FringeArts Blog

2017 Festival Spotlight: Family Friendly Fare, Part 2

Posted August 27th, 2017

Just because it’s at the Fringe doesn’t mean you have to leave the kids at home. Check out some of the Festival’s productions appropriate for all ages. Bring the whole family! Check out Part 1 here.

 

A Period of Animate Existence @ Annenberg Center for the Performing Arts 
Pig Iron Theatre Company

Children, elders, and machines contemplate the future in a time of dire predictions and rapid technological change in this work of symphonic theater. How do we contemplate the future in such a perilous time, an era called the “Sixth Extinction,” when up to 50 percent of all living species might die off? An inspired, large-scale melding of music, design, and theater, A Period of Animate Existence investigates the intense, unnamable emotions that arise in a time of extinction. More info and tickets here.

 

Photo by Michael Bach.

Lost in the Woods @ German Society of Pennsylvania
A Moment for Music

Lost in the Woods is the journey of two starving children who must find their way in a world that threatens to both empower and devour them. This family-friendly romp through Hansel and Gretel’s forest is a multimedia adventure featuring classical, jazz, and pop singing, lip-sync, and dance. More tickets and info here.

 

Photo by Michael Ermilio.

 

Life Lines @ Christ Church Neighborhood House 
Tangle Movement Arts

Seven women collide and are changed forever. In this dynamic circus-theater show, strangers meet their match, empty rooms listen in, and women find their power in flight. Tangle’s acrobats climb trapezes and aerial silks as they face sudden changes, spark chain reactions, and test the hidden threads that bind us.

 

Worktable @ BOK
Kate McIntosh

We provide the hammer, you do the rest. Worktable is a live installation that takes place in a series of rooms, which visitors engage with one at a time. Having signed up beforehand for a specific time slot, you enter and can stay as long as you like. Once inside there are instructions, equipment, and safety goggles so you can get to work—it’s up to you to decide how things come apart, and how they fall back together. More info and tickets here.

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Making Art in 2017: Brad Baron on Last Ditch Playlist

Posted August 26th, 2017

(Left to right) Ross McCorkell and Brad Baron. Photo by Joseph Prestamo.

Name: Brad Baron

Show in 2017 FestivalLast Ditch Playlist

Role: Writer, Co-Director, Performer

Past Festival shows: No past FringeArts shows. However, Last Ditch Playlist was presented as a part of the 2017 Capital Fringe Festival in Washington DC this past July. It’s NYC run occurred at Theaterlab between August 17–20. Last Ditch Playlist is my Philly debut as an actor and playwright.

FringeArtsTell us about your show.

Brad BaronLast Ditch Playlist, in a nutshell, is the story of my first breakup. The play begins (spoiler alert) the morning after the ties between Aaron and Wes have officially been severed. From there, the audience is catapulted into a whirlwind of Aaron’s memories, both real and invented. He searches for an answer to the question “where did I go wrong?” to the tune of a playlist on shuffle. The play is called Last Ditch Playlist for a number of reasons. Some of those reasons I’ll leave for you to discover, but I’ll say this much: When you recall the memories of someone, you don’t necessarily do so chronologically. You remember people and events out of order. The order may be arbitrary, like a music playlist on shuffle. And music jogs memories. So this play’s “concept,” if you will, is the marriage between memory play and randomized music playlists. Bursts of music are triggering, and so are these memories of Aaron and Wes’s broken relationship.

(Left to right) Ross McCorkell and Brad Baron. Photo by Joseph Prestamo.

Although this could be considered a “gay play” since it follows a romance between two men, it is important to recognize that there are many aspects to this relationship that are not unique. In fact, it should be relatable to anyone who has ever been in a relationship. There will always be aspects to gay relationships that make them special and unlike other kinds of relationships, but if “love is love,” then that love should be universally recognizable to anyone who has ever experienced it regardless of race, gender, or sexual orientation.

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Making Art in 2017: Bobbi Block on Tongue and Groove

Posted August 26th, 2017

Name: Bobbi Block

Company: Tongue & Groove Spontaneous Theater

Show in 2017 Festival: Tongue & Groove (that’s what’s listed in the Guide, tho the name of our show this year is QUESTIONS)

Past Festival shows: We’ve produced shows in the Festival for 9 years! Last year: Before I Die…; the year before that, a collaboration with blues dancers called Groove, and many others!

FringeArtsTell us about your show.

Bobbi Block: Tongue & Groove is unscripted theater inspired by personal information anonymously submitted by the audience. Our mission is to create theater that combines the dramatic integrity of playwriting with the playful tension of improv. Through collaborative inspiration with the audience, we examine authentic relationships, and perform emotionally dynamic, physically intimate, serio-comic theater . . . that happens to be improvised!

The concept for creating T&G came from working with and teaching all different forms of improv: games, longform, Playback (communal storytelling). I was inspired by the work of world-class Chicago improvisers TJ & Dave who create beautiful one-act improvised plays that are both funny and dramatic. I wanted to create a hybrid of all those improv forms, and I wanted to explore regular realistic relationships. Ten years ago, when I founded T&G, I was tired of seeing improvisers avoid being vulnerable on stage—like they would be just about to kiss and then suddenly they make the whole thing surreal or into a wacky joke. There’s a place for that in the improv world—I love performing short-form games that are wacky—but I wanted to see if improvisers could explore human relationships more authentically.

After we honed our style (called Actors’ Improv), we realized that we wanted more interaction with the audience so we started asking them to anonymously reveal personal information (written on index cards and submitted pre-show). We found the collaboration and intimacy with the audience very fulfilling, and the audience loved seeing a piece of their real life turned into instant art. So now we combine our emotionally-grounded work with collaboration/intimacy with the audience.

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Alex Tatarsky’s Americana Psychobabble: The First in a Tryptich on America’s Political Tragicomedy

Posted August 26th, 2017

Alex Tatarsky in Americana Psychobabble

Alexandra Tatarsky is an absurdist performer hailing from New York City who aims to present the current state of affairs in the United States through her mixture of performance art, theater, and clown. She studied with mask maker Stanley Sherman and attended the Pig Iron School in Philadelphia. She performs on stages, in galleries, museums, bars, and living rooms, sometimes as a mound of dirt, and once in an all-too-convincingly stunt as Andy Kaufman’s daughter. She also teaches at the School of Making and Thinking (Abrons Art Center) on Holy Fools, and at the School of Authentic Journalism in Mexico City on performance and community organizing. “I am obsessed with how a performance teaches an audience how to engage with it, and how a work can be fully alive to the particular room it’s in.” Americana Psychobabble is “an attempt to both exorcise and exercise our demons,” an examination of America’s underlying divisive hatred, feelings of abandonment, already-present absurdity, and penchant for ketchup. The show investigates the “empty trashy language careening between somewhat cogent critique and incomprehensible garble seemed to speak to the demonic complexity of the American spirit, and the ugliness that undergirds a razzle-dazzle surface.” The show is a part of the Fringe Festival as the first in what will hopefully become a triptych of performances, the second of which she began devising during the 2017 Camp Fringe. We had a chat with Alex to explore the drive behind this new work, and the path that led her to become an absurdist comic.

FringeArts: Where did you grow up, and how did you begin making art?

Alex Tatarsky: I was born and bred in New York City and was apparently singing songs in made-up languages in my stroller before I could walk, like most kids. But the first performance piece I remember was dressing up as a “butterfly-doggie” and walking around the East Village like that when I was three. So I think it’s fair to say I’ve always been interested in absurdist character work and the rich, uncomfortable spaces between categories. Venerable Philly poet CA Conrad points out that we all made art as kids and then some of us—due to resources, encouragement, delusion, devotion, or compulsion—kept making art and some of us stopped. But we all have that kid artist in us and can access it if we choose to.

As a kid I danced with the magical Lisa Pilato for many years in a church basement by the West Side highway, and played a lot of street ball—both of which contributed considerably to my later development as a performer. But my main performance education for a long time mostly consisted of hanging out in parks and watching street performers like Master Lee chop a cucumber on an audience member’s dick, or Tic & Tac the acrobatic twins gather a huge crowd with some dancing but mostly jokes making fun of each other and the audience. Along with street preachers, panhandlers, drag queens, and anybody else vigorously monologue-ing on the street, these were my performance idols. I went on to study Russian literature and spent a few years thinking about and translating Russian Jewish poetry—whose concerns around the poet/prophet/lunatic are perhaps not unrelated—and when I got back to New York I began studying commedia with master mask maker Stanley Sherman. Eventually I decided it was time to go to proper clown school and ended up in Philly to train with Pig Iron who had blown me away when another clown guru, the amazing Ed Malone, took me to see their Twelfth Night in New York and Dito’s Iazzi so delighted me that I cried. But most importantly, I love to go out dancing and I credit the club as my main influence and form of movement-based research.

FringeArts: Who are some artists that you look up to?

Alex Tatarsky: Miguel Gutierrez, Abner Jay, Trajal Harrell, the Kuchar Brothers, my uncle Miles, Richard Pryor, Dario Fo, Lenny Bruce, Ishmael Houston-Jones, Frank Wedekind, Cecilia VicuñaGershom Scholem, Aventura, Andy Kaufman, Edouard Glissant, Lucy Hopkins, Stuart Hall, Marguerite Hemmings, Grace Lee Boggs, Charlie Chaplin, Cam’ron… all extravagant thinkers pushing at the edges of their disciplines and challenging us to imagine new worlds and ways of being.

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2017 Festival Spotlight: Family Friendly Fare, Part 1

Posted August 25th, 2017

Just because it’s at the Fringe doesn’t mean you have to leave the kids at home. Check out some of the Festival’s productions appropriate for all ages. Bring the whole family! Check out Part 2 here.

 

A Billion Nights on Earth @ FringeArts
Thaddeus Phillips + Steven Dufala

A  journey into an alternative universe for audiences of all ages. A treasured stuffed whale goes missing and a portal to another dimension though the kitchen fridge sets a father and son off on a spectacular quest through space and time. Objects on stage appear to come alive and the father and son must rely on their creativity, and each other, to survive wild landscapes that open like giant pop up books. Taking from classic children’s books, kabuki stagecraft, and spellbinding theatrics, A Billion Nights on Earth is an imaginative dive into the realms of parent–child relationships, exploring their varying perspectives on reality. More info and tickets here.

 

Edge of the Rock @ The Rock School for Dance Education

The Rock School for Dance Education

Exciting, energetic young talent from around the world perform classical and contemporary vignettes that will keep you on the edge of your seat! Alumni from The Rock School go on to join the most prestigious dance companies worldwide. See the dance stars of tomorrow, today! More info and tickets here.

 

Aunty Ben @ William Way LGBT Community Center
ReNew Theatre Company

Aunty Ben is a play for children 8+ (& Adults). The story revolves around 9 y/o Tracy and her relationship with her favorite Uncle Ben, who happens to be a drag queen. Aunty Ben is a playful exploration of gender issues, acceptance, and is a celebration of diversity, dignity, and marching to the beat of your own drum. More info and tickets here.

 

Photo by Charley Parden.

 

PRIDE PARADE! @ Rittenhouse Square
Wesley Flash

PRIDE PARADE! is an interactive walking tour featuring historic hot spots in Center City Philadelphia. During this immersive storytelling adventure, we’ll dance, sing, and chant as we honor and celebrate out & proud ancestors who marched before our time. Join the movement — Remembering is resistance! More info and tickets here.

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The Best 21st Birthday You’ll Ever Attend

Posted August 24th, 2017

The 21st Annual Fringe Festival is almost here, can you believe it? I can’t, but time doesn’t need me to believe in it to do what it does. Time isn’t Candyman, but it is about as terrifying, if not more so.

Regardless, this year’s Festival may be the largest yet with some 170+ performances shaking up our city from September 7-24 and it’s hard to know where to start. So, I’ll make it easy for you: start at the beginning.

On September 7th FringeArts will be hosting its annual Opening Night celebration here at our waterfront headquarters. The festivities kick off with a special preview performance of 17c by the world renowned Big Dance Theater, a company with a habit of dragging the past into the present. With 17c they’ve done just that, drawing from perhaps the most dedicated diarist of the 17th century, Samuel Pepys, modernizing his language, and examining the depravity of his actions through a contemporary feminist lens.

After the performance comes the party. Join us at La Peg (you don’t even have to leave the building!) for a reception created collaboratively by FringeArts’ President and Producing Director Nick Stuccio, La Peg Executive Chef Peter Woolsey, and Annie-B Parson.

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Making Art in 2017: Jennifer Blaine on The Vicissitudes of Travel

Posted August 24th, 2017

Photo by Karen Getz.

Name: Jennifer Blaine

Show in 2017 FestivalThe Vicissitudes of Travel

Role: Writer, Performer

FringeartsTell us about your show. 

Jennifer Blaine: As a girl my family would do a lot of traveling to foreign countries, art museums, funky restaurants, and though things would sometimes go very wrong, we were always encouraged to try to find something redeeming in it all. My parents would always say as a sort of mantra, “Well honey, it’s the vicissitudes of travel!”

The travel I’m exploring in this show is about traveling through memories, personalities, and perceptions, and exploring how we define ourselves based on our relationship to whomever we love. Watching someone go through brain issues or life-threatening illness reveals that our connection with them may be precarious, which may leave us feeling vulnerable. The show asks, “What is it like to go beyond a personality to reach the person?” Karen Getz and I have created an imagined scenario with a family on a tour bus while going through the brother’s surgery. It is not just elements of my personal story, but rather an archetypal depiction of the inevitable tour bus we must all take through mortality, loss, and love at some point. It is emotionally the most intimate work I have ever created and probably my most dramatic solo show to date.

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

Photo by Karen Getz.

Jennifer Blaine: I’m so grateful to Karen Getz for guiding me through this process. She told me at the beginning that it might take a long time for the piece to emerge, but if we kept showing up it would take the form it most wanted to be. That’s new for me. I can’t believe how outrageous, heart-centered, irreverent, and satisfying the piece is! It’s been such a rewarding process collaborating with Karen because she innovates constantly and somehow as a director, improviser, and writer always has the perfect agenda for us to progress the creative work to the next step.

We are also continuing to look at how we want the audience to experience this work.  Part of how we are creating it is with a breakthrough for the audience in mind. What is the impact on them?

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Making Art in 2017: John Doyle & Bob Weick on Marx in Soho

Posted August 23rd, 2017

Bob Weick as Karl Marx. Photo by John Doyle.

Name: John Doyle & Bob Weick

CompanyIron Age Theatre/Radical Acts

Show in 2017 FestivalMarx in Soho

Roles: Director & Actor, respectively

Past Festival showsDutchman (2002), Marx in Soho (2004), The Interrogation of Nathan Hale (2004), Shakesploitation (2005), Shakesploitation II (2007), Waiting for the Ship from Delos (2008), Citizen Paine (2009), Christie in Love (2011), Fringe Wraiths [Digital installation] (2012), Found Fringe [Digital Installation] (2013), A Great War (2015), A Runaway, A Soldier and a Snowball Fight (2016), The Return of Fringe Wraiths [Digital Fringe] (2016).

FringeArtsTell us about your show.

John Doyle: Bob Weick and I decided to produce Marx in Soho in 2004 and with the gracious permission of Howard Zinn, noted author and historian, we have been presenting the play across the country for thirteen years. We are about to begin a tour to celebrate the 200th anniversary of Marx’s birth and this is our kickoff. We are discussing the need for humans to see themselves in community and to look past the political divide to understand the humane ideas behind Marx and more broadly, the need for a more compassionate world.

Bob Weick: Zinn wrote the play after the fall or the Berlin Wall and the proclamation that communism has failed, Marx is dead, and capitalism has triumphed. Is that true? Many would answer, yes. The play challenges that narrative. The work defends Marx from his critics and shows a surprising view of what could be . . . but has yet to be tried.

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Life Before The Big Bang: Interview with Whit MacLaughlin

Posted August 23rd, 2017

Whit MacLaughin is the artistic director of New Paradise Laboratories (NPL), which has been astonishing audiences for years with their remarkably strange and riveting performances. The company is known for their artistic excellence in physical theater, and innovative uses of visuals, sound design, and choreography. The recipient of both Obie and Barrymore awards, MacLaughin helms Hello Blackout! NPL’s newest work, a horror-farce about a family of monsters who live before, throughout, and after the Big Bang. We were so glad to get the chance to ask MacLaughlin about how this production came to be, and how it might illuminate the world around us.

FringeArts: How did the title Hello Blackout! come into being?

Whit MacLaughin: “Blackout” has many meanings, political and otherwise: It’s what a government imposes when it doesn’t want the press to reveal a piece of news. It’s what you do to a window when you want to remain undetected by bombers flying overhead. It’s something that happens when you drink too much or when you faint. It happens in theater to punctuate the end of a scene or play. We have concocted another meaning. It’s what happens when a gust of wind blows out the candle you’re carrying, or when the batteries run out in your flashlight; suddenly, you can’t find your way. A blackout can be funny, infuriating, or frightening. It signifies that moment when you realize, again, that you can’t know what’s waiting for you in the future. Which is pretty much always.

This is in keeping with the basic notion at the heart of this current series of pieces: the world is not set, it continually evolves and changes. This is kind of a huge issue when it comes to live performance. And living in general. How much do you try to plan? How much do you make it all up on the spot? We’ve been studying ways that we try to tell the future: oracles, probability, fortune-tellers, astrology, intuition, algorithms. The fact is, there really isn’t a way to predict what’s to come with any certainty.

This truth has presented itself to us in a forceful way, recently, in our political life. We see the word “unprecedented” all the time to describe our situation.  The question: Is anything truly unprecedented or is everything? We want to make the case that everything is. Like that old Zen saying: you can’t put your hand into the same river twice. We have no choice but to get better at wrestling with unpredictability.  And, possibly, enjoying it. This is at the heart of everything we do at NPL.

FringeArts: What brings NPL back to the Kissimmee family and their adventures in the universe? What are some of the continuations from O Monsters as well as new directions that are being explored?

Whit MacLaughin: O Monsters was where the Kissimmee family first presented itself to us: a set of triplets, their carnivorous mother, and a father who vanished mysteriously some time ago. We thought it might be fun to figure out where they came from, this family of not-quite-human beings. O Monsters took place in a weird version of the present. Hello Blackout! happens in the distant past—actually, before the Big Bang. What a fun question: what was family life like before anything existed? Of course, there’s no answer, it’s like using nonsense to start a story. But that’s what creation myths do: they start with “in the beginning there was not-even-nothing.” It’s an unanswerable riddle. But we’ve challenged ourselves to imagine an answer. Imagining things that happened before there was anything requires us truly to empty our minds.

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Making Art in 2017: Lauren M. Shover on Suicide Stories: Gallery of the Untold

Posted August 22nd, 2017

Lauren M. Shover. Photo by Phil Czekner.

Name: Lauren M. Shover

Company: Elephant Room Productions

Show in 2017 Festival: Suicide Stories: Gallery of the Untold

Role: Director, Company Co-Founder and Artistic Director

Past Festival shows: This is our first!

FringeArts: Tell us about your show. 

Lauren M. Shover: It was over a year or so ago that we first started developing the idea of creating a gallery of living art to tell various stories at the same time. We at Elephant Room Productions firmly believe that every story deserves to be told. We wanted to bring that motto to play here by exploring several different relationships to one issue. We first were inspired after watching a youtube performance of “The Destruction Artist,” which is a monologue from A Memory, A Monologue, A Rant and A Prayer, part of The Vagina Monologues project. We were taken by the personal retelling of the story, the breaking the fourth wall and the exposure and vulnerability of the character. We thought about doing a similar project but as theatre rather than film. When it came to thinking of which topic we wanted to address it was not much of a discussion, as we all knew we wanted to talk about suicide. The most reaffirming thing about this project for us has been our experience discussing it with just about anyone and having everyone come back to you with some kind of personal connection to it. It is frighteningly common and also not discussed enough. Even within our company, we have each been touched in some way by this epidemic, even to the extent of the loss of a company member’s sister.

After the concept had become clear to us, we enlisted playwrights from our Elephant Ears Reading Series to write pieces for the production. These playwrights were not only on board with participating but most had personal testimonies to bring to the table to which they wrote about. The pieces each involve additional themes such as bullying, violence, rape, cat-fishing/cyber-bullying and more. A portion of proceeds is being donated to the American Mental Wellness Association to continue to raise awareness and aid prevention efforts for suicide and related issues. In addition, during each performance, donations will be collected for various local organizations geared towards the other various issues we are addressing.

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Making Art in 2017: Irina Varina on Socially Conscious Friends

Posted August 22nd, 2017

Name: Irina Varina

Show in 2017 FestivalSocially Conscious Friends

Past Festival showsSpeculum Diaries

FringeArtsTell us about your show.

Irina Varina: In the past couple of years I’ve become increasingly aware of unfair things happening in the world (lucky me). I’ve also binge-watched Friends (a lot). I started to notice moments in the show reflecting current conversations in my head/the world. Each day of the 18 days of the festival, I’ll post one of these moments.

This project came out of that “Look, look, did you see that?” impulse that arises while watching an old, very popular TV show. It’s doing two things for me. It pokes fun and calls out inactivity (like binge-watching a TV show) at times of much needed real life action. And, at the same time, points out surprising and currently relevant conversations hiding in a universally loved TV show.

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

Irina Varina: I am becoming more open to different containers for my work, like doing Digital Fringe or possibly starting a podcast. But also, through that openness, gaining a deeper understanding of why I want to continue performing live and the intimacy and connection that I can only find there.

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Making Art in 2017: Josh Holober-Ward on Roll Play

Posted August 21st, 2017

(Left to right) Kevin Regan, Josh Holober-Ward, Emily Davis. Photo by Kevin Regan and Shaun Kreider.

Name: Josh Holober-Ward

Company: ComedySportz Philadelphia

Show in 2017 Festival: Roll Play: An Improvised Adventure

Role: Performer (Dungeon Master)

FringeArtsTell us about your show. 

Josh Holober-Ward: I’ve always been enormously passionate about two things: Storytelling and games. So it only makes sense that I’m a huge fan of Dungeons & Dragons, the most iconic storytelling game out there. I play with a group of improvisers—the exact same group that makes up the cast, actually!—and although I’ve had this idea for a while, this group’s chemistry is what really compelled me to finally make the show a reality. We have such a consistently fun time that I wanted to get an audience in on the ridiculousness. Not just as a spectator, but as a primary collaborator and curveball-thrower.

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

Josh Holober-Ward: I’ve noticed that the more improv I do and see, the more I appreciate unique twists on the form and audience interaction. Improv done with a compelling theme and stage tech seriously stands out and draws me in, and I’m surprised it’s not done more often! And I love the feeling that the audience is helping build the piece WITH the actors, that we’re not just watching, but sharing, contributing. Seeing you and your friends’ wild ideas and creations be brought to life on stage is an experience 100% unique to this form, and it deserves to be explored to the fullest.

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Making Art in 2017: Joshuah D. Simpson on It Takes One

Posted August 20th, 2017

Joshuah D. Simpson. Photo by Cass Meehan.

Name: Joshuah D. Simpson

Company: The University of the Arts

Show in 2017 FestivalIt Takes One

Role: Performer, Writer

Past Festival showsYou Can’t Put Me in a Box

FringeArts: Tell us about your show. 

Joshuah Simpson: This show came out of my problematically zealous passion for musical theater, but more specifically Into the Woods. This show has taught me a great deal about the world around me, and made me realize that in a world where we’re used to all necessary information being spoon fed to us through social media, hidden messages from shows like this are often looked over. My hope is that It Takes One reminds audiences of the connective tissue that all humans share as moving cogs in this world, and find the innate similarities between us while getting a good laugh and maybe even a few tears.

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

Joshuah D. Simpson. Photo by Ethan Abrams.

Joshuah Simpson: I have undergone a lot of changes this year as a theater artist, the most important being the realization that none of us are held to any one position in the grand scope of theater. There are so many roles to take on, and realizing that I’m capable of more than just one or two things really turned me around a bit. More specifically to this show, before this year I had only ever been a spectator of cabarets, but have found myself taking a more and more of an active part, and finding a new love with in the theater world that I’m really excited to share with the Philly community.

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Making Art in 2017: Annie-B Parson on 17c

Posted August 20th, 2017

Name: Annie-B Parson

Company: Big Dance Theater

Show in 2017 Festival: 17c

Role: Co-Creator, Co-Director, Choreographer

Past Festival shows: Plan B (2004)

FringeArtsTell us about your show. 

Annie-B Parson: This piece is primarily an interrogation and a rendering of the 17th century diaries of Samuel Pepys, perhaps one of the most hyper-graphic, non-hierarchical chroniclers of the minutiae of each day. He wasn’t a writer in the sense that he analyzed or poeticized experience as he meditated on the world—no! He was more concerned with his clothes, his boils and his libido. These diaries are monumental records of dailyiness, which is close to my heart.

Photo by Ian Douglas.

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

Annie-B Parson: The world will always create a lens or frame in which to see your work, and since January 2017, I think we will all view our society, and thus our work, differently forever. In the past year, the piece has become more about Sam’s wife Bess, whose diary was burnt by him, and at the risk of sounding trite, the effort has been to find her voice. It was always there in dance, but it became important for me to hear her speak as well. We also drew a more pointed “outing” of Samuel Pepys as a sexual predator. The complexity of his character did not suffer in any way by clarifying this behavior.

FringeArtsTell us about an instance from 2017 where your interaction with art provided some much needed solace or refuge from outside troubles.

Photo by Jeff Larson.

Annie-B Parson: I felt this more during 9/11 to be sure. At that time, the word solace came up over and over again in my mind. I would notice a beautiful attention to generating material that year, as if theater were a refuge and perhaps held a sense of hope.

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Making Art in 2017: Carl(os) Roa on Andean Mountains (Montañas Andinas)

Posted August 18th, 2017

Carl(os) Roa, practicing the ancient art of ruanamancy; Photo by Talia Mason.

Name: Carl(os) Roa

2017 Festival ShowAndean Mountains (Montañas Andinas)

Role: Writer, Performer

Past Festival showsAE$OP and Parts: A Speed-Through, both of which were produced by the Drexel Players. Shout-out to my alma-mater: Drexel University!

FringeArtsTell us about your show. 

Carl(os) Roa: I have an obsession with Google Maps, globetrotting, and geography. I spend some of my downtime exploring different cities with Google Street View, and it didn’t take me very long to discover that you could explore much of Colombia, where my family lived. And I started thinking a lot about giving tours of Colombia live via projection. But ultimately, I knew that these tours were largely limited to my own understanding of Colombian culture, having grown up here in the States. My experience was radically different from one who grew up in a place like Bogotá or Medellín. That in itself became artistically salient to me, these big questions of: How do people of a diaspora access a culture that they’ve been displaced from? Where do we go when the map is missing pieces?

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

Performing at SoLow Fest. Photo by Annemarie Branco.

Carl(os) Roa: I think my experience with the Headlong Performance Institute really twisted my artistic brain. I spent four months hanging out with dancers, visual artists, community organizers, and even electronic musicians – people who forced me to think in a very different way about me and my work. I’ve been eternally grateful for these interdisciplinary discoveries.

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Finding Reality in a Dream: Alison Hoban of the Found Theater Company

Posted August 18th, 2017

Adrienne Hertler, Joe Wozniak, Kristy Joe Slough, Ciara Collins, Matt Lorenz, and Joe Palinsky in Game Show Show.

Working in the surreal world between dreams and reality, the Found Theater Company presents their eighth original Fringe Festival show this September. The group works as a collective in Philadelphia, and devises works like this year’s Game Show Show around a central theme, such as the televised game show. While the premise is light, it’s used as a vehicle to a comment on the current state of disarray that the United States continues to fall into. “Found always works inside of this kind of in between world, where we straddle reality and a dream state,” says director Alison Hoban. “We’re (hopefully) able to take the audience to heightened, otherworldly places, while also being able to reach them as people with real human experience: heartache, love, success, failure.” Founded under the direction of Felipe Vergara, the company creates their shows by using a theme and building a narrative step-by-step, a process that has evolved over time. Alison Hoban has been with the company through it all, as their elected director after Felipe. I talked with her about her artistic roots, and how this show came to be.

Kristy Joe Slough in Game Show Show.

FringeArts: Where did you grow up, and how did you first become involved in the arts?

Alison Hoban: I’m from Wayne, PA, right outside of the city. My family wasn’t involved in the arts, but my parents always encouraged creativity throughout my life. They made it possible for me to take dance classes and be involved in theater from when I was young. I took and taught dance lessons through school. I spent a few summers at Upper Darby Summer Stage. But I really fell in love with theatre at Radnor High School under the direction of Mary Anne Morgan.

FringeArts: Who are some artists that you look up to?

Alison Hoban: Oh man, there are so many! I feel overwhelming lucky to be a part of the Philadelphia theater community. There are some amazing makers creating new works here. I was in the first class of The Headlong Performance Institute in 2008 and met a lot of them there. Headlong Dance Theatre has been a long time favorite. Seeing the care they take of themselves and each other during the creation process was inspiring. That was the year I saw one of Nicole Canuso’s works (Wandering Alice) for the first time too and it blew me away. It remains one of my favorite things I’ve seen in this city. I always look forward to seeing what other makers in the city are into and am always excited to see new works by Lightning Rod Special, Almanac, Sam Tower + Ensemble, the Philadelphia Opera Collective and so, so, so many others.

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Fun Woke Giving: Interview with Cookie Diorio

Posted August 17th, 2017

Credit : Pink Melon Media

“Stay woke and have fun” has become the motto drag songstress Cookie Diorio adopted to describe her philanthropic show Art of the Heel. Though many artists are civically engaged and tie their work into giving back to their respective communities, few do it in such a unique way as Cookie—one of Philly’s most talented drag queens. With Art of the Heel, Cookie is beautiful, comedic, and grounding all at once—a hard plethora of traits to balance in one performance. We reached out to Cookie to learn more about the passion and creativity behind this show.

FringeArts: What was the initial inspiration for Art of the Heel and the social justice aspect woven into it?

Cookie: Since November 2016 I have been intrigued by and experimenting with the idea of civically engaged art. I was constantly asking myself how I could use what I do as a singer, songwriter and drag artist to help promote social justice. I decided just to “do what I do” in a way that allows my audience to engage with and learn about different social issues and the organizations tackling them. Art Of The Heel as a project was directly inspired by a concert that I did last winter to raise funds and awareness for The Attic LGBT Youth Center.The name, thought up by my brilliant husband, is a play on the title of a well known book with the last word replaced with HEEL to represent what I do as a drag queen (and I don’t wear heels shorter than 5 inches!).

FringeArts: What attracted you to the three charities that you chose to be part of Art of the Heel?

Cookie: I have the utmost respect and admiration for the folks at Valley Youth House, Women In Transition and PennFuture. These organizations do amazing and hard work to propel our community forward and I value that greatly. In my cabaret acts, I talk a lot about my personal life and experiences. Many of those experiences have been shaped by some of the same issues that these organizations tackle: I have close friends and family who have struggled with homelessness and housing insecurity, I grew up in a matriarchal family and have seen the effects of gender-based violence and drug abuse, and I grew up in a rural community very much in touch with the environment. I have always been taught to stand up for the things that I believe in and I am proud to lift my voice in support of these causes.

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Making Art in 2017: Noa Schnitzer on The Currency of Belief

Posted August 16th, 2017

Noa Schnitzer. Photo by Heather Dawn Sparks.

Name: Noa Schnitzer

2017 Festival Show: The Currency of Belief: Trapeze and Spiritual Comedy

Role: Creator, Performer

FringeArtsTell us about your show. 

Noa Schnitzer: I am engaged in exploring the intangible elements that make up the gap between who we are and who we want to be, as a solo entity and as a community. To begin illuminating this gap is to understand where we come from as individuals. In this show, religion and gender are put under my artistic microscope. I grew up in an Orthodox Jewish community and decided to stop practicing at the age of eighteen. Over the years, prayers from this past pop up in my mind and stay with me for days. The fact that fifteen years later these prayers have an  involuntary voice in my mind got me thinking about the strength and significance of prayer, practice, and identity in community. In The Currency of Belief, the voice of prayer holds space for the hidden seams in this one life I am exploring: my own. Through these illuminations a question arises, Is there anything that prayer is not?

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

Photo by Abigail Bell, Michelle Bates and Heather Dawn Sparks.

Noa Schnitzer: I am more proactive in reaching out to people that I want to collaborate with. The thing that I always need to practice accepting is that my art is important, and while conventional parameters of success are an amplifier for my ego, I am the main amplifier of my ideas.

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East Meets West, Old Meets New: The Dreamlike Beauty of Hua Hua Zhang’s Experimental Puppetry

Posted August 16th, 2017

Hua Hua Zhang with a puppet from White Nights

You enter a room and are surrounded by translucent white. There are strange, undulating formations, and a strange, ghostly light filters down from a hidden source. You feel as if you are on the surface of the moon. Welcome to White Nights, the newest production by Hua Hua Zhang of Visual Expressions. Hua Hua has been working in puppetry for more than thirty-five years, creating productions that are unique in their style and dazzling in their beauty. She aims to combine Eastern and Western art in her work, as well as old traditions with contemporary styles. Her work breaks the boundaries that have defined puppetry for generations, combining it with poetry, visual art, dance, theater, and music. White Nights is an experimental work, a series of dreamlike scenes that can be interpreted in a multitude of ways by the audience, all aiming for a path toward peace of mind. A half-an-hour preview of the show is being shown during the 2017 FringeArts Festival. The final show happens in November.

Images in White Nights make use of individual characters, some of them curious, others in love, others lonely. Produced in the large gallery space of the Asian Arts Initiative, the setting is a giant desert, based on the Chinese poem Night. The audience sits on the ground, around a small “pool of water,” surrounded by pods that serve as Chinese lanterns and shadowy silhouettes from Chinese ink paintings, as well as symbols of a moon and a sun. The puppeteers perform around the audience, who may interact with their movements. Musicians Bhob Rainy and Gamin Kang are also present, playing live music and interacting with the narratives. Four puppet performers, who have been trained in the style developed by Hua Hua, use the stylized movements of traditional Chinese performance, but use the puppets in an entirely different way, showing their entire bodies and moving with their objects. Interactions between the performers and the audience, and between the puppet performers and their puppets, cause constant questioning of their roles: the performer wonders, “Am I manipulating this puppet, or is the puppet manipulating me?” while the audience asks, “Am I watching the show, or am I a part of it?”

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Filipino Folkdance, Contemporary Ballet, and Motherhood: Annielille Gavino Kollman’s HERstory

Posted August 11th, 2017

Annielille Gavino Kollman in HERstory.

What do you get when you combine modern choreography, folkdance polyrhythms, and a baby? The dances of Annielille Gavino Kollman bring together eastern and western styles, while incorporating many other disciplines, and using a group of dancers diverse in both race and generation. Her newest work, HERstory, is a three-part production that investigates the theme of motherhood and culture, and is supported by the Small But Mighty Art Grant. Annielille’s dance is about her homeland (the Philippines) as a mother and acts as a celebration and portrait of the women there and around the world. She first learned dance as a folkdancer, and now incorporates the styles from her country into contemporary movements. Much of the work is autobiographical, expressing her experience as a mother and as a Filipina woman, but it also includes the backstories of the other dancers, who contribute vibrant rhythms by clapping, stomping, and yelling. Additionally, HERstroy features spoken word through poetry written by the dancers and Lenora Howard, film projection by Jasmine Lynea Callis, and music composed by Maya Simonee.

Born in the Philippines, Annielille lived there until coming to New York after college. She attended the The Ailey School of dance in 2000, which caters to minorities who were often overlooked in the world of ballet and modern dance. She left the country “on impulse” but she also left to escape extremely difficult circumstances. She was tired of being silenced as a woman, and of experiences of abuse by men.  “I was too vocal. I think that was the problem for them. I was too strong to be a submissive wife.” She had been dancing since she could remember, and was a highly skilled folkdancer. “It was just a way for me to get out of the country so I just followed that, because I was good at it. It became cathartic to me, too, so I just kept doing it.”

After studying at Ailey, she danced around the United States for different companies, touring in Colorado, and then in Texas. Later she moved to Virginia, where she found very little creative dance, and a society that was less accepting of her than they had been in New York. “It was very segregated,” she says. “Being in a place where I saw Confederate flags every day of my life, I started to make art. I became a political artist at first, and more of a performance artist.” She had her daughter, and started teaching her dance. “When I didn’t have an outlet for dance, I started teaching her texture, colors, and letters through dance.” She also started choreographing for a Filipino folk dance group, and began teaching her folk dances. She moved to Philadelphia two years ago, a welcome change. “I liked the grit, and a little bit of a faster pace. I love the row houses, and the little streets, where people can connect easier than in wider, suburban space. I feel more at home in cities like this.” Once in Philadelphia, she started dancing for Kun-Yang Li/Dancers, and soon, creating her own projects.

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