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Posts Tagged ‘2017 Fringe Festival’

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 in Show: 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 in Show: 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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Making Art in 2017: Michaela Shuchman on Airswimming

Posted August 17th, 2017

(Left to right) Michelle Johnson and Michaela Shuchman. Photo by Steve Weinik.

Name: Michaela Shuchman

Company: Half Key Theatre Company

2017 Festival Show: Airswimming

Role in Production: Performer

Past Festival shows: Scarlet Letters with Ross & Diggs

FringeArtsTell us about your show. 

Michaela Shuchman: Set in 1920s Ireland, Airswimming by Charlotte Jones is based on the true story of two women imprisoned in a mental hospital for daring to challenge society’s definition of womanhood. Forgotten by the world, Dora and Persephone come together for one hour each day to clean and find connection. Through sheer force of will, friendship, and a penchant for Doris Day, they redefine their world and resist confinement for over fifty years. Airswimming explores female identity and friendship at a time in Irish history when mental health and women’s issues converged. Jones takes the imagined circumstances of two real imprisoned women and asks: How do we express and accept ourselves when our freedoms have been taken away? How can finding connection with another person help us better understand ourselves? What does Doris Day have to do with any of this? Airswimming speaks to the desire in all of us to be free from societal constraints, to dance and be weird and wacky with our best friends, and to find meaning in the most unexpected of places. 

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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 in Production: 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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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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Moving Against the Tides with Olive Prince

Posted August 9th, 2017

Olive Prince and Brandie Ou in Silencing the Tides

“In watching the tide and the ocean, I think a lot about how it slowly and suddenly shifts. You have to look at it closely, but it totally changes, from the beginning of tide to the end of tide. And I hope I do that with this space.”

Olive Prince founded her dance company in 2008, and since then, has been devising, creating, and teaching highly dynamic works of art. Olive Prince Dance (or OPD) works are often site-specific, such as past productions in the Magic Gardens and in the Iron Factory. For this year’s festival, however, the show is held in the Ballroom Philadelphia, and she is working with visual artist Carrie Powell as a conceptual collaborator for the show. Carrie is building a sculpture that will create an entirely new type of space for the dance. The show, called Silencing the Tides, is a work that exists under and around a large sculpture fabricated from clothing. The show is based on the idea of free will, juxtaposed with messages and metaphors from nature. She evokes strong images of the ocean’s tide, many of the ideas growing from the feeling of sand and the changing nature of the waves. The dancers sway between working together as large forces, and breaking out into their own movements. Sometimes calm, sometimes violent, they may break down barriers as if they were bodies of water, or they may escape each other as if they were sand.

Olive and Carrie are close friends, and the idea for Silencing the Tides grew out of conversations they had together last year. “We’re both artists, and we’re both mothers, and we often spend time together with our kids talking about art.” Carrie often writes poetry and creates drawings to go along with the ideas. She started making drawings that looked like piles of laundry. They talked together and started thinking about ideas of free will, as well as the forces of nature. Olive was drawing inspiration from literature she was reading, including “The Things they Carried” by Tim O’Brien:

“They did not submit to the obvious alternative, which was simply to close the eyes and fall. So easy, really. Go limp and tumble to the ground and let the muscles unwind and not speak and not budge till your buddies picked you up and lifted you into the chopper that would roar and dip its nose and carry you off to the world. A mere matter of falling, yet no one ever fell.”

She also brought in pieces of The Venerable Bede, from 703 CE (“The most admirable thing of all is this union of the ocean with the orbit of the Moon…the sea violently covers the coast far and wide…unwittingly drawn up by some breathings of the Moon.”) as well as Johnathan White and Mary Oliver’s short story, “Swoon.” “I had this really strong image of free will,” she says, “and going against the tide, and so we started exploring that.” Eventually the conversation between Olive and Carrie became the basis of the work. These conceptual conversations combining ideas from movement, visual art, poetry, are integral to the creation of new work, and it has become a defined process that they call in-the-round reciprocity.

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Puppet slams, Faust, and Ghost Stories: Interview with Leila Ghaznavi

Posted July 31st, 2017

Leila Ghaznavi in the 2016 Puppet-delphia Fringe

Leila Ghaznavi is the founder of Leila and Pantea Productions, a theater company with an unconventional approach to contemporary drama. She puts her training in mask and puppetry to use in her productions, often using light and shadow as tools for storytelling. The daughter of an Iranian immigrant—and a Daughter of the American Revolution—her multicultural background often comes through in her original plays based on social issues. One of these plays is Silken Veils, which was nominated for the Best New Work award at the Edinburgh Fringe Festival. Her work is often interdisciplinary, combining puppetry and theater with her wide range of other skills, including aerial dance and clown. “When creating work, I pull from my toolbox whatever I need to tell the story the story I want to tell,” says Leila. “I’m always interested in how to tell a narrative story but in a different way.” This year, she is producing three different shows in the Fringe Festival. The Puppet-delphia Puppet Slam brings puppeteers from Philadelphia and beyond together for a night of whimsy, beauty, and raucous fun. The other two shows couldn’t be more different. In one, she partners with Broderick Jones, a New York based puppeteer, to create Ubu Faust, a literature-based but rambunctious one-man-show. In the other, she is reinventing The Turn of the Screw by creating a minimalist set that makes use of darkness as a shadow of mystery to tell the story. I had a chat with Leila about how she came to work as a puppeteer, and what it’s been like producing all of these shows for the 2017 Fringe Festival.

FringeArts: What has it been like producing so many shows for this year’s Fringe Festival?

Leila Ghaznavi: Leila and Pantea Productions is producing three separate events for the Fringe this year. A ghost story called, The Turn of the Screw, written by Henry James and adapted by Jeffrey Hatcher, a raucous puppet farce called Ubu Faust created and performed by Broderick Jones, and the second Puppet-delphia Puppet Slam, which is a cabaret composed of short puppet works, from the poignantly beautiful to the bawdy and comedic. The puppet slam will feature both local and out of town artists.

The Turn of the Screw

What makes all three shows Leila and Pantea Productions is the use of puppetry and the delving into how to use shadow and light as a story telling mechanism. The Turn of the Screw is a ghost story with a minimalist set. Light and shadow create a world that is unseen but literally haunts the stage. Ubu Faust is the complete opposite, a one-man puppet show from New York City-based performer Broderick Jones, it mishmashes puppetry and literature together to create its own unique, irreverent identity. Poetry has always been a prevalent theme in my own work, so I was excited by this chance to present a new artist to Philadelphia that takes these great works of literature and creates his own unique spin! I first premiered the Puppet-delphia Puppet Slam two years ago and it was a great hit! What I love about puppet slams is that you never know what you will see. They are a smorgasbord of puppetry and the short acts involved can range from little gems of beauty, to down-in-the-gutter dirty, to witty and charming. We are currently pulling together the acts for the slam. It will be a mix of local Philly artists and out-of-towners.

This is actually the first year where I will not have a lead role performing in the Philadelphia Fringe, because I will be touring to the Edinburgh Fringe in August. So instead, I decided to produce three shows and appear in Peculiar Works’ Floydada show instead! Although, I will definitely be in the Puppet-delphia Fringe Slam, so keep an eye out for me!

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