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Archive for the ‘Independent Fringe’ Category

Two Friends Try to Be Disappointed by Each Other: Interview with John Rosenberg of Autopia

Posted August 14th, 2019

John Rosenberg’s very first show in Philadelphia after moving from California was a 2010 Fringe Festival production, Cheap Guy Hall of Fame, Class of 2010. Subsequent years garnered critical acclaim for his Hella Fresh Theater company, operating out of a converted paper mill in the heart of Kensington. John moved to Los Angeles in 2014, but he returned last year and has retaken residence at the Papermill. This Fringe Festival, he’s utilizing the art gallery at in the room next door to his theater, creating an imaginary art exhibit from the Los Angeles County Museum of Art in the 1970s. In Autopia a failed teacher runs into her former mentor at LACMA while waiting in line for tickets to the King Tutankhamun exhibit and the pair awkwardly reminisce as they wander around an exhibit of an obscure Chicana artist. We spoke to John about the play.

FringeArts: How did you get the idea for Autopia

John Rosenberg: I mean, the thing comes in bits and pieces and one thing leads to another.

I lived in Los Angeles from 2014 to 2018. It was great. My wife gave birth to our son Calvero McShane Wulfrose. I got to kick it with my sister at Ross Dress For Less. I also made one for real friend in my four years in Los Angeles, Her name was Leigh, we worked at UCLA together. We would go for walks on breaks and talk about our lives and such. So the play is kinda based on Leigh.

I have been interested in how people like to be disappointed by other people and let down. It reminded me of the group of teacher friends my parents had when I was growing up. They were really committed to education and the welfare of their students but the personal cost was tremendous. I watched their lives implode, including my parents’.

I always wanted to do a play about two people waiting in line and have the actors slowly shuffle across the stage for two hours. At first it was going to be Disneyland but it didn’t make sense so the art gallery of the Papermill [the Kensington artspace where Hella Fresh is based] will become Los Angeles County Museum of Art circa 1978.

FringeArts: How did you choose that setting?

John Rosenberg: I had a temp job in Los Angeles that was down the street from LACMA. LACMA uses stickers for tickets and people leave them on a street light outside the museum. On my lunch break i would go through the museum on a 45-minute tour, four days a week for like nine months.

With the idea of LACMA came the idea to have an artist create a real fake exhibition from 1978 to be the exhibition in the show. My friend Osiris Zuniga, a steel artist or metal artist or i dont know what the fuck you call her said fuck yes to the idea. Osiris deals in blowtorches and heavy metals and makes videos. She is creating an exhibition like LACMA would probably have been showing of a marginalized unheard of Latina artist in the late 70s.

So the play is about two teachers who try their best to be disappointed by each other and feel good about themselves because they saw the art of an unheard of Latina artist.

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Happy Hour on the Fringe: Conversation with Blanka Zizka

Posted July 19th, 2019

On this episode of Happy Hour on the Fringe, we depart from our usual watering hole (the FringeArts office and join the founder and President of FringeArts, Nick Stuccio, to toast The Wilma Theater‘s Artistic Director, Blanka Zizka, on her newest production,  There: In the Light and the Darkness of the Self and the Other, adapted from the poem by Lebanese-American poet Etel Adnan, with visual art by renown artist Rosa Barba.  There is one of the curated shows premiering in the 2019 Fringe Festival and performed by Wilma’s Hothouse Company.  There: In the Light and the Darkness of the Self and the Other will be at The Wilma this September 11–22.

Listen to the episode and read the transcript below.

Conversation with Blanka Zizka

[Music Intro]

Nick Stuccio: Welcome to Happy Hour on the Fringe, I’m Nick Stuccio, I’m the President and Producing Director of FringeArts. I’m here with Blanka Zizka, the Artistic Director of the Wilma Theater, the amazing Wilma Theater, and we’re gonna talk about There, help me Blanka, There… colon…

Blanka Zizka: So it’s There: In the Light and the Darkness of the Self and of the Other.

Nick: In the light and the darkness of the self and the other. Awesome. Before we start talking about There, of course this is Happy Hour on the Fringe, we gonna talk about what we’re drinking, and we’re at the Wilma, above Good Karma Cafe, right? Well, we’re above…

Blanka: We are above Good Karma Cafe.

Nick: Awesome. We’re looking down upon Good Karma Cafe in your awesome new office…your now windowed office…and we both happen to be both drinking the same thing. We’re drinking a couple of martinis, they’re fantastic, and we’re actually….

Blanka: Do you remember those like, those martini lunches? It used to be like in [the] 1980’s. I’m really old….

Nick: I’m close…I’m close.

Blanka: But, you know there was like, people who always had…not me, but…

Nick: I was gpomg to say….

Blanka: People, people. Those people out there used to have martini lunches….

Nick: In the other world; the for-profit world.

Blanka: Yes. Yes.

Nick: Here in the nonprofit world, we did not, except when we went to Europe on trips, I would have a beer with colleagues, which is awesome. I never actually had a martini for lunch, but dammit, it’s a tradition we should try. Anyway, so that’s what we’re drinking, we’re drinking a delicious San Pellegrino, today. So, Blanka, we’re very excited to have There in the festival this year. Very interesting…I’m very excited to hear about it…how it’s going. But, before we talk about There, I wanted to get some context from you. You and I have talked about this a lot, and I am your number one fan in this endeavor with the Hothouse Company. So, I want you to talk about the Hothouse…give us some context, it’s very, very cool…this company of actors that you’re holding, that is getting particular training, and you’re building this kind of unique, theatrical aesthetic. I actually read that on your website about the theatrical aesthetic you’re building, but what I didn’t read was what kind of particular aesthetic, if you can characterize that. Talk about Hothouse and talk about where you’re headed with it.

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Happy Hour on the Fringe: Conversation with Zach Blackwood & Katy Dammers

Posted July 9th, 2019

On this episode of Happy Hour on the Fringe, we chat with FringeArts Artistic Producers Zach Blackwood and Katy Dammers about the themes of the 2019 Fringe Festival, some of the exciting events happening, and the return of the Fringe Festival Bookstore! Learn more about the Fringe Festival, running September 5–22.

Listen to the episode and read the transcript below.

 

Conversation with Zach and Katy

[Music Intro]

Raina: Hello and welcome to Happy Hour on the Fringe. FringeArts is Philadelphia’s premier presenter of contemporary performing arts. I’m Raina Searles, Marketing Manager at FringeArts.

Tenara: And I’m Tenara Calem. I’m the Audience Engagement Coordinator at FringeArts.

Raina: We invite you to pour one up and enjoy our conversations with some of the most imaginative people on this plane of existence.

Tenara: On this episode, we’re talking to our incredibly imaginative artistic producers here at FringeArts, Zach Blackwood and Katy Dammers. Zach and Katy are the ones who curate the great work we get to see year round and at the Fringe Festival, which showcases the arts of not only a variety of genres that work outside of the mainstream, but also shows off the talent powerhouse that is the city of Philadelphia. We’re going to talk about their process and their curation for this year, and what they’re excited about this season. Hello Katy and Zach!

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Happy Hour on the Fringe: Conversation with Ben Grinberg

Posted May 24th, 2019

On this episode of Happy Hour on the Fringe, we had drinks with Ben Grinberg, Artistic Director of Almanac Dance Circus Theatre, instructor at Circadium and Pig Iron, and the curator and host for Test Flights, a circus scratch night. Join our conversation about how Ben found his way into circus, the growth of contemporary circus in Philadelphia, Almanac’s 5 year anniversary celebration season, and a teaser for who you may see at this July’s Test Flights! Learn more about Hand to Hand Circus Festival, running June 28—July 1.

Also, this weekend (May 24th) check out the final performances of Communitas: Five Years Later by Almanac Dance Circus Theatre.

Listen to the episode and read the transcript below.

Feature Photo by Daniel Kontz

Conversation with Ben Grinberg

[Music Intro]

Katy: Hello, and welcome to Happy Hour on the Fringe. FringeArts is Philadelphia’s premier presenter of contemporary performing arts. I’m Katy Dammers, Artistic Producer here at FringeArts…

Raina: And I’m Raina Searles, Marketing Manager. We invite you to pour one up and enjoy our conversations with some of the most imaginative people on this plane of existence. Here at FringeArts, our new work series dedicated to local Philadelphia artists called High Pressure Fire Service, or HPFS, as we like to call it, is coming to a close. At the time this episode is coming out, we have just two shows left coming up in June: The Sincerity Project #3, in 2019, by Team Sunshine Performance Corporation, which runs June 4th through the 8th, and Circuit City by Moor Mother, June 20th to the 22nd.

Katy: But today, we’re looking ahead to some of the events happening just the weekend after HPFS closes. We are presenting the second annual Hand to Hand Circus Festival, with Circadium School of Contemporary Circus, and with a dynamic performance by the Circadium first-year students on the 25th, called Circadium: Springboard, and then an exciting lineup of events happening June 28th through July 1st. Today, we’re chatting with Ben Grinberg, curator and host for Hand to Hand Scratch Night, also called Test Flights, and he’s the Artistic Coordinator and Theater Instructor at Circadium, and the Artistic Director for Almanac Dance Circus Theatre. Welcome, Ben.

Ben: Thanks so much.

Raina: So, our first question, as is tradition, is what are we all drinking for Happy Hour on the Fringe? Ben?

Ben: Well, it’s 2:30 pm, so I have an iced coffee, which is delicious. Thank you.

Katy: I’m drinking tea.

Raina: And I’m having a nice glass of cold water.

Ben: That’s pretty lame, isn’t it?

Katy: We’re doing our best. Doing our best in the midst of a work day on this Friday. Happy Hour will come soon enough.

Raina: Well, we’re always happy, that’s… We’re just happy with what we’re drinking.

Katy: Ben, maybe you can start by telling our listeners, how did you get started in physical theater and in circus?

Ben: Wow, okay, sure. I was a member of the inaugural class of the Pig Iron School, which was sort of my introduction to physical theater. I had done a bunch of theater in my life previous to that, but I really had no idea that you could think about creating your own work, or think about making work that didn’t start from a script. Until Quinn Bauriedel actually came, I was in my senior year of college, and I was directing… I had a crazy idea to do a commedia dell’arte version of Agatha Christie’s The Mousetrap for the experimental theater company, because I was like “Oh, these characters are all such archetypes!” And it was very strange, but so, in order to get some commedia training, we reached out in the larger Philadelphia theater world and Quinn came in and taught a four-hour physical theater workshop on commedia for us, and I…

My mind was completely blown. I had never been exposed to anything with levels of tension or anything like that before, so I knew, Quinn and I knew that I wanted to go to the Pig Iron School and start getting really invested in physical theater, and then at Pig Iron, one of the classes you have to take is acrobatics, which at Pig Iron, which I don’t know if you know I teach at Pig Iron, and their acrobatics is definitely about coordination, getting strong and staying fit as a performer, but it’s also about acrobatics as a metaphor for all of the kinds of risk-taking you need to do in order to open yourself up to be an available performer.

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Who’s Who in High Pressure Fire Service, part two

Posted April 2nd, 2019
by Raina Searles, Marketing Manager

In March, we kicked off High Pressure Fire Service (or more colloquially, HPFS, pronounced “hip-fizz”) with an incredibly moving production chronicling the disability rights movement in A Fierce Kind of Love, produced by the Institute on Disabilities at Temple University, and we followed that with a thought-provoking musical satire about the American abortion debate, The Appointment, by Lightning Rod Special. In just a couple weeks, we’ll kick off a highly interactive show made for a family unit and exploring the line between play and performance, Broccoli, Roosevelt and Mr House! by the Berserker Residents. But today, we’re talking about the final three shows in HPFS: where you’ve seen these artists, what to expect in their work, and breaking down Who’s Who in High Pressure Fire Service…part two.

Coming up this May,  A Hard Time by Pig Iron Theatre Company opens at FringeArts. Long time Fringe fans will recognize Pig Iron from many of their notable devised works presented by FringeArts. Most recently, they produced A Period of Animate Existence in the 2017 Fringe Festival. Other recent works include Swamp Is On (2015), 99 BREAKUPS (2014), Pay Up (2013), Zero Cost House (2012), Twelfth Night, or What You Will (2011), and many more going back to the origins of the Fringe Festival in 1997!

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In Essence, Things Move: J. Wolfgang Fry talks Quiddity

Posted September 21st, 2018

Ideas form and dissipate. People move and imaginary things travel. Ideas, memes, concepts, and theories all move and grow, some grow old and obsolete, some grow strong and vibrant. What are the migration patterns of imaginary things? What is their essence?

J. Wolfgang Fry asks these questions in his 2018 Fringe show, Quiddity: Migration Patterns of Imaginary Things, which opens and has its sole performance this Tuesday. He spoke to FringeArts about the name and inspiration behind the piece.

FringeArts: Where does the idea for the show come from?

J. Wolfgang Fry: The idea for the show comes from the name of the show, Quiddity: Migration Patterns of Imaginary Things. Originally it was just art speak jargon meant to hold a place, a placeholder concept, but the more I thought about it the more I wanted to do a show about the movement of ideas.

FringeArts: What does quiddity mean?

J. Wolfgang Fry: Quiddity is a word that means essence, I first learned it reading a Clive Barker novel in which he had named a sea Quiddity, which in the story brought things into the essence of what they were or would become.

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Comedy to Kill For: Good Good Comedy Brings a Greatest Hits to the Fringe

Posted September 19th, 2018

Even before the company opened its Center City (Chinatown) theater in October 2016, Good Good Comedy was the leading presenter of new comedy in Philadelphia. Founded by powerhouse comedy team Kate Banford and Aaron Nevins, the company has only continued its rise to the pinnacle of local comedy, attracting local and visiting stand-up performers and hosting popular monthly game show, improv, and sketch shows. For the 2018 Fringe Festival, Good Good Comedy has taken all the best bits from the last year of its monthly show Darlings and combined them into an hilarious sketch revue. Darlings: Kill Us Please opens tonight.

Good Good Comedy Theatre.

FringeArts spoke to Banford and Nevins about the show, the theater, and appealing to audiences who don’t have rocks for brains.

FringeArts: How are things going with Good Good Comedy Theater? What’s excited you most about the space. What has been surprising?

Kate Banford & Aaron Nevins: Everything has been surprising and exciting at Good Good for us. We’re coming up on the two-year anniversary of the theater opening, and in that time, we’ve been named Best Comedy Club by Philadelphia Magazine, we’ve watched the local comedy scene AND local comedy audiences grow exponentially, and we’ve had performances from amazing people like Maria Bamford, Chris Gethard, Aparna Nancherla, Andy Kindler, Julio Torres, and so many others—people whose support of the theater has been incredible and unexpected.

FringeArts: That’s great! So what’s the story with Darlings: Kill Us Please?

Kate Banford & Aaron Nevins: Darlings: Kill Us Please is basically a hodgepodge of all the best bits from our monthly show Darlings at Good Good. It’s ostensibly a sketch show with all of our best and weirdest junk all smashed together.

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Gerald van Wilgen and Love Across Time and Place and Fringe

Posted September 18th, 2018

Gerald van Wilgen (“Gerhardus”) has an eye for a good story. He worked as a journalist in the Netherlands before he moved to the United States. He became an active member of the early 1990s South Street theater collaborative the Brick Playhouse, an institution which helped spawn the careers of dozens of local actors, directors, and playwrights. He moved to Nebraska to get an MA in theater from the University of Nebraska in Omaha; since his return he has produced and directed a variety of Fringe shows under hjs own name and as Ari Flamingo.

Gerald van Wilgen headshot by Christopher Kadish.

His 2018 Fringe Festival production, I ???? Adriaen (listed in the Fringe Guide as “I <3 AvdD”) is a time-spanning monologue about a scholar who fall who falls for Adriaen van der Donck, an ambitious Dutch lawyer born 400 years ago who had big plans for America. Van Wilgen spoke to FringeArts about the play, which opens tonight at Old Swedes Church in South Philadelphia.

FringeArts: What inspired the show?

Gerald van Wilgen: Van der Donck has always been on my to do list, but I never knew how or what to do with him. This guy was a rebel, but one who fought with his pen. When I interviewed Julie van den Hout for a magazine I work for about her biography of Adriaen van der Donck, she told me she liked him a little bit “too much.” I loved the idea of a scholar falling in love with her own subject. I put the two together and started working on it. When I was in the Netherlands, I visited Adriaen van der Donck’s hometown, Breda, there the story started to crystallize.

FringeArts: How would you describe your style of writing?

Gerald van Wilgen: Someone once described my style as “economic.”

FringeArts: What themes or message are you trying to convey?

Gerald van Wilgen: I’m an unassimilated immigrant living in two worlds simultaneously.

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Cocktail Plays: Recipes for a Great Night of Theater

Posted September 17th, 2018

One morning, a few weeks ago, Sonya Aronowitz sat at a bar in Fishtown, double-fisting cocktails. The executive producer of indie theater company Juniper Productions had good reason: she was tasting cocktails for the company’s 2018 Fringe production, Cocktail Plays, which opens tonight.

Aronowitz sent the four short plays in the production over to Canyon Shayer, beverage manager at Philadelphia Distilling. The experienced bartender shook up four cocktails, one to represent the themes and characters of each play. Cocktail Plays runs September 17-26 in the spartan bar of distillery and each drink contains a spirit made in the copper stills which loom behind Shayer as he describes the cocktails.

For Date Night by Mark Costello, about a woman who’s uncomfortably dressed up for a meeting, Shayer created a sparkling pink drink made with lemon juice, raspberry simple syrup, Bluecoat gin, sparkling wine, and fresh raspberries. “I wanted a redness reminiscent of lipstick,” he says. “It’s about being too classy for a situation.”

For Out of Time by Bill D’Agostino, Shayer favored an “old man’s drink” to represent one of the characters onstage, so he used the distillery’s barrel aged gin, with birch bitters and maple syrup for a twist on the old fashioned.

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The PINK HAIR AFFAIR Returns, Heartbroken

Posted September 14th, 2018

A collaborative dance company started by UArts grads in 2007, the Pink Hair Affair a series of playful Fringe pieces in the late ‘00s showcasing their choreographic talents. Several of the Pink Hair founders —Annie Wilson, Christina Gesualdi—went on to become key figures of the Philadelphia dance world, but the company lay dormant for the last few years as its members spread across the world, from Oregon to Panama City.

Company director Laura Jenkins recently returned from Los Angeles and has revived the much-loved company for a 2018 Fringe Festival production, The HeARTbreak of a Serial Monogamist, with performances at The Whole Shebang September 17 + 18. The piece deals with the middle stages of grief, that time after the initial shock, when people simply offer the advice of “time will heal”. Jenkins compiled her  experiences with grief—break-ups, moves, career changes, deaths—and turned them into an interactive interdisciplinary work that shows there are tools we can use to help us through the rough times.

She spoke with FringeArts about the project.

FringeArts: What inspired the show?

Laura Jenkins: I moved back to Philly in October 2017 (after living in LA for just under three years). I knew once I got back that I needed and wanted to put on a show again, and I thought the Fringe Festival would be a good way to ease back into the dance scene here. I originally wanted to do a show idea I’ve had with PINK HAIR AFFAIR for almost 10 years now… but life happened. In April of this year, I had a strong desire to do a show based on experiences I was going through, experiences that I’ve been through and little did I know, experiences I was going to go through. It sort of evolved from the need to heal and process grief. Creativity is and was a huge part of my healing process and I felt driven to share it—to normalize this feeling of grief, and to let people know it happens to the best of us.

FringeArts: What themes/messages do you want to convey?

Laura Jenkins: I want to share the grief that we all go through (or will go through). I want to normalize the feelings of despair, depression, feeling lost and alone, feeling crazy and angry, feeling so sad and heartbroken you don’t know what to do. I also want to show that there are ways to deal, tools to use to get your through. To note that this shitty time is important for us to go through — because it’s where we learn, grow and tap back into our true selves or maybe even find ourselves. To stay present during the dark time and not just hide in our bed or fall into a replacement relationship.

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Where Have All the Black Actors Gone? To Flying Quilt’s Day of Absence

Posted September 12th, 2018

Opening tomorrow at Painted Bride Arts Center (after two free performances for community groups), the thoughtful comedy Day of Absence explores the dilemma of an unnamed Southern town awakening to find all black folk…gone. Who will tend the children? Who will do the menial work? Who really wears the mask? It’s as relevant today as when Douglas Turner Ward wrote it in 1965.

The list of actors performing in Flying Quilt Productions’ Fringe show reads like a who’s who of black actors in Philadelphia: Joilet F. Harris, Cathy Simpson, Brian Anthony Wilson, Anthony Cooper, Steve Wright, Nastassja Baset, Rich Bradford, Kim Brown, Carlo Campbell, Niya Colbert, Walter DeShields, Andre N. Jones, Tiffany Bacon, Renee Lucas Wayne, Olivia Wayne, Lenny Daniels, Eric Carter, Chyna Michele, Jack Drummond, and Lary Moten. FringeArts spoke to Moten, artistic director of Flying Quilt, about his impressive cast and contemporarily pertinent play.

FringeArts: What first moved you about Day of Absence?

Lary Moten: When I first read it, I was in college—called Hampton Institute when i attended, now Hampton University—studying theater. It was 1968 and we were studying the plays that exploded from black playwrights during that turbulent time. Day of Absence struck me so much because it’s a comedy. It showed how all of the anger and frustration, analysis and commentary, could be turned into genuine laughter without casually dismissing the underlying causes, facing those issues unflinchingly. It grabbed me then. Unfortunately, it still grabs us now.

FringeArts: Why did you want to bring it to this year’s Fringe? 

Lary Moten: There is so much turmoil in the U.S. at this moment—people questioning black lives matter, political, social, cultural and economic upheaval—and Day of Absence speaks directly to those issues. And with lots of laughs. Day of Absence is castor oil smothered in honey. As usual in times like this, the best art rises to the challenge of connecting folks with issues that affect their daily lives concretely. That is why i wanted to see this show mounted. Especially during the Fringe. And at the Painted Bride given their history of community work.

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Gimme Shelter: Drip Symphony Returns to the Fringe

Posted September 12th, 2018

Nick Schwasman and Nate Barnett are local Philadelphia artists who run Drip Symphony, an experimental performance company now entering its second season. This Fringe, Drip Symphony presents Shelter, the story of a group of artists living together in an abandoned theater, brought together by a shared sense of artistic integrity. Staged using an immersive design where the entire theater is transformed into performance space and the audience, seated on stage and scattered throughout the house, lives among the action, Shelter explores the value of art, the nature of creation, and the power of physical boundaries to shape our realities.

Shelter runs September 19-22 at Plays & Players Theatre (and Barnett also sings with the Grammy-winning ensemble The Crossing in its Fringe show Of Arms and the Man, September 16). Schwasman and Barnett spoke to FringeArts about their artistic process, upcoming production, and views of the Fringe Festival.

FringeArts: What was the inspiration behind Shelter?

Nick Schwasman: I just turned 19. I was sitting around a fire behind a barn, talking to my dad and friends. My dad had recently received a letter from his dad, who is homeless and schizophrenic, and whom I had never met. I was talking about how I wanted to meet him. The idea came to me somewhere in this moment, that any homeless person I saw could possibly be my grandfather, and that’s essentially where it started.

We began writing the script for it back in 2013, in a barn on winter break. We still have scraps from back then, and many of the characters still exist in evolved forms. But it’s changed a lot. We’ve allowed this process to take any twists and turns that appeared, so much had changed. The show is now most strongly inspired by our artist colleagues and ourselves, and the experience we all have trying to navigate a very fraught artistic landscape. It’s about the decisions we make to survive and stay true to ourselves, and the spaces we create in support of those decisions.

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Hello Darkness My Ol’ Chum: REV’s Graveyard Cabaret

Posted September 11th, 2018

Since 2012, REV Theatre Company has brought Fringe Festival audiences into the iconic Laurel Hill Cemetery for a macabre cabaret of music and theater. As Philly Voice put it, Death is a Cabaret Ol’ Chum has become “a consistent favorite and top ticket seller… head to the cemetery for free cocktails and cabaret that spooks and stirs the soul.” The 2018 Fringe show opens this Friday and has four performances through September 22.

REV’s artistic codirector Rudy Caporaso spoke to FringeArts about this years happening.

FringeArts: Describe Death is a Cabaret Ol’ Chum for the uninitiated?

Rudy Caporaso: First of all, the show is listed in the Fringe Guide as a happening because that’s exactly what it is. Audiences will enjoy free cocktails as three “departed souls” appear out of the darkness of historic, iconic, beautiful Laurel Hill Cemetery, to music ranging from Bessie Smith to the Scissor Sisters and Cole Porter to Sonny and Cher. The music is a “Whitmans Sampler” of death-centric songs, all sung by—according to a critic—”performers with killer pipes”. And another critic said they’ve never experienced a more life-affirming theatrical event. An adventurous audience seeking a truly unique and immersive theater experience will like this.

FringeArts: What makes Laurel Hill Cemetery so suitable for this piece?

Rudy Caporaso: The piece was specifically made with Laurel Hill in mind—and I hope this doesn’t seem too terribly self-aggrandizing, but Laurel Hill is tailor-made for this production. It has the prerequisite mysterious and splendid Gothic grandeur. I always think of the Cemetery as the fourth character in the piece.

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Take Two Plunges with Brian Sanders JUNK

Posted September 11th, 2018

Brian Sanders’ JUNK has sold out Philly Fringe shows every year for almost twenty years with innovative, ingenious, and boundary-defying choreography. This year, us “JUNKies” have double the chance to see the highly physical, energetic dance company: For the 2018 Fringe Festival, JUNK is presenting TWO shows: FIGMAGO (through September 23) and Plunge (through September 22).

Daytime

A multi-faceted artist, Sanders shows us his family-fun side with FIGMAGO, an ongoing collaboration with muralist Meg Saligman.

Meg Saligman’s Theatre of Life mural.

“Meg and I share a lot of the same aesthetics,” Sanders tells FringeArts. “Bold but not over-the-top, dynamic, intense and emotional.”

The artists connected at the dedication of Saligman’s Theatre of Life mural on Broad and Lombard streets. “I repelled down the face of this giant mural and danced among the painted figures,” he says. “We always knew we would work together but we just didn’t know when and how, but the right space and the right time brought about FIGMAGO.”

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Like Mother Like Daughter

Posted September 10th, 2018

Jennifer Blaine was in the first Philly Fringe. This year her daughter Lily Blaine is in her first.

Lily and Jennifer  last week.

Performer Jennifer Blaine got a feature in the latest Philadelphia Weekly, detailing her long history with the Fringe Festival and how she has used it as a jumping off point to launch numerous successful shows.

Blaine was part of the very first Philly Fringe in 1997, performing her solo show Safety By Numbers in an Old City alleyway. As she related to Philly Weekly, she’d use reviews from her Fringe shows to book tours across the country, eventually opening up for George Carlin, Chris Rock, Joe Piscopo. This year, Blaine returns to the Festival for the 16th time with narrative stand-up show Ridiculous at L’Etage in South Philadelphia.

“It’s such an opportunity to open yourself up to an audience that you wouldn’t have reached otherwise,” Blaine told writer Andrea Cantor about the Fringe Festival. “You have no idea where it could end up for you.”

At the FringeArts Blog, we were struck by tidbit in the article about where it has ended up for Jennifer: this year, her 11-year-old daughter Lily is performing in her very first Fringe Festival. The younger Blaine dances in Paprika Plains, another family affair by two artist-sisters combining dance and body painting

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The Plague Comes to Philadelphia: Pestilence: WOW!

Posted September 7th, 2018

Playwright and director Savannah Reich recently moved to Philadelphia after making work with her company Eternal Cult for ten years and touring it to bars, basements and warehouses across the country. Opening tomorrow night, Pestilence: WOW! marks the Fringe debut for her raw and immediate style of theater, produced punk-rock style: collaboratively, accessibly, and strange.

Reich spoke to FringeArts about this new play about the bubonic plague that lives somewhere between a game show and an acid trip.

FringeArts: What’s the worst illness you’ve ever suffered?

Savannah Reich: I was a sickly child and always had some kind of a cold. I have a real fascination with the the intimate nature of illness, and the way it takes away our illusions of control. I did a lot of reading about illness in preparation for this play: Thomas Mann’s The Magic Mountain, Susan Sontag’s Illness as Metaphor, and Eula Biss’s On Immunity; An Inoculation are particular favorites. None of this ended up in the play directly, of course.

FringeArts: What brought you to Philadelphia?

Savannah Reich: I graduated from Carnegie Mellon with my MFA three years ago, and I’ve been kind of an art tumbleweed ever since. I lived in Chicago for a few years, and I’ve been bopping around and doing plays in Pittsburgh and Minneapolis and traveling a lot. I think I’m looking for my artistic home.

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Getting In A Tangle: Meredith Rosenthal Goes In the Forest

Posted September 7th, 2018

A Fringe Festival favorite since 2011, Tangle Movement Arts is a contemporary circus arts company whose performances mix traditional circus like trapeze and acrobatics with dance, theater, and live music to tell multidimensional stories. Tangle’s work reflects individuals of diverse identities, with an emphasis on queer and female experiences, and is devised collaboratively by its all-female ensemble.

Meredith Rosenthal

FringeArts spoke to Meredith Rosenthal, a member of this ensemble, about Tangles new work In the Forest—an immersive world of circus-theater that surrounds the audience with a 360-degree display of aerial dance, live music, giant yarn sculptures, and circus magic. The show comes to the 2018 Fringe Festival September 12-15, at the Sanctuary at the Rotunda in West Philly..

FringeArts: How did you become involved with Tangle?

Meredith Rosenthal: About five years ago, Lauren Rile Smith discovered me at a student showcase at Philadelphia School of Circus Arts. My first ever performance! She asked me to be a guest artist for a TinyCircus show, one of Tangle’s pop-up circus events.

FringeArts: What do you like about the company?

Meredith Rosenthal: Tangle feels almost more like a community than a company. Everyone is so supportive and encouraging. We try to make accessible circus for the masses, whether it’s by outdoor performances or our energetic narrative shows.

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Revisiting Bon Iver’s For Emma, Forever Ago. With a Bear.

Posted September 6th, 2018

This my excavation

In 2006, musician Justin Vernon left North Carolina after two breakups: with his band and longtime girlfriend. Broke, heartbroken, he drove back to his home state of Wisconsin and spent a cold autumn and winter in his father’s hunting cabin. There he cut wood, drank, and wrote and recorded one of the finest, most emotionally moving, rawly authentic albums of this young millenium.

That’s the story.

It’s one that playwright Doug Williams and director Maura Krause wanted to explore and flip over. “We’re both music obsessives, and the story behind Bon Iver’s first album is a modern music legend,” says Williams. “But there are larger questions about the ‘broken male genius’ that feel really primed to be pushed back upon right now.”

These questions get a outlandish treatment in the pair’s world premiere Fringe Festival show, Bon Iver Fights A Bear, which opens tomorrow. “We figured, if we’re really trying to tell this story in the most outrageous way possible, we gotta have this talking bear narrate it and sort of call bullshit on the mythology of the whole thing,” says Williams.

“We want to explore the ways in which we romanticize the story of the white-male-genius-type that retreats to the woods to get over his heartbreak,” adds performer Emily Schuman, who plays Bon Iver, hipster beard and all. (The moniker was taken from French for “happy winter,” a repeated greeting in cult TV show Northern Exposure.) “Really, he was just a 24-year-old kid who was trying to figure himself out but ended up doing something incredibly honest.”

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Building Trust with Darcy Lyons

Posted September 5th, 2018

“Security is both a reality and a feeling and they’re not the same thing… The foundation of security is trust, both personal trust and global trust.” —Security specialist Bruce Schneier, an inspiration for 2018 Fringe Festival piece Proceed with Caution

Fear. Insecurity. Trust. Security.

The topics broached in Lyons and Tigers’s Proceed with Caution (September 7-9 at The Iron Factory in Kensington) are relevant on a personal, political, and geopolitical level. This new full-length dance theater work explores security in a time of global violence, the Trump presidency, police brutality, mass shootings, and the #MeToo movement. Through dance, the show asks, “How do humans build trust?”

Creator Darcy Lyons spoke to FringeArts about her timely show.

FringeArts: What was the inspiration for Proceed with Caution?

Darcy Lyons: In 2012, I created a short version of this piece that was about rational and irrational fear. I have always wanted to return to the piece and this year felt like the right time. The initial inclination came from my own struggles with anxiety. The concepts around fear and trust are important to me to continue to explore, especially in the uproar of the Trump administration.

FringeArts: Can we ever really trust anyone about anything ever?

Darcy Lyons: Yes. Trust has a lot of layers of meaning. We are constantly working with trust in our everyday lives.

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Tanaquil Marquez’s Passport Across Language Borders:

Posted September 5th, 2018

Heads: English; tails: Spanish.

On select nights, La Fábrica will present Gustavo Ott’s play PASSPORT in a language decided by a coin toss. The concept fits Ott’s kafkaesque tale of miscommunication and unexplainable border discrimination well. For the less adventurous, most performances of the timely work take place in either English or Spanish (see the show webpage for details).

We asked Tanaquil Márquez of La Fábrica about the unusual staging and her attraction to Ott’s absurdist play.

FringeArts: What moved you about the Gustavo Ott’s play?

Tanaquil Márquez: Yajaira [Paredes] and I were sitting in her car outside of Headlong Dance Studio. We just finished rehearsal for Azul, a production we worked on last year, when she pulled up the script on her phone and told me, “Tana, necesitamos hacer esta obra.” (Tana, we have to do this play) My first thought was, “What? We are already in a play, I don’t have space in my brain to think about another one.” But it’s the name that really stuck, PASSPORT. The title already seemed like a demand.

We had a reading a few months later and the message resonated in the room. In a beautiful and violent way. PASSPORT exposes how miscommunication can lead to distrust and confusion. Ott’s poetry is full of imagery and really blossoms throughout the hour while the main character’s situation gradually gets more and more dire. He mixes the two so well that you don’t know if you should be moved by the language or horrified by the action on stage.

FringeArts: What makes it a fitting show for this year’s Fringe?

Tanaquil Márquez: PASSPORT is a very current and important show. It spotlights the current immigration crisis. The long struggle of our community with the immigration issue has currently reached a boiling point. We cannot be but shocked at the actions of ICE against our society and the immorality of the Berks Family Prison in Pennsylvania detaining children as young as two weeks old. By presenting PASSPORT we want to raise awareness and funds to promote immigration rights.

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