geoff, Stefanie Sobelle—has a pretty concise way of summing up this house vs home dichotomy. As Geoff told the FringeArts Blog in a recent interview, “[My sister] likes to poke fun at the old adage from The Wizard of Oz, ‘There’s no place like home,’ because she says, and rightly so, that home is not a place. It’s something else… so indeed, there IS no PLACE like home!” What that something else may be is the question HOME seeks to awaken in its audiences.

Back in April of 2016 the Sobelle siblings took part in an ongoing reading series for New York arts non-profit apexart. Entitled Double Take, the series is organized by writer and Bookforum co-editor Albert Mobilio and asks award winning and emerging poets, novelists, editors, and artists to trade takes on shared experiences. For their Double Take—video shared below—Geoff and Stefanie turned to their childhood home, sharing personal recollections of spaces within and around it, in which real and imagined details commingled.

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Making Art in 2017: Sally Kong on Kongputational Doodle

Posted September 7th, 2017

Name: Sally Kong

Company: Blue Sky Studios

Show in 2017 Festival: Kongputational Doodle

FringeArts: Tell us a bit about your show.

Sally Kong: I was fascinated by math equations and algorithms that can produce many distinctive variations in shape and personality when different numbers are plugged in, even when their underlying logic remains exactly the same. I wanted to create an interface to play around with these formulas and explore their unpredictable and often beautiful outcomes.

FringeArts: How have your interests in or approach to art making changed in the last year?

Sally Kong: This was my first time creating something new on a daily basis. For 10 days, I spent around 3-5 hours everyday designing, coding, testing, and playing with a completely new Kongputational Doodle. I am used to making random things out of spontaneous bursts of maker energy, so working on something consistently was a challenge in both idea generation and discipline. But I love what came out of it and I want to continue to work on more projects routinely in the future!

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2017 Festival Spotlight: FringeArts ~After Dark~

Posted September 7th, 2017

This ain’t your grandma’s Fringe. Join us for some of the raunchiest, rowdiest, wildest shows at this year’s Fringe Festival. Hire a babysitter and leave your kids at home because these shows are decidedly NOT family friendly. Viewer discretion advised. 

Martha Graham Cracker Cabaret @ FringeArts
Martha Graham Cracker

The hairy-chested, fake eyelash-laden alter-ego of thespian Dito Van Reigersberg performs a balls-to-the-wall drag cabaret. Backed by her stellar band and with her killer voice, Martha Graham Cracker takes you on a raucous, joyous, uninhibited ride around her world.
“The Drag Queen King of Philadelphia.” The Philadelphia Inquirer
More info and tickets here.

 

 

Bye Bye Liver: The Philadelphia Drinking Play @ Evil Genius Beer Company
Happy Hour Live, LLC

Two parts sketch comedy, One part drinking games: Mixed and served! Come party with us for a night you might remember with interactive drinking games between comedic romps about the drinking experience. Ticket includes your first beer from Evil Genius! More info and tickets here.

 

The Groom’s a Fag; The Bride’s a Cunt; The Best Man’s a Whore; and the Maiden of Honor (Just) Hung Herself in the Closet @ The Beard Cave at St. Mary’s Church
On The Rocks

Daniel is pretty gay, but he’s marrying Nora. Nora is a virgin that wants her wedding night to be a sexual awakening. Shit gets fucked up. A song, a dance, an image, a poem all wrapped in a sloppy burrito of a play about glamping, hookers, the Easter Bunny, cocaine, Emma Stone, hauntings, and the horrors of commitment. More info and tickets here.

 

KINK HAÜS @ The Latvian Society
Gunnar Montana

Gunnar Montana transports us once again, this time to a brutal underground nightclub where no fucks are given, and fierceness is always welcome. Fantasy, fetish, and carnal desire are all in fashion so leave your inhibitions at home because inside KINK HAÜS, anything goes. That is, if you can get past the doorman. More info and tickets here.

 

 

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