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Archive for the ‘Theater’ Category

One Long, Horrid Writer’s Retreat: An Interview with Sam Henderson

Posted November 17th, 2017

The love affair and marriage of Elizabeth Barrett Browning and Robert Browning is one of literary history’s favorite romances. It’s not hard to see why. The narrative of two brilliant artists who could articulate their love for each other, wring beautiful verse from it better than just about anyone is certainly an enchanting one. Of course, when are relationships ever that perfect?

From Nov 29–Dec 9, FringeArts will present The Brownings, the latest play from and in conjunction with the acclaimed Philadelphia producing playwrights collective Orbiter 3. Written by Philadelphia playwright and performer Sam Henderson, The Brownings is an immoderate retelling of the titular couple’s famous relationship, with all the fighting and weird sex and drug abuse they didn’t teach you about in school. Though, perhaps there’s a reason for that. We should be sure to reemphasize the terms immoderate and retelling. We spoke to Henderson back in August about the play’s origins and taking some artistic liberties with these famous, oft-idealized figures.

FringeArtsWas there any incident in particular that spurred the creation if The Brownings

Sam Henderson: I was homeless, but staying with friends. I’d spent some time in a psych unit about three weeks earlier, where I’d received really good health care for the first time in about a year and a half. My life was beginning to improve after a long decline. My friends had provided me with a huge, stand-mounted map of Australia for privacy, and I used to just stare at Australia and write plays.

I was struggling to understand myself in the light of my diagnosis of type II bipolar disorder, and my coming to God: two recent, wholly unexpected events that brought meaning to all this personal chaos, if not comfort.

I was deeply under the influence of Mary Tuomanen’s Marcus/Emma, which was still unproduced. I wrote the first seven scenes of The Brownings very quickly as a joke to crack Mary up, and I was surprised when she encouraged me to keep going, since The Brownings is such a rip off of Marcus/Emma.

FringeArtsHow did you encounter The Brownings

Sam Henderson: I knew nothing about them except their work, and I assumed I would need to research them and their time. As I wrote, I noticed I didn’t really care about the historical Brownings at all. I much preferred these other characters: two great artists, inextricable from each other and in permanent conflict, yearning for a reconciliation that’ll never come.

FringeArtsTell us a little about the world of the play.

Sam Henderson: The play ostensibly takes place in Florence in 1840something, in their house. For me, the setting of this play is the inside of a head, and we’re watching a divided mind, viciously at war with itself.

FringeArtsAre you using any of their writings? 

Sam Henderson: Hearing their poems read aloud establishes, to my mind, who was the better poet, which is most of what they fight about all day. I imagined their years in Italy as one long writer’s retreat, with all the horror that notion implies. The use of their poems let me get themes across without having to write that stuff myself, because I really love some of their work.

FringeArtsWhat did you find yourself refining the most about this play?

Sam Henderson: Subtracting digressions. I love listening to them talk, but it’s 80 minutes or get the fuck out.

 

The Brownings
Sam Henderson/Orbiter 3

Nov 29 (Preview) at 8pm
Nov 30 (Preview) at 8pm
Dec 1 (Opening) at 8pm
Dec 2 at 2pm + 8pm
Dec 3 at 2pm
Dec 5 at 8pm
Dec 6 at 8pm
Dec 7 at 8pm
Dec 8 at 8pm
Dec 9 at 2pm + 8pm

FringeArts
140 N. Columbus Boulevard

$25 general
$15 student/25-and-under
$17.50 member

TICKETS + INFO

Happy Hour on the Fringe With Jorge Cousineau

Posted November 10th, 2017

FringeArts is excited to announce the launch of our very own podcast! Hosted by our Marketing Director Hallie Martenson, Happy Hour on the Fringe is our chance to sit back, relax, have a drink, and chat with some of the most imaginative artists in the world.

This premiere episode features an in depth conversation with Subcircle co-founder Jorge Cousineau. The Dresden-born, Philadelphia-based artist has worked as a theater designer for the last two decades with many of this city’s—and others’—most lauded theater companies, receiving widespread acclaim for his imaginative integration of technology into many performances.

The conversation covers a wide-range of topics including Cousineau’s beginnings in theater, his relocation to Philadelphia, some of his most memorable projects, as well as the concepts behind and his work as a live sound designer for Subcircle’s latest show, HOLD STILL while I figure this out (coming to FringeArts Nov 16-18). You can hear snippets of this sound work, generated during rehearsals, throughout the episode.

Check out the trailer for HOLD STILL while I figure this out below and find more info and tickets here.

Your Record Collection Just Got a Little Saltier

Posted October 19th, 2017

This Friday night, FringeArts’ monthly series of sexy, satirical, queer, and tantalizing cabaret returns to the La Peg stage to kick off it’s fall season. Hosted by Bearded Ladies Cabaret artistic director John Jarboe and co-presented by the William Way LGBT Community Center, this season of Get Pegged features some powerhouse performers from Philadelphia and New York.

October’s featured performers include a “stripped down” assemblage—if that means acoustic or naked is being left unanswered—of Philly’s favorite musical misfits ILL DOOTS, performing two tight sets of original tunes and covers around the notion of “Passion.” Where that will take them is anyone’s guess, all they’ll say is, “We’ll experience several forms of passion together that culminates into what we can only hope is a sweet release.”

Salty Brine in Second Hand News, a reinterpretation of Fleetwood Mac’s Rumours through the lens of sensationalist news and gossip.

This month’s other featured performer, the out-of-towner of the bunch, is New York cabaret artist Salty Brine. Astute Fringe attendees may recognize him as the boisterous but wise host from the 2016 Festival hit The Elementary Spacetime Show, but the talented actor and playwright has made his name as an inventive cabaret artist as well for his own ongoing series, Salty Brine’s Spectacular Living Record Collection, which he’ll be performing an excerpt from at Get Pegged. Journeying into the heart of popular music and consciousness, Salty takes classic albums from legendary artists and twists them in style and form, building spectacular and unexpected theatrical worlds for these well known works to inhabit. These are places where they can be appreciated in an entirely new light and he can weave his own personal, historical, and fantastical narratives into our shared musical history.

The first installment of the series, Abbey Straße, took the music of The Beatles’ Abbey Road and reimagined it as a scandalous German cabaret styled in the spirit of Brecht and Weill, Marlene Dietrich, Ute Lemper, and others like them.

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There’s Nothing Called African Music: A Conversation with Olivier Tarpaga

Posted October 12th, 2017

“Dance and music are one in our tradition, and they come in one body.” This is what Burkina Faso-born dancer, choreographer, musician, and composer Olivier Tarpaga offers when asked about the relationship between the two mediums in his latest show Declassified Memory Fragment. Positioned as an “open letter” to life in a few African nations that have experienced cultural and political tumult over the last several decades, the piece opens tonight and runs from Oct 12-14 here at FringeArts. As the dancers move throughout the performance space, a group of virtuosic musicians play from the sidelines, informing the dancers’ movements and energies. “Live music affects everything and the dancers feel different and create different when the music is live,” Tarpaga asserted in a previous interview. Live music has always been a hallmark of Baker + Tarpaga Dance Project, likely because music has always been a hallmark of Tarpaga’s life.

Growing up in Burkina Faso, Tarpaga didn’t have to look far to find great music. His father was a saxophonist and the leader of Supra Volta, a popular band that played West African musics with modern instrumentation, even a rhumba influence. They were active throughout the ‘60s, soon after the country gained its independence from France, and often played for heads of state and dignitaries. They were based out of an empty bedroom inside the Tarpaga household, and young Olivier couldn’t help but be drawn to their infectious tunes.

“I’d just walk there and listen to them, and they’d all walk out—somebody was smoking a cigarette, everyone was talking—and then I’d go in with my brothers and we’d start banging on everything. I was always on the drums.” In the ensuing chaos things would get broken, and as a result he was often in trouble with his father. Even so, he simply couldn’t get enough. “Music was an addiction,” he said, and though he’d repeatedly beg his father to teach him to play, he’d always be told to study his math and science, that music would have to wait. Even when his father was teaching Tarpaga’s brothers to play saxophone—despite their total lack of interest—he was still pushed to focus on math and science. Nowadays, he’s the only musician in the family.

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Making Art in 2017: Nick Jonczak on Doppelbanger

Posted September 16th, 2017

Photo by Robin Stamey.

Name: Nick Jonczak

Show in 2017 Festival: Doppelbanger

Role: Creator, Performer

Past Festival Show: Exile 2588 with Almanac Dance Circus Theatre

FringeArtsTell us a bit about your show.

Nick Jonczak: This show is probably the most personal and definitely the gayest piece I’ve ever created. About three years ago, a man broke up with me by saying, “I think I could love a version of you, but I don’t think it’s a version you want to be…” which is kind of a terrible thing to say to someone. At that point I was really consumed by what the best “version” of me is and how I could manifest-build-shape-sculpt-summon that facet of me into being. I became really aware of how this man and many others had shaped the way I hold and use and think about my body, and I also became really aware of how I, like so many other gay men I know, pursue men who look similar to themselves. Doppelbanger tries to tackle these ideas through a collection of stories from my life where I was left wondering: do I want to be him, or do I want to be with him?

FringeArtsHow have your interests in or approach to art making changed in the last year? Have you found yourself taking anything new into consideration?

Nick Jonczak: I’m absolutely terrified of solo work—this is the first public solo show I’ve ever performed—so I’ve really come to rely on my director, Vanita Kalra, for her amazing sensitivity and sensibility to help me understand the core of the piece, which has definitely evolved over the past year. Originally I was much more concerned with the piece as a reflection of the LGBT community, but, with Vanita’s invaluable guidance, the piece has shifted to a much more personal reflection on formative experiences. I tend to be pretty skeptical of performances that rely heavily on personal narrative, so in making this piece I’ve had constantly, gently give my self permission to make the content about me—and trust that it will resonate with audiences. Trust is hard!

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A Period of Animate Existence Reading List

Posted September 15th, 2017

Next weekend the beloved Philadelphia institution Pig Iron Theatre Company returns to the Fringe Festival with their first major work in two years, and it’s clear they put that time to good use. A Period of Animate Existence may be their most ambitious work to date, an awe inspiring large-scale piece of symphonic theater that examines the most universal, urgent issue of our time: climate change.

In an era called the “Sixth Extinction,” when up to 50 percent of all living species might die off, rather than grappling with the issue in a lecturing, damning manner, the creative team hopes to achieve something more nuanced and universally relatable. “We’ve tried hard to avoid an activist voice with this piece—we want to avoid haranguing or scolding as we investigate the landscape of emotions around climate change,” director Dan Rothenberg told the FringeArts Blog. “As we contemplate extinctions, I keep talking about emotions that I don’t have a name for. I know what grief is, having experienced the deaths of people close to me. And I know what terror is. I think finding ourselves in the middle of extinction creates feelings like grief and terror, but it’s some other emotion that doesn’t have a name.” In taking this lofty approach to the issue, the artists have most certainly done their homework, and then some.

The company has been gracious enough to share with us a list of texts that helped inform the piece. These works may help deepen audiences’ understanding of the show, but, perhaps more importantly, they will help deepen their understanding of the serious crisis we are currently living with. If confronting this harrowing information sounds daunting or terrifying or a surefire way to send yourself into fear-induced catatonia, believe me, I understand. Yet, in reading from these works, I’ve found being informed in my dread has been far more comforting than being ignorant in it. And thankfully, despite the dire nature of the situation, many of these writers chart concrete courses of action for how we might curb the most catastrophic effects of climate change.

Taking in this full picture, perhaps you’ll find yourself not quite feeling grief, not quite feeling terror, but feeling that liminal emotion A Period of Animate Existence strives to articulate.

Vibrant Matter
Jane Bennett

Renowned political theorist Jane Bennet—known for her focus on nature, ethics, and affect— examines the active participation of nonhuman forces in natural events. Exploring just how political analyses of public events might change were we to acknowledge that agency is not strictly human, she suggests that such a change in perspective might provide impetus for more responsible, ecologically sound politics.

 

Key Writings
Henri Bergson

French philosopher Henri Bergson was an influential thinker of the early 20th century, one who recognized his time as a distinctly new and modern age, and in turn helped shape its intellectual discourse. At the core of his philosophy is his concept of Duration, a theory of time and consciousness, but most pertinent to the show is his concept of élan vital, his explanation for evolution (a relatively new concept at the time) and the development of organisms which essentializes life into “mobility itself.” This collection assembles Bergson’s most essential writings, including excerpts from Creative Evolution.

 

The Great Derangement: Climate Change and the Unthinkable
Amitav Ghosh

Acclaimed Indian novelist Amitav Ghosh takes to task our inability to grasp the scale and violence of climate change, particularly in terms of what he sees as an imaginative failure of literary writers. Arguing that the extreme nature of climate events make them resistant to contemporary modes of thinking and imagining, he sees this as connected to the fact that politics and literature have become matters of personal moral reckoning rather than a platform for collective action. They are therefore, at the moment, unequipped to deal with what is truly the greatest threat humanity has ever faced. It’s not all doom and gloom though, as Ghosh sees the climate crisis as an opportunity for us to imagine other forms of human existence. He sees no better realm to address this task than in the world of fiction.

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Making Art in 2017: Ryan Rebel on WILD, A Clown Western

Posted September 15th, 2017

Name: Ryan Rebel

Company: Shoe Box Company

Show in the 2017 FestivalWILD: A Clown Western

FringeArtsTell us about your show.

Ryan RebelWILD is a devised clown show set in the dusty world of the Western. I can’t say exactly where that concept came from beyond the strong desire to work with clown. The juxtaposition of the earnestly goofy clown form with the steely seriousness of the Western planted itself in my mind and refused to leave. As we move forward with the project, one of our main concerns is injecting life, warmth, and thoughtfulness into a tired genre riddled with outdated social norms.

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

Ryan Rebel: I’ve spent my life being careful and planning ahead. I tend towards introversion and social anxiety; planning is a way of protecting myself against the unexpected. Delving into the world of WILD has been a deliberate way to force myself to be spontaneous. Clown work cannot be planned; it is utterly anchored to the present. To do clown is to be open and reactionary. This year has been an exercise in minimizing expectations so as to maximize sensitivity.

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Making Art in 2017: Talia Mason on Onion Dances

Posted September 14th, 2017

Talia Mason. Photo by Irina Varina.

Name: Talia Mason

Show in 2017 Festival: Onion Dances

FringeArts: Tell us a bit about your show.

Talia MasonOnion Dances is an autobiographical solo examining the role that memories play in shaping one’s past, present, and future. It is is equally interested in how we remember and how we forget our inherited stories. There is dancing, storytelling, singing, reminiscing, and lots of questioning. Onion Dances is a work of dance theater that digs into what it means to be Jewish, and what it means to be a Jewish American during a Trump presidency. The world of the piece is gauzy, dusty, wrinkly, weathered, stinky (loaded down with the smells of time), and honest.

The concept for the piece came out of my time at the Headlong Performance Institute. One assignment was to create a constellation—an array of unrelated things that connections could eventually be drawn between. I had a sliced onion and a photo of my grandfather in my constellation. The rawness of the onion and the peculiarity of my grandfather’s expression made me want to learn more about my roots and my family’s journey to the United States in the 1870s. The piece developed from there.

Photo by Talia Mason.

Throughout the process, I have asked myself lots of questions: What does it mean to be a Jewish American? Does being a Jewish American mean the same thing for different generations? Why do we remember certain details and forget others? Why did Jews migrate across the United States when the large Jewish hubs were Manhattan, Baltimore, and Philadelphia? What did my ancestors like to eat? What traditions did they have that they then passed down? How do I know if what I remember is right or wrong? What happens to the people and events that we forget? How can a personal story become universal to audiences? How can this piece be accessible to Jews and non-Jews alike? I find myself trying to tackle some of these questions by using my family’s direct experiences as evidence as well as imagining what things may have been like for my ancestors in the 1870s.

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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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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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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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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: 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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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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Making Art in 2017: Dawn Falato and Karen Getz on The Gorgeousity

Posted September 7th, 2017

(Left to right) Dawn Falato and Karen Getz

Name: Dawn Falato and Karen Getz

Company: The Gorgeousity (produced by Chalk, Chair and Broomstick)

Show in 2017 Festival: Gorgeousity – The Army of Love and Art

Karen Getz Past Festival shows: Suburban Love Songs, Disco Descending (Dawn was also in these shows); as ensemble member in Lunchlady Doris, Cecily and Gwendolyn’s Fantastical

Dawn Falato Past Festival shows: St. Anthony’s Body (a solo show); as ensemble member in It’s So Learning, The Ballad of Joe Hill.

FringeArts: Tell us about your show.

Dawn Falato and Karen Getz: Our show is a “play romp” for grown-ups—a musical wrapped inside an informal party.

We wanted to make a creative respite—a place to drop responsible, adult “skins” at the door for a couple of hours. We were interested in making a safe, inviting experience to sing, dance, play, and color for everyone who came to our event. We also wanted to make an instant community, with no “us” and “them.” It was important to us that the experience traveled easily, didn’t hold us back with production costs and could be experienced in almost any location.

Our main questions were: Could we could craft a truly immersive musical experience around our own strengths that would also naturally invite the audience in? How does the experience get crafted so that the participants’ input is genuinely significant to the outcome of the show?  Could we ask people to sing and dance and play act without any performative or creative pressure?

It took us about three years to craft both the musical that is the center of the experience and to craft the means by which audiences can step into that musical as themselves, without performative pressure or cynicism. And we added home cooked food. And crayons.

FringeArtsHow have your interests in or approach to art making changed in the last year?
Dawn Falato and Karen Getz: Our mission had long been to create a two-plus-hour, joy-filled respite from the dividing ideologies and relentless pressures of being an “adult” in our society. It now seems more important than ever to get small groups of grown ups in a room together to remember how to create and play, release the tensions of the day and see each other as fellow human beings, just like ourselves. It’s far harder to demonize people you don’t know when you are looking them in the eye and pretending to be enchanted, human-geese together.
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