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HPFS Splash: Never Change, Philly

Posted April 16th, 2019

Continuing our HPFS Splash blog series, we’ll be taking the tops off the metaphorical fire hydrants* and spilling out the information you want to know from our High Pressure Fire Service (HPFS) artists about their HPFS shows, local inspirations, and living in Philly.

Today’s big question: What do you hope never changes about Philadelphia?

Jess Conda as bartender at Fergie’s Pub

“Fergie’s Pub. The place has kept its welcoming, rock and roll authenticity through all of the gentrification in Center City. The Fergie’s attitude IS Philadelphia. It was here before Craft Beer was cool and it ain’t going anywhere. Hell, the place had an entire 26 story condo literally built around it and stayed open the whole time. Now THAT’s True Grit. It’s also where I cut my teeth as a bartender and have had the most one on one conversations with the widest range of people in the city. A bar is a tiny stage, and while I was coming up and waiting to get more work as an actor, I was learning about real life working there…[I don’t want] anymore diner closings. We’ve lost too many already. The day the Melrose or Broad Street Diner closes, that’s it, I’m outta here.
–Jess Conda, A Hard Time

“Rittenhouse Square and Christ Church. And walks along the river in several places, West side, East side and along 24th street and the bridges that are lit at night. And the Rowing Houses on Kelly Drive that are lit at night. And the sculpture gardens.”
–Marcia Saunders, A Fierce Kind of Love

Image result for chop shop south street“That old men in South Philly will continue to use the sewer drains as their trashcans. That the wheely gangs will continue to wheely their bikes against traffic down Broad Street. And The Chop Shop on South Street. No one works there for longer than a day and you’ve never had a worse haircut for under $20. Just kidding. If you go, go to Kate or Ruki.”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

Folks are a little rude, the food is awesome, and the arts are appreciated. I like that the Ave of the Arts gets mobbed by sports fans celebrating/rioting on occasion. Also, Broad Street moves through a lot of different neighborhoods and reflects that.
–Alex Torra, The Sincerity Project #3 (2019)

The only constant is change. And litter.”
–Alice Yorke, The Appointment

Image result for arch street umc

Arch Street UMC Church

The lone heroes, elders doing community work, people organizing voters and doing street cleanup, really make Philly for me, these people who are dedicated to their communities no matter what changes come because Philly has changed so much since I’ve been here, especially around housing.
–Camae Ayewa, Circuit City

“My church, Arch Street UMC is deeply involved in this city’s social and economic concerns with a focus on justice for those without shelter, the LBGTQ+ Community, Refugees/Immigrants, Education, higher wages for low income jobs and so much more. My involvement with Arch Street gives me a great sense of responsibility for those who are unjustly treated and the ability to feel as though I am making a difference.”
–Cathy Simpson, A Fierce Kind of Love

Read last week’s HPFS Splash: Gritty Edition, and thanks for joining us for the final installment of HPFS Splash!

hpfs splash hydrant*High Pressure Fire Service (HPFS) takes its name from FringeArts’ historic building, the first high pressure pump house in the country. Opened in 1903, the station pumped water from the Delaware River to fire hydrants across Philadelphia, connecting the city and helping it grow and thrive. This history of creativity and connectivity is at the very heart of the High Pressure Fire Service festival. You can see the old HPFS fire hydrants across the city between the Delaware and the Schuylkill Rivers and between South Street to Girard Avenue. You may even see them of them sporting a fancy new HPFS sticker. Tag us on Instagram @fringearts if you see one!

Click here to learn more about all of our High Pressure Fire Service shows.

 

HPFS Splash: Gritty Edition

Posted April 9th, 2019

Continuing our HPFS Splash blog series, we’ll be taking the tops off the metaphorical fire hydrants* and spilling out the information you want to know from our High Pressure Fire Service (HPFS) artists about their HPFS shows, local inspirations, and living in Philly.

Today’s big question: What are your thoughts on Gritty?

“He’s ugly and he’s orange.  Someone said he looks like Elmo on speed.”
–Erin McNulty, A Fierce Kind of Love

hpfs splash

Photo by Kyle Ross

“He’s Philly AF of course and we love him dearly. I think it would be amazing if he helped lead some trash clean up campaign in the city. I think we can be gritty but not grimy, no? I would still have my angry edge if my city were cleaner and I think he would too.”
–Jess Conda, A Hard Time

“Crazy eyes, mad pride, pure mischief. Feels like a good representative of Philly.”
–Alex Torra, The Sincerity Project #3 (2019)

“He’s cute. Like, I would love to kiss him on his face.”
–Camae Ayewa, Circuit City

“After the initial shock, I’ve come to love him. I even put Gritty in Cinderella, the holiday panto I directed at People’s Light.”
–David Bradley, A Fierce Kind of Love

“He’s kinda cool. There’s more to come.”
–Michael McClendon, A Fierce Kind of Love

“We all know who’s under that mask…Geoff Soebelle.”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

“Unpopular opinion, I have no opinion on Gritty.”
–Alice Yorke, The Appointment

Read last week’s HPFS Splash: Philly Favorites, Bonus Edition, and stay tuned for next week’s splash!

hpfs splash*High Pressure Fire Service (HPFS) takes its name from FringeArts’ historic building, the first high pressure pump house in the country. Opened in 1903, the station pumped water from the Delaware River to fire hydrants across Philadelphia, connecting the city and helping it grow and thrive. This history of creativity and connectivity is at the very heart of the High Pressure Fire Service festival. You can see the old HPFS fire hydrants across the city between the Delaware and the Schuylkill Rivers and between South Street to Girard Avenue. You may even see them of them sporting a fancy new HPFS sticker. Tag us on Instagram @fringearts if you see one!

Click here to learn more about all of our High Pressure Fire Service shows.

 

HPFS Splash: Philadelphia Favorites, Bonus Edition

Posted April 4th, 2019

Continuing our HPFS Splash series, we’ll be taking the tops off the metaphorical fire hydrants* and spilling out the information you want to know from our High Pressure Fire Service (HPFS) artists about their HPFS shows, local inspirations, and living in Philly.

Today’s big question: What’s your favorite Philly…?

Park

“Parallel and Jurassic”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

hpfs splash

Shakespeare in Clark Park, Photo by Kyle Cassidy

“Clark Park, West Philly (I’ve done 6 seasons of Shakespeare in Clark Park, which is an incredible summer pleasure of mine)”
–Jess Conda, A Hard Time

Not exactly a park, but I love the Navy Yard.
–Alex Torra, The Sincerity Project #3 (2019)

Fairmount Park
–Camae Ayewa, Circuit City & Cathy Simpson, A Fierce Kind of Love

“LOVE Park”
–Erin McNulty, A Fierce Kind of Love

Place to Get Coffee

Starbucks at the National Constitution Center

“The Starbucks at the National Constitution Center”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

“Cafe Ole, Old City”
–Jess Conda, A Hard Time

“It used to be Elixir but then they replaced their almond milk with oat milk.”
–Camae Ayewa, Circuit City

“ANYWHERE”
–Alex Torra, The Sincerity Project #3 (2019)

Song

“TubThumping by Chumbawamba”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

“‘When You’ve Been Blessed’ – Patti LaBelle”
–Camae Ayewa, Circuit City

“Um, Bruce Springsteen ‘Atlantic City’ I guess?”
–Alice Yorke, The Appointment

Image result for lizzo truth hurts“Lizzo ‘Truth Hurts’ is my forever theme song”
–Jess Conda, A Hard Time

“Elena Burke’s ‘LO MATERIAL’ (featured in ¡Bienvenidos Blancos!)”
–Alex Torra, The Sincerity Project #3 (2019)

“Otis Redding’s, ‘Try A Little Tenderness'”
–Cathy Simpson, A Fierce Kind of Love

Word/Expression

“Do No Harm/Take No Shit”
–Jess Conda, A Hard Time

“That’s the job!!!!!”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

“Young Bol”
–Camae Ayewa, Circuit City

“The Harry Kalas classic ‘That ball’s outta here!'”
–David Bradley, A Fierce Kind of Love

“Jawn'”
–Shawn Aelong, A Fierce Kind of Love

Read last week’s HPFS Splash: Disconnecting With A Good Book, and stay tuned for next week’s splash!

hpfs splash*High Pressure Fire Service (HPFS) takes its name from FringeArts’ historic building, the first high pressure pump house in the country. Opened in 1903, the station pumped water from the Delaware River to fire hydrants across Philadelphia, connecting the city and helping it grow and thrive. This history of creativity and connectivity is at the very heart of the High Pressure Fire Service festival. You can see the old HPFS fire hydrants across the city between the Delaware and the Schuylkill Rivers and between South Street to Girard Avenue. You may even see them of them sporting a fancy new HPFS sticker. Tag us on Instagram @fringearts if you see one!

Click here to learn more about all of our High Pressure Fire Service shows.

 

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!

What makes A Hard Time stand out, however, is that this is the first production with female lead artists and with lead artists who are not one of the Artistic Directors of Pig Iron Theatre Company. Jess Conda, Jenn Kidwell, and Mel Krodman are no strangers to the FringeArts stage though. Jess Conda is a cabaret and performing artist who was mostly recently seen on our stage in the cabaret extravaganza, Do You Want A Cookie? by the Bearded Ladies Cabaret in the 2018 Fringe Festival, but you may have also caught her in 1812 Productions’ Broads this past February. She has also joined us onstage for Get Pegged Cabaret in the past, 99 BREAKUPS (2014) and Pay Up (2013) with Pig Iron, and as a band member of the popular group Red 40 and the Last Groovement. In Philadelphia, she’s also a Teaching Artist at Wilma Theatre, has performed with a multitude of organizations including BRAT Productions, Arden Theatre, and Shakespeare in Clark Park, and she is a two-time Barrymore nominee for Outstanding Ensemble in a Play.

Jenn Kidwell has collaborated with a number of past Fringe artists and is notably not only a company member of Lightning Rod Special, but is also the lead artist on their work Underground Railroad Game, which won an Obie Award in 2017 for Best New American Theatre Work and was hailed as one of the 25 Best American Plays Since Angels in America. She was last seen on the FringeArts stage in Geoff Sobelle’s HOME in the 2017 Fringe Festival, and was also seen recently in Sans Everything with Lighting Rod Special and 99 BREAKUPS with Pig Iron.

Mel Krodman is also a familiar face, especially if you came to see THE TOP at FringeArts in 2017 from No Face Performance Group. As a company member of Pig Iron Theatre Company, Mel was also seen in A Period of Animate Existence (2017) and Swamp Is On (2015), and she has choreographed a number of works with collaborator Kelly Bond, appearing in the Independent Fringe Festival (Elephant (2010) and Colony (2012)) and our season programming as well (JEAN & TERRY: Your Guides Through Dark, Light and Nebulous (November 2016)). Mel is also in another High Pressure Fire Service show, which leads us to June…

¡BIENVENIDOS BLANCOS! or WELCOME WHITE PEOPLE! Photo by Kate Raines

Team Sunshine Performance Corporation (TSPC) will be producing the third iteration of their 24-year series The Sincerity Project. This work, The Sincerity Project #3 (2019), will feature the same cast as the first two productions and follow the lives of the performer-creators as they change and grow every two years. Dedicated to creating opportunities for people to share in the pleasures and difficulties of our collective contemporary experience, Team Sunshine was last seen on the FringeArts stage in April 2018 with their bilingual production ¡BIENVENIDOS BLANCOS! or WELCOME WHITE PEOPLE!, and in 2017 for The Society of Civil Discourse, a co-production with The Philly Pigeon. The cast features Mel Krodman (see above), Benjamin Camp (Founding member of TSPC), Makoto Hirano (Founding member of TSPC) , Aram Aghazarian, Jenna Horton, Mark McCloughan, and Rachel Camp and is directed by Alex Torra (Founding member of TSPC).

These performers come from all over Philadelphia every two years to put together the next iteration of The Sincerity Project, and where are they now? Benjamin has performed with a number of groups around Philadelphia (Pig Iron, Shakespeare in Clark Park, etc) and was lead artist for TSPC’s Punchkapow, Terrarium, and Zombie Defense. Currently, he is also a realtor with The Kelly Group, selling houses to artists all over Philadelphia. A former US Marine, Makoto is currently a dance and theatre artist who has created over 20 original roles and collaborated with artists such as Bill Irwin, Thaddeus Phillips, and also Pig Iron Theatre Company. In addition to co-founding Team Sunshine, he also created an art duo, Gatto+Hirano. Aram is currently on the faculty at the Pig Iron School and has performed with the company as well (Swamp Is On (2015), 99 BREAKUPS (2014), Pay Up (2013)), co-founded Strange Attractor Theatre Company (Sans Everything (2017)), and has also performed with Lightning Rod Special and SwimPony Performing Arts in the past. A performer as well as a writer for thINKingDANCE, Jenna has collaborated with a wide range of artists including past Team Sunshine works, Annie Wilson, The Berserker Residents, SwimPony, Applied Mechanics, Lightning Rod Special, Shakespeare in Clark Park, Chris Davis, and The Bearded Ladies Cabaret.

THE TOP

Mark is one half of No Face Performance Group with Jaime Maseda (recently seen in The Appointment last month) and performed THE TOP (2017) at FringeArts. They are also a writer and visual artist, with poetry awards from the American Poetry Review and L+S Press. Rachel is a theater and teaching artist who has performed across the city with Philadelphia Theatre Company, Opera Philadelphia, Arden Theater, 1812 Productions and more, and she has been nominated for 5 Barrymore awards, winning Outstanding Supporting Performance in a Musical for The 25th Annual Putnam County Spelling Bee at Theatre Horizon. And finally, director Alex Torra is a Swarthmore professor, a 2018 Pew Fellow, the director for all of TSPC’s major works, a regular collaborator with Pig Iron Theatre Company, and he has received fellowships from the Independence Foundation, the Philadelphia Live Arts Brewery, the Princess Grace Foundation, Oregon Shakespeare Festival, and NY’s Drama League. The cast of The Sincerity Project #3 (2019) has touched just about every corner of Philadelphia theater.

In late June, we’re excited to close out High Pressure Fire Service with a new work that’s part musical, part choreopoem, and part play, Circuit City by Camae Ayewa, stage name: Moor Mother. Camae is a prolific poet and noise musician who has made Philadelphia her home and is taking on the housing crisis, highlighting the connections between public and private ownership and technology through original poetry and live music by the Irreversible Entanglements and the Circuit City band.

Camae is co-founder of Black Quantum Futurism Collective, a literary and artistic collaboration with Rasheedah Phillips, and Rockers! Philly, an event series and festival focused on marginalized artists. As Moor Mother, she has released more than a dozen EPs since 2012, and just recently became one of the newest members of the Art Ensemble of Chicago, a group whose work she’s long admired. She’ll be featured on their upcoming album We Are On the Edge later this year. In her music and her public work, Camae sees herself as an archivist of black memory against erasure, and this work will be no exception. You can get a feel for Moor Mother’s musical style by listening to her 2018 album, FETISH BONES.

We’re excited for such a creative and collaborative cohort of artists to be joining us at FringeArts this May and June. Click below for more information on each show, and make sure to purchase a subscription for the best deals on tickets! You can also check out our blog post: Who’s Who in High Pressure Fire Service, part one.

A Hard Time
Pig Iron Theatre Company
May 1–12, 2019

The Sincerity Project #3 (2019)
Team Sunshine Performance Corporation
June 4–8, 2019

Circuit City
Moor Mother
June 20–22

HPFS Subscriptions:
15% off tickets to 3-4 performances / 30% off for members

Single Tickets:
$31 general / $21.70 members
$15 students and 25-and-under
$2 FringeACCESS members

HPFS Splash: Disconnecting with a Good Book

Posted March 28th, 2019

Continuing our HPFS Splash blog series, we’ll be taking the tops off the metaphorical fire hydrants* and spilling out the information you want to know from our High Pressure Fire Service (HPFS) artists about their HPFS shows, local inspirations, and living in Philly.

Today’s big questions: Where do you like to disconnect, and what are you reading?

Favorite Places to Disconnect:

“The Korean Spa”
–Alice Yorke, The Appointment

“Best Buy”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

“My room in my pajamas”
–Jess Conda, A Hard Time

“My deck which overlooks the whole city.”
–Alex Torra, The Sincerity Project #3 (2019)

“Outdoors, listening to music.”
–Michael McClendon, A Fierce Kind of Love

“The shower”
–Camae Ayewa, Circuit City

What our HPFS artists are reading (though maybe not in the shower…):

Waiting for Godot was a very proto starting point for us. The piece has some texture from this early research, a few moments of quiet seeking came from this time.”
–Jess Conda, A Hard Time

“Edmund Burke’s A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
–Alex Torra, The Sincerity Project #3 (2019)

Recurrence Plot by Rasheedah Phillips”
–Camae Ayewa, Circuit City

The Very Merry Xmas Carol Holiday Adventure Show, a Play by The Berserker Residents”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

“Roland Johnson’s Lost in a Desert World
–Suli Holum and David Bradley, A Fierce Kind of Love

Read last week’s HPFS Splash: Making Art in Philadelphia, and stay tuned for next week’s splash!

hpfs splash*High Pressure Fire Service (HPFS) takes its name from FringeArts’ historic building, the first high pressure pump house in the country. Opened in 1903, the station pumped water from the Delaware River to fire hydrants across Philadelphia, connecting the city and helping it grow and thrive. This history of creativity and connectivity is at the very heart of the High Pressure Fire Service festival. You can see the old HPFS fire hydrants across the city between the Delaware and the Schuylkill Rivers and between South Street to Girard Avenue. You may even see them of them sporting a fancy new HPFS sticker. Tag us on Instagram @fringearts if you see one!

Click here to learn more about all of our High Pressure Fire Service shows.

HPFS Splash: Making Art in Philadelphia

Posted March 19th, 2019

Continuing our HPFS Splash blog series, we’ll be taking the tops off the metaphorical fire hydrants* and spilling out the information you want to know from our High Pressure Fire Service (HPFS) artists about their HPFS shows, local inspirations, and living in Philly.

Today’s big questions: How has Philadelphia inspired your HPFS piece, and why have you made Philadelphia your home?

“I grew up in Philly. I love that it feels both intimate and grand…A Fierce Kind of Love is inspired by the intellectual disabilities movement in Philadelphia and Pennsylvania. It’s all about what was an untold civil rights story happening here. Philly TV news vet Bill Baldini’s in it, as well as grassroots activists like Eleanor Elkin and Leona Fialkowski.”
–David Bradley, A Fierce Kind of Love

Photo by Johanna Austin

I moved here 7 years ago to be part of the first class of Pig Iron’s grad program. I stayed because, especially then, it was easy to be an artist here. Not only was it affordable, but people who weren’t involved in the arts were interested in them. That last bit is still true. A lot of the [The Appointment] is derived from time I spent in Philadelphia clinics observing doctors and patients. There are whole passages that have come from texts that doctors are required to pass out to patients and/or recite to them. Some of it is the lived experiences of the patients in those clinics who are my neighbors and friends.”
–Alice Yorke, The Appointment

“You know what separates Philly from other cities? A couple miles of cheese steak infested corn product. Philadelphia powers our house, our Broccolis and our Roosevelts.”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

“Every time I’m walking around feeling city ennui–anonymous and lonely and just about to feel sorry for myself…I run into a friend I know. That feeling of small town in a big city is so rare. That’s a Philly thing. [In A Hard Time,] we say what we want to say, when and how we want to say it, just like most Philadelphians.”
-Jess Conda, A Hard Time

sincerity project

Photo by Jen Cleary

I came (back) to Philly in 2007 to work with Pig Iron, and in the process got introduced to the people who would eventually become my friends and collaborators. I stayed because this community of makers is really special, and the kind of work that I want to make is appreciated and celebrated here. Philly is a complex, sprawling, sometimes exhilarating/sometimes frustrating place — and I like that. It’s got a big city feel, but my community feels tight and familiar. But there are always new people and new places to encounter when things get claustrophobic. Also, it remains affordable despite changes in recent years. It’s a city that embraces what I do and provides the opportunity to live the life I wanna live. Many us on the Sincerity team have embraced Philadelphia as our home, and because the piece is based on our lives, the city is baked into our experiences, and therefore the work.”
—Alex Torra, The Sincerity Project #3 (2019)

I came to Philly in 1999. Where I used to live now is luxury condos, downtown where my college dorm was. It’s been through so many different changes. The everyday relationships with people in the neighborhoods, students that come in and out of the neighborhood, just the movement of the city and the everyday people I’ve been able to meet are inspiring. Philadelphia, we’re not really known for celebrating our citizens, besides the old revolutionary war kind of thing. John Coltrane should be everywhere. Billie Holiday should be everywhere. These are people that not only we can appreciate their music, but there’s so many levels that we can learn from them. WEB DuBois. Patti Labelle. Philly pales in comparison to these other places where they celebrate it…and not just people who are well established or rich like the people I named celebrity-wise, but everyday citizens. North Philly has amazing community members that won’t get any kind of shine outside of their own community that have been doing a lot of work whether it’s street cleaning or organizing others to vote.”
–Camae Ayewa, Circuit City

hpfs splashRead last week’s HPFS Splash: Philadelphia Favorites, and stay tuned for next week’s splash!

*High Pressure Fire Service (HPFS) takes its name from FringeArts’ historic building, the first high pressure pump house in the country. Opened in 1903, the station pumped water from the Delaware River to fire hydrants across Philadelphia, connecting the city and helping it grow and thrive. This history of creativity and connectivity is at the very heart of the High Pressure Fire Service festival. You can see the old HPFS fire hydrants across the city between the Delaware and the Schuylkill Rivers and between South Street to Girard Avenue. You may even see them of them sporting a fancy new HPFS sticker. Tag us on Instagram @fringearts if you see one!

Click here to learn more about all of our High Pressure Fire Service shows.

 

HPFS Splash: Philadelphia Favorites

Posted March 14th, 2019

Over the next few weeks, we’ll be taking the tops off the metaphorical fire hydrants* and spilling out the information you want to know from our High Pressure Fire Service (HPFS) artists about their HPFS shows, local inspirations, and living in Philly. Today’s big question: What’s your favorite Philly…?

Life Hack

When UPS puts packages in my garbage can so people don’t steal them.”
–Alice Yorke, The Appointment

“Saying a calm ‘thanks for waiting’ to people.”
–Jess Conda, A Hard Time

“Charging your phone at the Apple Store”
–Camae Ayewa, Circuit City

“Drop the Facebook, invest heavily in bedding.”
–Alex Torra, The Sincerity Project #3 (2019)

Cheesesteak

Jim’s Cheesesteaks. Photo by Visit Philadelphia

“Jim’s”
–Shawn Aelong, A Fierce Kind of Love

“Jim’s”
-Camae Ayewa, Circuit City

“Jim’s”
–Alice Yorke, The Appointment

“Hot Pocket Cheese Steak Delight”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

“I can’t eat it, I’m allergic to wheat! COUNTEROFFER: Tierra Colombiana in North Philly.”
–Alex Torra, The Sincerity Project #3 (2019)

Place to Get Work Done

Good Karma Cafe at the Wilma Theater

“My room in my pajamas.”
–Jess Conda, A Hard Time

“Dr Hammerstein’s Nip and Tuck at Broad and Snyder is where Dave got his work done.”
–The Berserker Residents, Broccoli, Roosevelt and Mr. House!

“Good Karma Cafe at Wilma Theater.”
–David Bradley, A Fierce Kind of Love

“Easy chair in my front room.”
–Cathy Simpson, A Fierce Kind of Love

Stay tuned for our next HPFS Splash next week!

hpfs fire hydrant

Photo by Raina Searles

*High Pressure Fire Service (HPFS) takes its name from FringeArts’ historic building, the first high pressure pump house in the country. Opened in 1903, the station pumped water from the Delaware River to fire hydrants across Philadelphia, connecting the city and helping it grow and thrive. This history of creativity and connectivity is at the very heart of the High Pressure Fire Service festival. You can see the old HPFS fire hydrants across the city between the Delaware and the Schuylkill Rivers and between South Street to Girard Avenue. You may even see them of them sporting a fancy new HPFS sticker. Tag us on Instagram @fringearts if you see one!

Click here to learn more about all of our High Pressure Fire Service shows.

 

Happy Hour on the Fringe: Conversation with Alice Yorke of Lightning Rod Special & Elicia Gonzales

Posted March 1st, 2019

On this episode of Happy Hour on the Fringe, Alice Yorke, lead artist of The Appointment and Co-Director of Lightning Rod Special and Elicia Gonzales, Executive Director of Women’s Medical Fund, sat down to talk about the research and rehearsal process Lightning Rod Special went through and what the American abortion debate really means for issues of health care, education, race, and more. Listen to the podcast or read the full transcript below!

Conversation with Elicia Gonzales and Alice Yorke

Alice: Hey Elicia, I’m Alice. I’m the Co-Director of Lightning Rod Special and the lead artist on The Appointment.

Elicia: I’m super happy to meet you again. So I’m Elicia.  We met before, from Women’s Medical Fund. I’m the Executive Director there and excited to be able to talk with you some more.

Alice: Yeah, me too!

Elicia: So we worked together, I guess last fall?

Alice: Yeah, just over a year ago.

Elicia: Right, and I was newer to this role then. I think a lot of stuff has changed since then. Can you just refresh me on a snapshot of what that first encounter looked like for y’all?

Alice: So, summer and fall of 2017, we were working on this show The Appointment which then was called Unformed Consent. We had been developing it in longer processes for maybe a year or two before then, and so summer/fall of 2017, we knew we wanted to do a public first-draft showing. But the more we were working on it in isolation, the clearer it was to me that that was the wrong way to be going about it. There are people and organizations that do the work that we’re talking about, and I really wanted to be like, boots on the ground and find out what was going on in there. So in conjunction with our development processes, I got connected to Susan Schewel, who used to be the Executive Director at Women’s Medical Fund, and so she and I had a couple conversations about the project. And they invited me to come listen to the help-line, and she gave me a bunch of books and DVDs to watch –

Elicia: She’s thorough.

Alice: Yeah, I had to find a DVD player. She was a great resource and then she put me in touch with people at Philly Women’s Center. They let me come in and tour their offices and shadow patients and chat with their doctors and really get to see what happens in an abortion clinic from the time you walk in to the time you leave. Which was super, super helpful, and both of those experiences are now directly – sometimes even word for word – in the piece.

Elicia: Oh wow. I don’t think I realized that sequence of events.

Alice: Yeah, it was really helpful. I got to come in twice, I got to sit and observe the waiting room, and then be in a patient advocacy consultation, which is an opportunity for both the patient to check in with the clinic about how they feel and ask questions, and then for the clinic to check in with the patient about how they feel and make sure they’re clear about what’s going on.

Elicia: I’m reminded of the book Shout Your Abortion, edited by Amelia Bonow and Emily Nokes, which just came out. The book takes you through the stories of folks who have had abortions, and it’s really beautiful because it’s not just monolithic, right? It’s like some folks wanted it, some folks had to have it, some folks would have carried to term, some folks were super happy, you know all these different reasons. I think there’s still such a mystery around what happens when you go to get an abortion, and/or there’s all these assumptions based on what’s in the media or what we hear being spewed from these ‘amazing political figures’ who don’t ever need to access an abortion. So the work that you’re doing I feel like is just really valuable – like, to be able to interpret what happens in that clinic setting for folks is really powerful.

Alice: Yeah, I mean because so much of the show is satire, it does have a lot of dark humor to it. And every time that we started working in the clinic world, we were like – that stuff isn’t full of satire. That dark humor, that satire – that doesn’t feel good here. We don’t want that here. Because one of the goals of the project is – I mean, similar to Shout Your Abortion – is reducing stigma, is getting people to talk about it, is asking people to be more aware of what goes on, we were like, those scenes need to be no filter. They want to have very little theatricality, no humor other than the humor of what happens when two people sit next to each other in chairs, you know.

Elicia: Yeah, like chair farts and stuff.

Alice: Oh yeah, chair farts. Like, I’m uncomfortable, you’re uncomfortable, you’re very comfortable, you’re like talking on the phone – like all that stuff can be very funny, but without satirical layering on top of it.

Elicia: Right, like without gratuitously poking fun at a thing.

Alice: Yeah. The first time we did the abortion scene in our rehearsal room, it was like the wind changed a little bit. It was like everybody was just like, oooh.

Elicia: Yeah, we’re actually here for that.

Alice: We’re here for that. And in the way that we make work, we just create so much material and so little of it ends up getting in the show. Sometimes you rarely know right away, but we made the abortion scene and we were like, oh, so, that has to go in. That has to go in the show.

Elicia: Right, because unless you’re the person that’s getting that abortion, you’re not ever necessarily going to be in that space. I worked at Planned Parenthood back when I was a little puppy, and I asked them if I could see an abortion. I just felt like if I’m out here telling people about the procedure, I need to be informed. So I went to a couple of procedures at the Planned Parenthood clinic in Denver, and I really watched the whole thing up close, cause I need to be honest with people, you know? I think what happens sometimes in an effort to be “right” we sometimes skirt over the fact that, no actually – if left untouched, right, this thing would probably possibly maybe turn into a full-fledged fetus, and then later on from there, maybe a baby, right? At that moment it was the same thing, the wind kind of changed. I’m curious to know from you – someone who’s done a lot of thinking about the prep and the portrayal, did you feel as though you were placing significance to the procedure that may or may not actually be felt by the person getting the abortion?

Alice: Oh my god that’s such a huge part of the thing that we talk about when we’re scripting. I feel like there are so many narratives around getting abortions, and so many of them are not what’s really going on –

Elicia: Or not told by the person getting the abortion –

Alice: Right, exactly – which is what’s so great about Shout Your Abortion, right, it’s so powerful because you hear people telling their own stories. Those stories are oftentimes glorified in either way. Either it’s horrible, demonized, what’s-going-on-in-that-crazy-room, or it’s like, hearts and flowers and like Lisa Frank. Like, If These Walls Could Talk, that HBO show?

Elicia: Oh god. Yeah.

Alice: Yeah, so it felt really important to be like, how do we just show? When we showed the piece in August, the character who’s getting the abortion doesn’t say very much. Just the facts, name, date of birth, does this hurt, look over here, you know like, there’s very little story, which was really purposeful. As soon as you start giving that character any backstory, then like, boom the audience is going to box her away, and box away by proxy anyone getting an abortion. They’re going to see that I’m a middle class looking white woman, and they’re going to think that this narrative is only about middle class looking white women and abortions.

Elicia: But what’s really cool too is that you leaving it open to interpretation reminds people remember that this is actually just about health care, y’all. You know? It’s not about this ritualistic, witches-in-a-dark-cave, coven conjuring whatever. This an actual medical procedure. Is it different than getting a tooth filled in? For sure. We shouldn’t actually even be having this conversation, right? It’s crazy. It’s a medical procedure, people need to be reminded of that on a constant. There was a study done not too long ago that found by and large that the connection to abortion for most folks is a hyper politicized, hyper negative, a demonized kind of thing and completely divorced from the fact that it’s actually health care that we’re talking about. So the fact that y’all are showing abortion in a sort of this-is-what-it-is, non-scripted, non-skewed way is super cool.

Alice: Thanks. What felt important for me to learn is that having an abortion is just as risky and just as safe as carrying a pregnancy to term.

Elicia: Oh my god, yeah. I mean, and then you still have to carry that child for eighteen years, you know? And maternal mortality in Philadelphia, especially for black women, is just awful, and nobody wants to talk about that. I keep plugging Shout Your Abortion because I feel like it’s just so powerful. One of the editors, Amelia said that nobody wants to talk about abortion in this country, because it’s a reminder of everything else that we don’t want to talk about in this country. You know, sex, religion, rape, racism, like all the things. And I was just like, oh my god, that’s it, that’s it.

Alice: I feel like that’s just put into words something I’ve been trying to communicate about this process in the show – it’s not an isolated issue, you know? We don’t want to talk about abortion because then we have to talk about neighborhood safety, then we have to talk about accessibility to food, to education, to sex education. It just feels so easy for us to box it off in our minds and be like, that’s bad and we don’t touch it, we don’t talk about it. But actually it’s the same as looking at white feminism and looking at intersectional feminism. Right, like let’s widen the scope a little bit. We can recognize that finding equality for women is not an isolated issue. We also have to look at finding equality for people of color, for trans people, for gay people, we have to look at finances, we have to look at class, etc.

Elicia: Yeah, I know. For real. All of these issues are intersected. It’s like, “if your feminism isn’t intersectional, it’s white supremacy.” It’s just a reminder that the work is still happening, we have work to do, and at Women’s Medical Fund, we’re grappling with that really intensely right now. Since 1985 we’ve existed as this fund, and it’s pretty radical, right? I mean we’re literally putting our money into the hands of the folks who can’t afford to get an abortion. Folks who are making less than $8800 a year. Since its inception, WMF has existed in a pretty straight-line kind of way. We generate revenue, we raise money, and put it directly into the hands of the folks who call the help-line. We are able to help so many people, but not nearly as many as the number who need our services. The former ED you mentioned – Susan Schewer – she was very visionary and recognized that funding abortions is critical but doesn’t go far enough. Why is it that 80% of the people who call the help-line are black and brown folks? Why is it that the folks who are calling the help-line are making so little money and have all these other complicating, intersectional oppressions that are affecting them differently than other folks? What do we do with the fund to address how abortion is connected to racism, classism, all the isms. Like, how might people walk away from your show and say, ‘Oh yeah, lack of abortion access actually is a manifestation of the racism in this country.’

Alice: Right. And for me as an audience member, if I already accept that I care about the rampant racism in this country, then can I also get myself to care about lack of access to abortion, reproductive healthcare, sex education? I remember hearing many years before I heard the words intersectional feminism someone call it ‘open door or closed door feminism.’ That your feminism could be closed door where you just care about rights for women, and for much of history, that meant upper-middle-class white women. Or, it could be an open door. If I am an open-door feminist, that means I also care about LGBTQ issues and it also means I care about POC issues. And see how they’re all connected.

Elicia: The metaphor of the door also means that you’re actually being invited in, there’s an intentionality to it. These conversations aren’t just going to magically happen, people aren’t just going to magically say like, ‘let’s talk about racism in America!’ Someone has to open the door and invite you into this space, and we need to be sitting at this table and having these kinds of conversations. I think that term is great. I’ve never heard it put that way before.

Alice: Yeah, it’s always really stuck with me, again because I think it felt inviting. You know, and it carries on into what we’re trying to find with the programming that we’ll do around the show. How can we make spaces for audience members, like you said, to sit at a table together? They’re being handed an opportunity to watch someone have an abortion onstage. How do you feel about seeing a group of people in a waiting room, waiting to get an abortion? How does that make you feel about your place in the world?

Elicia: Yeah. Even if you’re not a person who has ever needed to have an abortion or have access to an abortion, you probably have at one point or another felt fearful, or uncertain, or just in a hurry to get this damn thing over with, right? As an audience member, it’s important to remember that there’s so much you have to do first before you get to the scene where you see the abortion. You have to walk through all these scary people outside. You might have had to leave your kid somewhere that’s maybe scary. Most of the people who call our help-line already have two kids at home. Maybe you’ve already had to fight with your work to get the day off, or lie to somebody to get there. And in the state of PA, you have to wait 24 hours. Because you haven’t already thought about your decision long enough, right? If you’re under the age of 18, you have to get your parental consent – not notification, consent. If you don’t get their consent, you have to go in front of a judge and get that person’s consent. By the time you get to the procedure, you’ve already gone through hell and back. I’m hoping that audience members are able to connect with that level of struggle in some way, or notice that absence of the struggle that they may encounter in living their day-to-day lives.

Alice: One of the things we looked at are the informed consent materials. So many states – too many – have mandated informed consent materials that are written by the state, by politicians that have to be given out to patients before they come in. And I’ve read through maybe let’s say half a dozen of those materials, and it’s just – they’re so pejorative, they’re paternalistic, you can tell that they’re written to minimize the patient’s life experience and intelligence. They often refer to a fetus as a baby, already – like your seven week old baby – just stuff that is so coded. There’s a ton of really blatant misogyny and paternalism in it, and then there’s also such deeply internalized misogyny too. Like the fact that the government thinks that someone hasn’t thought about it before they’ve come to the doctor’s office? Like what do you really think is going on here?

Elicia: Right, and it’s just also like, it reminds me again about whose body it is. The fact that you even think that you have any say over what somebody does with their body, period, whether they want to have a child, whether they want to transition their gender, whether they want to have a tattoo, whether they want to have ten kids, whether they want to wear nothing and walk down the streets in Philadelphia – all of these things that people feel like they have the right to tell somebody else what they can do with their very own bodies really only is about certain bodies in this society, right? It’s not all bodies, it’s certain bodies. If audiences are coming to your show because they already feel concerned or passionate about this issue, my hope is that they leave there feeling impassioned to actually then do something about it. It’s not just enough to feel uncomfortable, or inspired, or relieved. What do you hope will happen when folks see your show and then do after?

Alice: I mean, that was a big part of why when we did this show in the summer/fall of 2017 that I wanted to have you and the WMF, and folks from Philly Women’s Center come and speak. It felt really important to contextualize the work, and to say – cool, we’ve just seen a piece of theater that deals with this issue. You might be feeling something, you might not, you might leave and walk into the night, that’s cool. But in case you are feeling something, here’s more information. Here’s information about what Women’s Medical Fund is, what Philly Women’s Center does, what the restrictions are in Pennsylvania. If you care, here’s where to sign up for those email lists, here’s an opportunity to toss in your change. If you care, here’s an opportunity to sign up to be a clinic escort.

Elicia: And because of that, you were actually able to impact the patients directly. I know that you guys made that $5,000 contribution in order to be able to help people actually access the very same thing that folks were there to see, so it worked! It wasn’t just this thing that happened in theory, it was in real life practice. You practiced a model that worked. I don’t think a lot of folks necessarily root their work – whether it’s political or legislative or artistic – in community. How is it actually affecting and impacting communities? How might it be led by communities? I was really appreciative not only that you reached out that first time, but that you were also open to hearing,  how it landed on folks. That’s scary! You were so vulnerable and open to the feedback!

Alice: Yeah! I mean, I remember you emailed me and we got together to talk about how the show felt for you, with really specific questions. It was cool for me as maker, especially because the show wasn’t a fixed entity, and frankly won’t be a fixed entity after March either. I got to see  how it was landing. Because it’s satire, some of the discomfort is on purpose, but if it’s not quite landing, then we still have work to do. You talked about the people who are coming to this show – I feel like I have always really been interested in the theater-going public on an East Coast city. Most of us are lefty-lefties. But I continue to be really interested in the show being an open book.

Elicia: Yeah. Your show is an open door.

Alice: I hope so. So if you don’t necessarily think abortion is the right choice for you or your family or your community, I still welcome you to come to the show.

Elicia: Right. I also welcome you to find someone in your community who hasn’t had an abortion. You know? Everybody that we know has had an abortion, has been impacted by somebody’s decision to have an abortion, or will be impacted by that, so it’s not an isolated incident that happens to the poor girl in the corner. So, there’s that too.

Alice: I heard this amazing story last summer when I was working on the show. Someone told me about a mom’s group she was a part of in the early 80s. One of those groups where they all just had their first kid and wanted to be in a room together. There are thirteen women in the room, and somebody posed the question – who here has had an abortion? There were thirteen women – one woman didn’t raise her hand. One.

Elicia: It’s part of our lives! This is fascinating – I just learned that in Cuba, up to about six or eight weeks or so – so still pretty early on in the pregnancy – they don’t even call it abortion. They call it “menstruation regulation.” They say, “I’m here to regulate my period.” It took some time for American doctors and health care providers who were studying in Cuba to figure out what they were talking about, because so many people just kept coming in for menstruation regulation. It’s just a reminder about how politicized and alarmist this thing is that’s actually just a normal part of our lives.

Alice: The history of the politicization of abortion is crazy. It’s preposterous.

Elicia: It’s preposterous! And it’s also on purpose, it’s not an accident. All of this stuff is intentional, it’s all designed to keep folks in certain positions of power and to hold other folks away from that power. None of this is an accident, you know, I just really continue to look forward to figuring out creative ways of reminding people that that’s not just me saying, “Abortion! Abortion! Abortion!” But we have your show with dancing fetuses and whatnot, so that could be fun.

Alice: Yeah, that’s the hope! A way to shout, “Abortion!” that’s fun.

Elicia: And doesn’t harm.

Alice: And doesn’t harm, right! And like, if someone feels like it harms, I mean, my email is on the booklet. I would be happy to talk with someone about why they felt it was harmful. After the first draft showing, I did have people reach out to me and say they felt personally harmed by it. I’m so grateful that someone would take the time to do that. Not only because I’m making a piece of art that I don’t want to harm people, so now I can think about how to fix that, but also because we have an opportunity to talk human to human about what just happened and also what’s going on with you that you saw something that was harmful.

Elicia: I also think that that is an unintended harmful consequence unlike what’s happening right now in cities, especially in Philadelphia, around crisis pregnancy centers that are deliberately and maliciously lying to people about their options. They are not medical professionals. That is a very different level of harm in our communities that is violent, malicious, and actually intentional. Right? So – I just had to put that out there because I think unintended consequences that harm, that’s just going to happen no matter how well you try to control for that, and in fact like you said there can be true growth and healing when those things happen. But when it’s an organized effort to harm on purpose, on that scale, and actually getting money to do that – that’s where we have a problem.

Alice: On our next next podcast.

HPFS: A Commitment to Philadelphia

Posted February 25th, 2019

With the opening show in the new High Pressure Fire Service series kicking off this weekend, FringeArts Artistic Producers Zach Blackwood and Katy Dammers share what HPFS really stands for and why we’re pumped about the next few months of programming at FringeArts.

A HISTORY

HPFS philadelphia

Photo by Robby Virus

In 1903, he FringeArts building at the intersection of Columbus and Race Streets opened as the nation’s first High Pressure Fire Service system, its name carved on the east and west façades. Water was pumped from the Delaware River via a six-foot diameter pipe into the brick edifice and then funneled out to more than 900 fire hydrants from Girard Avenue to South Street. This innovative system allowed firefighters to shoot a two-inch stream of water 230 feet in the air and led to a significant decline in fire-related deaths and damages. With this reassurance, insurance companies subsequently dropped additional charges on tall buildings, and Philadelphia’s downtown area entered a renewed period of urban growth and architectural advancement. Though the pipeline from the Delaware has long since been capped and decommissioned, a spidering pathway of pipeworks still connects our building to a huge swath of the city: to cafés and community centers, taverns and libraries, and inevitably several cheesesteak spots.

A NEW PRESENTATION SERIES

With High Pressure Fire Service (HPFS), we are affirming an investment in artists living and working in Philadelphia. We believe there’s something special about this city—something tender and grumpy and people-powered. Over four months this spring, we are excited to present five new works and one expanded remount—pieces that exemplify the ways in which these artists are deepening and expanding their practices. Through residency support, commission funding, technical advising, programmatic counseling, and community engagement, each artist has approached this opportunity uniquely.

Suli Holum and the Institute of Disabilities at Temple University open High Pressure Fire Service with an expanded version of A Fierce Kind of Love, their multidisciplinary dramatization of the intellectual disability rights movement in Philadelphia, by incorporating new oral histories and contextual information in this multifaceted show that puts accessibility first. Following their Obie-Award winning theater-work Underground Railroad Game, Lighting Rod Special’s new piece The Appointment considers bodily autonomy and the navigation of reproductive rights in ways alternatively hilarious and sobering. The Berserkers are creating a work for audiences of all ages for the first time, employing their clown and physical-theater training to engage children and adults alike in Broccoli, Roosevelt and Mr. House!. A Hard Time is the first Pig Iron Theatre Company production created by artists other than their artistic directors, with Jess Conda, Jenn Kidwell, and Mel Krodman taking the lead in a comedic cabaret that reveals the violence and absurdity of gender-based expectations. Team Sunshine Performance Corporation reflects on their commitment to long-form performance practice as they present the third iteration of their 24-year project The Sincerity Project.  Moor Mother employs a theater-based work for the first time, bringing her interdisciplinary practice in music, poetry, and performance to consider housing insecurity entitled Circuit City.

The breadth of the work in HPFS exemplifies something concrete and intangible about what we value: a bootstrapping sensibility, a rebellious empathy, and a fructifying density in the footprint. In the last ten years, our city has emerged as a particularly generative environment as young artists are drawn by training opportunities at our many universities and newer artistic programs like Pig Iron Theatre Company’s graduate program and Headlong Performance Institute. Upon graduation we have seen artists continually commit to living in Philadelphia—drawn equally by its frontiers and its gritty spirit. We hope that this program will provide a valuable opportunity not only to survey the wide perspectives of this inaugural group of artists, but to also consider the state of the Philadelphia arts ecosystem at large.

Through conversations and companion programming for each presentation we will also consider the relationship between these artists, their work, and the city in collaboration with organizations including the Free Library of Philadelphia, Women’s Medical Fund, Puentes de Salud, and Smith Memorial Playground among others. These works and artists are poised to tour and develop beyond the city limits, embracing the nimble and flexible nature of the work created at FringeArts and grounded in the DIY-ethos that rings in the air here specifically.

As much as High Pressure Fire Service is a platform for Philadelphia artists to stretch themselves, it is also a call for us to challenge ourselves and our institution. We are committed to doubling down on our dedication to local artists, investing in relationship-building across the many communities of our city, and working to make FringeArts more accessible and welcoming. This first year is just the beginning, and we look forward to the ways this festival will grow and change to include an even broader range of artists and collaborations in the future.

Zach Blackwood and Katy Dammers
Artistic Producers at FringeArts

Featured Photo by Robin Barnes

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

Posted February 13th, 2019
by Raina Searles, Marketing Manager

Opening this March, High Pressure Fire Service (or more colloquially, HPFS, pronounced “hip-fizz”) brings an incredible lineup of Philadelphia artists to the FringeArts stage for a series dedicated to highlighting the creativity and innovation that runs rampant in our city. The artists include an exhilarating mix of familiar and new faces to the FringeArts stage, from longtime collaborator Pig Iron Theatre Company’s newest work to prolific poet and noise musician Moor Mother’s first play. Some performers even appear in multiple HPFS shows. To get you ready for this new series, we’re breaking down Who’s Who in High Pressure Fire Service…part one.

Kicking off High Pressure Fire Service, is A Fierce Kind of Love written by Suli Holum, directed by David Bradley, and produced by the Institute on Disabilities at Temple University.

Wandering Alice, 2008

Many people may recognize the name Suli Holum as a staple in the Philadelphia arts community. Holum is one of the co-founders of Pig Iron Theatre Company, an award-winning director, performer, choreographer and playwright, and recently, Mrs. Capulet in the Wilma Theater’s production of Romeo and Juliet. She has been involved with numerous productions that have crossed Fringe’s stage, including Wandering Alice, written and co-directed with Nichole Canuso Dance Company and presented in the 2008 Curated Fringe Festival, and Cafeteria by Pig Iron Theatre Company in the 2003 Curated Fringe Festival, which earned her a Barrymore Award in choreography.

David Bradley is a director, producer and teaching artist who work has touched a variety of stages and collaborations across Philly. Bradley is the Founding Director of LiveConnections, in partnership with World Cafe Live, has performed in over 30 productions at People’s Light, is the Artistic Director of Living News at the National Constitution Center, has collaborated with Philadelphia Young Playwrights, and has traveled the world co-creating theater that addresses public health and social issues with Outside the Wire.

Bradley and Holum teamed up with Temple University College of Education’s Institute on Disabilities, which addresses disability as a valued aspect of diversity throughout civic life. In addition to producing the first iteration of this work in 2016 and its expanded remount here at FringeArts, the Institute is committed to innovation in pre-professional training, community training and technical assistance, research and information dissemination.

Other familiar faces in the A Fierce Kind of Love cast include Erin McNulty, most recently on the

FringeArts stage in Jerome Bel’s GALA in 2016 and 2018, as well as Cathy Simpson, a prolific and long-time Philly actress who has performed on a plethora of stages (InterAct, Wilma, and the Arden, to name a few) and was recently seen in the 2018 Independent Fringe Festival show, Day of Absence. Read bios for the full cast of A Fierce Kind of Love on the event page.

The second show in the HPFS lineup is The Appointment by Lightning Rod Special. No stranger to the FringeArts stage, Lightning Rod Special is an experimental performance company dedicated to exploring complex questions through an ensemble creation process and a lead artist for each show. Lightning Rod Special premiered their Obie Award-winning production Underground Railroad Game in Philadelphia at FringeArts in 2015, and they also performed their co-production with Strange Attractor Theatre Company Sans Everything here in 2017. They got their start, however, producing in the Independent Fringe Festival: Hackles in 2012 and Go Long Big Softie in 2013.

Sans Everything, 2017, Photo by Johanna Austin

For The Appointment (some may have seen the early draft performance titled Unformed Consent), Lightning Rod Special has assembled a stellar cast of Philly artists, and this new work is led by Alice Yorke. Yorke is a Co-Director of Lightning Rod Special, with whom she created and performed in Hackles, Let the Dog See the Rabbit, and Sans Everything. She has also collaborated on works with Pig Iron Theatre Company, InterAct Theatre, Theatre Exile, the Bearded Ladies Cabaret, Martha Graham Cracker Cabaret, and the Fringe favorite band Red 40 and the Last Groovement. Yorke also graduated from the Pig Iron School for Advanced Performance Training.

In April, we see the launch of the next HPFS show, Broccoli, Roosevelt and Mr. House! by The Berserker Residents. Founded in 2007, The Berserker Residents are an ensemble dedicated to creating original works of alternative comedy with a focus on parody, absurdism, and subverting theatrical conventions. The Berserker Residents were last seen on the FringeArts stage in their March 2017 production of It’s So Learning, and they collaborated with the University of the Arts to create These Terrible Things as a 2017 Independent Fringe Festival show.

It’s So Learning, 2017, Photo by Kate Raines

They have also produced the works The Jersey Devil, The Giant Squid, The Annihilation Point, and The Post Show as part of Independent Fringe Festivals past. The imaginative co-creators—Justin Jain, David Johnson, and Bradley K. Wrenn—have brought their work to a variety of other Philadelphia stages (The Annenberg Center, Theatre Horizon, White Pines Productions, and more) as well as national and international stages like Ars Nova NYC, The San Francisco Mime Troupe, and The Assembly in Edinburgh, Scotland as part of the Edinburgh Fringe.

Individually, you may recognize these performers from their work all over the city. Justin Jain is a member of the Wilma Theatre HotHouse, has been a part of the Shakespeare in Clark Park education team, and is a teaching artist for Philadelphia Young Playwrights, Arden Theatre Company, the University of the Arts, and People’s Light, in addition to performing at a number of regional theaters. David Johnson has performed with Theatre Exile, Enchantment Theatre, Mum Puppet Theatre, People’s Light, Commonwealth Classic Theatre, Theatre Horizon, and the Wilma Theatre, as well as the Baltimore Theatre Project and The Blue Ridge Theatre Festival. Bradley Wrenn has performed with Shakespeare in Clark Park, Lantern Theatre, Enchantment Theatre Company, BRAT Productions, and Mauckingbird Theatre Company, and is an accomplished puppeteer, “wiggling the dollies” for numerous Mum Puppet Theatre productions including the Barrymore nominated ensemble of Animal Farm. He also co-created the acclaimed 2013 Curated Fringe Festival work The Ballad of Joe Hill with Adrienne Mackey.

We’re excited for such a talented cohort of creators and performers to be joining us at FringeArts this March and April. Click below for more information on each show, and check out “Who’s Who in High Pressure Fire Service, part two” on the FringeArts Blog!

A Fierce Kind of Love
Suli Holum, David Bradley, Institute on Disabilities, Temple University
March 1–3, 2019

The Appointment
Lightning Rod Special
March 20–31

Broccoli, Roosevelt and Mr. House!
The Berserker Residents
April 12–14

HPFS Subscriptions:
$150 Six-Show Package / $120 for members
15% off tickets to 3-5 performances / 30% off for members

Single Tickets:
$31 general / $21.70 members
$15 students and 25-and-under
$2 FringeACCESS members

All or Sans Everything?

Posted February 1st, 2017

Lightning Rod Special is no stranger to innovation—their most recent work Underground Railroad Game just wrapped a wildly successful stint in New York after two sold-out runs here in Philadelphia.  Founding company members Alice Yorke and Scott Sheppard were kind enough to sit down to chat about the genesis of their new world premiere,  Sans Everything – a collaboration with Strange Attractorrunning at FringeArts February 9-11.

FringeArts: What was the initial inspiration and where did that take place for Sans Everything? And what was the moment that you realized this could be made into a full-length show?

ALICE: A few years ago Aram Aghazarian (of Strange Attractor Theatre Co.) visited Pig Iron’s Dan Rothenberg while Dan was in New York City working on a production of As You Like It in New York. The studio was in a crazy high-rise building and the rehearsal room was tense–everyone was angry at each other but still working, still doing As You Like It. Aram talks about looking out the window at the vast sky and while listening to AYLI. The absurd thought struck him, “As You Like It in space.” Not setting AYLI in space, but doing it in space–more to the point, a big, outside force compelling a group of people to do it. That maybe there was some voice forcing you to do something frivolous as if it was serious. Though it would be easy to make this prompt a high-camp romp, the show has taken on real themes of life and death, due in no small part to the fact that we took a year-long hiatus from the piece when Rebecca Noon (of SATC) was diagnosed with cancer. When we returned to the piece last year, we wanted to make a show that didn’t acknowledge that directly but that explored questions Rebecca had been asking herself– why do we artists DO this? Why do we make new work and, even more so, why do we return to centuries old work when we have boundless creativity available to us? For us in Lightning Rod Special, those questions were just the kind of juicy, investigative line of thinking we love sinking our teeth into.

SCOTT: On a legendary day in Alaska, when Strange Attractor Theatre Co. was dreaming up ideas for future shows, Aram Aghazarian, resident provocateur, proffered a mystifying dare: “What about, As You Like It…in space?” As absurd as this idea sounded, over the past few years Strange Attractor Theatre Co. and Lightning Rod Special stirred this mad dramaturgical cocktail until an alluring logic began to form. As the groups obsessed over 1970’s sci-fi films, the singularity, and the themes of As You Like It, we began to dream up a world. As it does for so many readers, Shakespeare’s “All the World’s a Stage” soliloquy compelled us, and we began to imagine it as a sometimes brilliant, sometimes faulty guidebook for non-human life to understand humanity. This made us wonder, what if in the future, disembodied artificial intelligence decided to return to the relative simplicity of the human form. What would surprise “them” about experiencing life at such a slow place from a fixed and carnal point of view? What if they unabashedly fell in love with the nostalgia of humanity? What if they fell in love with theatre? With Shakespeare? When we peer into the future, we are always, inevitably, examining something from our past.

FringeArts: Tell us about the world of Sans Everything. What do you  find compelling about this world?

SCOTT: The world of Sans Everything is alien, stark, and working desperately to be human. The timbre is that of a thriller, but it wavers with tense fragility between the comedic and the uncanny. We witness all the things that make us human: rage, fear, passion, love, and art, but they are enacted by beings who do not fully understand human life. The characters’ struggle is both deeply empathic and terrifyingly unfamiliar.

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Fringe at 20 Profile: Scott Sheppard

Posted August 15th, 2016
Above Photo: (L to R) Jesse Paulsen, Jack Meaney, Sheppard, and Alison King in Speed of Surprise (photo by Pete English)

 

Name: Scott Sheppard

Pictured: Scott Sheppard Credit: Pete English

Scott Sheppard in Speed of Surprise (photo by Pete English)

Type of Artist: Theater Artist

Companies: Lightning Rod Special, Groundswell Theater Company, Pig Iron Theatre Co.

Fringe shows I’ve participated in:
How to Solve a Bear, 2010 – played Connie LaPire, co-creator
Speed of Surprise, 2011 – played Bernie, co-creator
Hackles, 2012 – played Greg, co-creator
Go Long Big Softie, 2013 – played Derek, co-creator
99 Breakups, 2014 – played guy in bed, co-creator
Underground Railroad Game, 2015 – played Stuart, co-creator

First Fringe I attended: I’m not sure if it was the first Fringe I attended, but I remember watching Untitled Project #213 in 2010 and then sitting outside of Caribou Cafe for a few hours talking about the show, deciding that I wanted to make theater for the rest of my life.

First Fringe I participated in: I played Harry Truman in a rock opera one year about a political campaign for an invented position. The most memorable moment was when I was caught doing steroids but sang a song about how I did it because I loved Philadelphia so much. Everyone cheered.

First show I produced/created at the Fringe: How to Solve a Bear, 2010. My favorite moment was getting pulled out of the ranger station by the hairy arms of the bear (our co-writer and Assistant Stage Manager Alex Cohen), getting pulled back and forth, clinging to a trash can for dear life until finally, Sandy, my sweetheart in the play, lit a stick of dynamite (cardboard tubing with a sparkler adhered) and stuck it in my hand, so that when the bear tried to eat me we would explode together in one fiery ball of martyrdom and chaos.

The Fringiest show, venue, action, or moment I ever experienced: I may have to say Go Long Big Softie, which we made in an old South Philly boxing gym, 7up bottling plant, Vietnamese Cultural Center. We literally made that show amidst 5-15 hippy, burner artists who were living in the space at the same time as we made the show. One night two of them got married on the roof of the space during our performance and we had to really implore them to stay on the roof until the show ended. It was one of those, “it’s fine if you guys want to have your wedding up there right now, but just make sure everyone goes to the bathroom, because when the show starts you’re trapped up there,” kind of situations.

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Fringe at 20 Profile: Jennifer Kidwell

Posted July 29th, 2016

Name: Jennifer Kidwell

Pictured: Jenn Kidwell in The Underground Railroad Games Credit: Johanna Austin

Pictured: Jenn Kidwell in Underground Railroad Games Credit: Johanna Austin

Type of Artist: theater-maker, performer

Company: Lightning Rod Special

List of Fringe shows I’ve participated in:
Gayze: the Miniseries, 2013 – performer
The Object Lesson, 2013 – “assistant director”
99 Break-ups, 2014 – creator, performer
Underground Railroad Game, 2015 – creator, performer

First Fringe I attended: 2012’s Untitled Feminist Show (I’m a big Young Jean Lee fan)

First Fringe I participated in: 2013. The highlight was getting to watch people watch The Object Lesson.

First show I produced/created at the Fringe: Underground Railroad Game – it was amazing walking into Christ Church the first day our set was actually in there.

Credit: Kate Raines

Credit: Kate Raines

The Fringiest show, venue, action, or moment I ever experienced: sight-free Macbeth? Or, maybe Go Long, Big Softie in a soon to be demolished boxing gym?

A Fringe show that influenced me as an artist: Bang! – Made me want to go as far as possible

An artist I have met or was exposed to in the Fringe who I went on to collaborate with: I met Steven Dufala while working on The Object Lesson in 2013 and we’re still collaborating and now working together on two projects.

The craziest idea for a Fringe show I wish I had done or to one day do: Drag version of Drunk History stumbling tour/bar crawl/pageant of/through Olde Philadelphia.

We Don’t Study History, We Just Keep Reenacting It: A Conversation with Jenn Kidwell

Posted May 9th, 2016

It’s not easy to get a hold of Jenn Kidwell. The wildly accomplished performing artist, co-founder of JACK in Brooklyn, and co-founder/co-artistic director of Lightning Rod Special keeps a busy schedule these days. Prepping her and co-creator Scott Sheppard’s show Underground Railroad Game (tickets/info) for a remount here at FringeArts is just one thing crowding her plate, but with tech week fast approaching Kidwell still managed to find time to generously chat with me one rainy afternoon about her process, the show’s evolution, and the aspects of our country’s troubling relationship with its past, which the show seeks to interrogate. “Making everyone participate in the same way when what we’re participating in does not treat people the same way is problematic,” Kidwell said, adding, “There’s no way for us to actually learn and change what we’re doing, it just reifies systems of the past.”

“We don’t study history, we just keep reenacting it.”

It’s that culture of reenactment that frames Underground Railroad Game, and Kidwell and Sheppard take it to task as questions of race, sexuality, dominance, privilege, and pedagogy all become inextricably tangled in their characters’ misguided attempts to educate. Based on experiences from Sheppard’s schooling, the show follows two teachers—a black woman and a white man—as they lead their middle school class (i.e. the audience) through an immersive, interactive unit on the Civil War by day and engage in a taboo-defying, sex-forward relationship by night. The 2015 Fringe Festival breakout hit—which critic Howard Shapiro called, “Hands-down the best piece I’ve seen in the Fringe Festival this year and in many years”—returns this week after months of tireless re-tuning.

When I asked Kidwell if anything had surprised her throughout the show’s development she chuckled and claimed the fact that she and Sheppard have been able to make it together at all has been one of the biggest surprises. She attributed this to their very different processes and viewpoints, but as she further explained their working dynamic it seemed as though this creative friction was crucial in developing the show and tackling such contentious subject matter. “There’s a way you can shut off your listening if you’re dealing with somebody who you know thinks the same way you do, but that’s not in this room,” she explained. “Here, it’s this constant state of being open in order to try and understand what the other person is saying or where they’re coming from.”

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