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Archive for the ‘High Pressure Fire Service’ Category

Happy Hour on the Fringe: Conversation with Camae Ayewa aka Moor Mother

Posted June 7th, 2019

On this episode of Happy Hour on the Fringe, we share a drink with poet, noise musician and Afro-futurist  Camae Ayewa and discuss her latest project Circuit City. Known as a force of nature in the Philadelphia Arts scene, Camae has also made her mark world wide as the one-woman band, Moor Mother.  Camae discusses how Circuit City explores what the concept of freedom really is, through the lens of the housing crisis and its effects on those who’ve spent their lifetime in their community. Circuit City runs from June 20-22 as part of our High Pressure Fire Service.

Listen to the episode and read the transcript below.

Feature Photo by Bob Sweeney

Conversation with Camae Ayewa aka Moor Mother

[Music Intro]

 

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

Tenara: And I’m Tenara, I am the Audience Engagement Coordinator here at FringeArts. We invite you to pour one up and enjoy our conversations with some most imaginative people on this plane of existence.

Raina: Now, we’re really excited right now, because we’re really just gearing up for High Pressure Fire Service, what we also also affectionately call “Hipfizz,” from the acronym HPFS, so we’re really excited to be talking to one of the most exciting artists that we have in this incredible lineup for High Pressure Fire Service.

Tenara: Yeah, today we’re talking to Camae Ayewa, is that how I say that?

Camae: Yes.

Tenara: Excellent. Or, as some of you might know her, Moor Mother. Camae is a poet, a noise musician, a visual artist, and for the first time this Spring, a playwright. So Camae, welcome.

Camae: Hello everyone. Thanks for tuning in; thanks for having me.

Raina: Hey (laughs). So, our first question, cause it’s Happy Hour on the Fringe is, what are you drinking?

Camae: I’m drinking a spice chai.

Tenara: Oh, it’s so good. Like, vanilla spice, or…?

Camae: No, just the…just spices, ’cause they had vanilla, but I said, “No, I’ll go for the spice.”

(Laughter)

Raina: I’m opting for water today, still.

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Reverse Gentrification of the Future Now: Essay by Rasheedah Phillips

Posted May 3rd, 2019

Commissioned in conversation with Moor Mother’s Circuit City, running this June 20–22, as part of the High Pressure Fire Service series.

The present realities of housing for low-income people living in Philadelphia are located temporally-spatially near the one in Circuit City. We are experiencing an affordable housing crisis, and this crisis is exacerbated by the average of 22,000 eviction filings each year and the unknown number of illegal evictions.  In my work as Managing Attorney of the Housing Unit at Community Legal Services, where we provide legal representation and advice to more than 3,000 low-income tenants a year, I hear countless stories of tenants who face racial, sex, gender, family, ethnicity, and disability discrimination from landlords; stories of tenants intimidated into not complaining about substandard housing conditions that exacerbate health and safety problems; or tenants who received eviction filings from disgruntled landlords that have resulted in virtual blacklisting from future homes and opportunities for stability. Growing displacement and mass evictions of entire buildings of often low-income residents is a particularly vicious form of eviction that has widespread health and economic impacts, and destroys economic, cultural, and racial diversity in neighborhoods. Mass evictions, often unexpected, further aggravate the city’s shortage of affordable housing—existing affordable housing units are often lost forever, putting pressure on resources and housing stock elsewhere in the City and concentrating poverty in particular neighborhoods.

Compounding these issues is pervasive housing discrimination –  single mothers and their children, seniors, Black people, LGBTQ people, immigrants, and people living with disabilities are disproportionately impacted by evictions and lack of access to safe, habitable, and affordable housing.  Tenants face systemic and individual discrimination at every stage of the process – they are barred from getting into a new home for discriminatory reasons, and often kicked out of their homes for those same reasons.1 The ACLU, for instance highlights how “women of color bear the burden of eviction,” noting that women of color made up 62% and 70% of the tenants facing in eviction in Chicago and Philadelphia respectively.2 These and other instances of structural inequity related to housing disproportionately impact the City’s poor, Black and Hispanic populations live in racially concentrated poverty.3 This loss of housing has a distinct racial impact, where 63% of African-Americans live in project-based housing compared with 44% of the city’s population, and where African-Americans are disproportionately more likely to carry severe housing cost burdens in the city.

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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

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Happy Hour on the Fringe: Conversation with Jess Conda, Jenn Kidwell and Betty Smithsonian

Posted April 12th, 2019

On this episode of Happy Hour on the Fringe, Jess Conda and Jenn Kidwell, two-thirds of the artistic team behind A Hard Time, sit down to chat with comedian Betty Smithsonian about what’s so freaking funny. They chat about what men should do at talkbacks, what audiences can expect at A Hard Time, and why people (men) believe that women aren’t funny. This episode contains explicit language.  Listen to the podcast or read the full transcript below.

Feature Photo by Jauhien Sasnou

Conversation with Jess Conda, Jenn Kidwell, and Betty Smithsonian

Musical interlude

Tenara: Hello and welcome to Happy Hour on the Fringe. FringeArts is Philadelphia’s premiere presenter of contemporary performing arts. I’m Tenara, the Audience Engagement Coordinator here. I 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 we are getting ready for the Berserker Residents upcoming family-friendly piece Broccoli, Roosevelt, and Mr. House! which opens TONIGHT. Come on by with the whole family for this spectacularly silly show about fun, adventure, and friendship. Tickets are available on our website at fringearts.com. But today, you’re going to hear a conversation between three fantastically funny comedians: Jenn Kidwell and Jess Conda – two-thirds of the trio of Pig Iron Theatre’s newest show, A Hard Time, opening at FringeArts on May 1st. Jenn and Jess sat down with legendary comic Betty Smithsonian, also known in Philly as Beth Eisenberg, whose claims to fame are vast and who organizes and curates the amazing comedy night The Bechdel Test Fest. Jenn, Jess, and Beth talk about A Hard Time, what’s so funny, and what men at talkbacks should do.

Jess: And the safe-word is: cut that, don’t you dare fucking put that in the interview.

Betty: Yeah.

happy hour on the fringe

Betty Smithsonian at Blue Heaven 2019. Photo by Kevin Monko.

Jenn: In my “interview.” Get that out of my “interview.”

Betty: Yeah, the safe-word is “these are new, is that a new stain?”

Jess: I love it.

Betty: Alright everyone, welcome to the podcast interview moment, this intersection of essay podcast and real conversation. I am Betty Smithsonian and I am joined by two fantastic individuals who are:

Jenn: Jenn Kidwell.

Jess: And Jess Conda!

Betty: Heyo! Today we are going to be chatting about something that we all know is the most non-controversial thing ever – women and comedy. Tell me how your show is going to fix the world. Tell me in ten seconds or less.

Jenn: This is what I was thinking this morning – I keep going back to this thing that our director said – our director who is a man. His name is Dan Rothenberg.

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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

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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!

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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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Happy Hour on the Fringe: Conversation with Brad Wrenn of The Berserker Residents & Christa Cywinski

Posted March 29th, 2019

On this episode of Happy Hour on the Fringe, Bradley Wrenn, part of the The Berserker Residents and Christa Cywinski, Director of Trinity Playgroup, sat down to talk about the planning and playing behind Broccoli, Roosevelt and Mr. House! and the connection between learning, playing, and building a show for a family unit to enjoy.We took a field trip to record at Trinity Playgroup, so you may hear the sounds of…well, playtime! Listen to the podcast or read the full transcript below.

Conversation with Bradley Wrenn and Christa Cywinski

Brad: My name is Bradley Wrenn and I am one of the ensemble members of the Berserker Residents. We’ve been making work together since 2007. Me and two other ensemble members – Justin Jain and David Johnson make up the Berserker Residents. And we’re making a show called Broccoli, Roosevelt, and Mr. House!.

Christa: That’s a good title. I am Christa Cywinski and I’m the director of Trinity Playgroup. Trinity’s a small little non-profit preschool for 2-5 year olds. I’ve been here for 20 years, the school’s been here for 50 years. We’re excited to be celebrating our 50th anniversary.

Brad: Wow.

Christa: So I’m curious about the name of your show. And you mentioned a little bit about being a clown troupe, I’m curious about that?

Brad: Yeah. The way we make work is by investigating something we’re interested in and following it to a logical end. Oftentimes that will be the show. All of our shows are always live events, meaning that we’re always acknowledging the audience, they’re always in the room with us. Oftentimes we will cast them. So we did a show in 2008 that was a scientific lecture, and so the audience was at a scientific lecture. We did one that was a sci-fi futuristic one and the audience was the last of humanity and we were trying to save them. They’re oftentimes there, in the room with us, and we acknowledge them. It’s sort of using theater’s superpower, one of the super powers of theater, that the people are actually in the room with us. We can’t beat movies when it comes to effects and visuals and stuff like that, but we can beat moves in that we’re here with them, experiencing something with them and making it very live. And I think actually in our last three shows, we’ve stripped more and more of that way and thought about how much control we can give to the audience and let them dictate or provoke us? It gets scarier and scarier. Because with the audience, the more control you give them, the more you let them be the main character in the show, the more you don’t know what’s going to happen. And so it gets scary.

Christa: Especially with a child audience.

Brad: Yeah!

Christa: So is it always for kids? This one is for ages 5 and up.

Brad: No actually, all of our shows have been for adults so far.

Christa: So you could go in some really different directions from Broccoli all the way down the tunnel with the kids.

Brad: Yeah, yeah! Our last show that we did was called It’s So Learning – it was actually all about industrialized education and sort of the mechanisms of education. The audience came in sat in little chairs and were given back-packs for the show, and we sort of put them through a whole sort of American education in about 70 minutes.

Christa: Like gum under their seats.

Brad: Precisely. Yeah, and specifically exploring some of the trauma around that, some of the hard things about school. Essentially, the show was about your experience in education, and viewing it through that lens, being like, oh I remember Lord of the Flies, I remember having anxiety around tests, I remember being promised these things and not knowing why I was working for these things and the reward and the punishment and all that. But then, both of my collaborators have kids at this point.

Christa: Okay. Makes sense.

Brad: So we’re always up for a challenge, so obviously giving with an audience of kids, giving the reins of the show to kids is really scary. That’s where we headed, and we’ve been working on the show for six, seven months. We’ve done a lot of showings.

Christa: So do you think of it as an improv group?

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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

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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!

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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)

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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.

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Installation and Impact: The Disability History Timeline

Posted February 28th, 2019

In conjunction with our presentation of A Fierce Kind of Love (March 1—3), the Institute on Disabilities’ work that tells the untold story of Pennsylvania’s Intellectual Disability Rights Movement, FringeArts and the Institute have developed two public history timelines that follow the movement for disability rights and self-determination from the turn of the 19th century to today. The first timeline has been installed in the second floor gallery hallway at the Parkway Central Library, and the second one can be found in the East-West corridor of the City Hall courtyard. The project, focused on continuing engagement for the performances of A Fierce Kind of Love in partnership with Disability Equality in Education, displays the largely untold history of this particular civil rights movement to areas of Philadelphia with high foot traffic. The timeline is made up of 24 decals that each recall an imperative moment in the struggle for accessibility and dignity.

disability history timeline

In 2016, the Philadelphia Research Initiative reported that 16% of people living in Philadelphia had a cognitive, emotional, or physical disability. That equates to roughly 246,000 people and crowns Philadelphia as having the highest percentage of citizens with disabilities amongst the nation’s top 10 largest cities. For such a large percentage of people, it’s quite surprising that finding information around the city about accessibility, disability history, and disability activism is not exactly an easy feat. A Fierce Kind of Love was created from this disregard and its mission is to draw attention to the lost history of this movement and the overlooked reality of living with disabilities. The Disability History Timeline helps expand on the show’s mission and provides valuable information that draws connections between the movement’s past and its evolution to the present. It was also designed to bridge the gap between the intellectual disability rights movement and the physical disability rights movement which are consistently separated. This design is inclusive among those with any kind of disability and represents all of these folks on an equal spectrum.

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A Fierce Kind of Love Q&A with Tenara Calem

Posted February 28th, 2019

We sat down with Audience Engagement Coordinator Tenara Calem to chat about connecting and engaging communities around A Fierce Kind of Love, March 1—3 at FringeArts, as part of High Pressure Fire Service.

FringeArts: Can you start by telling us a bit about A Fierce Kind of Love (AFKoL)?

Tenara: Sure. The show is about the history of the intellectual disabilities rights movement specific to Pennsylvania. It started out of research that the Institute of Disabilities was doing in 2012. And they learned a lot from mothers of folks who have intellectual disabilities and were institutionalized. Pulling at that thread revealed so much information about the movement for self-advocacy and they realized that sharing those stories in a performance medium was a really incredible vehicle to communicate the themes of the show, which is all about love, acceptance, and building a more just world that is inclusive and designed universally for everyone to enjoy it.

FringeArts: What about the accessibility of the performance itself?

Tenara: It’s a mixed ability ensemble. So accessibility is baked into the conceit and design of the show, so all of the performances are ASL interpreted, have audio description for folks who are blind or have low vision. There’s sensory seating, accessible seating, and closed captioning. It really is a unique piece and we are really lucky to have it here at Fringe.

FringeArts: In your role as Audience Engagement Coordinator, can you tell us a bit about your process in beginning with AFKoL?

Tenara: I always start my conversation with the artist. So, I’m very lucky at FringeArts that the pieces are brand new and that they are being created by artists that are in the room and get to have conversations with me. Not every person gets to do that. With AFKoL specifically I feel very lucky to be working so close with Lisa Sonneborn who is the Director of Media Arts at the Institute on Disabilities. She’s an amazing collaborative partner. She really really understands and practices a community engaged approach to her art-making so that all of the work that is being done to cultivate an audience that is going to resonate really strongly with the material has the flavor of “not about us without us”.

FringeArts: Where did your early conversations take you about engaging with different communities?

Tenara: I mean, AFkoL is a very interesting project because it’s already made with community performers. So it’s very involved and engaged in that way on its own. But Lisa and Suli [Holum] and David [Bradley] were really excited by the idea of locating where AFKoL performs not as well, which is with the physical disability community. Unfortunately the physical and the intellectual disability rights movements are very separate. And there are a lot of reasons for that and some of them are really arbitrary and some of them are by design of institutions of power who are holding all the funding. So Lisa and David and Suli were particularly excited by using the opportunity to create community engagement with this show that tried to bridge that gap and try to include folks of physical disabilities and those activists into the conversation of the piece so we could maybe create a more comprehensive discussion about disability rights movements at large.

So we got a bunch of folks into a room and had an open forum.

FringeArts: What came out of these conversations?

Tenara: We proposed to them an idea we had to develop a timeline of the Disability rights movement that included both the physical and intellectual disability activists and that was basically placed somewhere where there was a lot of natural foot traffic so it would accomplish a number of goals. It would create more visibility for the play at FringeArts. And it would also engage a really high volume of people on the themes. The activists at Liberty Resources and ADAPT, and Disability Equality in Education, they got super excited about the idea and said they would create the content for the timeline if you guys worry about the production and installation. So that’s what happened!

Read more about the installations at Parkway Central Library and City Hall here.

Visit the show page for more information about the talkbacks and roundtables following each performance.

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.

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Happy Hour on the Fringe: Interview between ADAPT activist Tony Brooks and A Fierce Kind of Love cast member Shawn Aleong

Posted February 14th, 2019

We’re back! On this episode of Happy Hour on the Fringe, A Fierce Kind of Love cast-member Shawn Aleong and ADAPT activist Tony Brooks sit down and talk about living with disabilities in an exclusive world, and the missing history of disability rights advocacy. The podcast episode is now available online or you can read the full transcript down below.

 

Interview between ADAPT activist Tony Brooks and AFKoL cast member Shawn Aleong

Tony: Hi, I’m Tony Brooks. I live in West Philadelphia. I am an advocate and activist for people with disabilities and a member of ADAPT.

Shawn: Why don’t you tell people what ADAPT is?

Tony: ADAPT is a grass-roots organization of activists and advocates for people with disabilities. Now why don’t you tell people who you are.

Shawn: Hi, my name is Shawn. I am a Temple University student studying legal studies with a minor in real estate. I am also a disability advocate. When I say justice for all I mean justice for all.

Tony: Be it black, white, green, blue. I think what people don’t understand is that everybody has a disability in the first place, you know that, right?

Shawn: Well, I tell people that society has the disability, because they fail to recognize people’s abilities. No matter if you have cerebral palsy, down syndrome, or what have you, we all have an ability. Sometimes societies fail to realize that.

Tony: True. People don’t understand disability or its history – that is one of the problems ADAPT is trying to solve. You remember when the ADA was signed in 1990 by the late George H. W. Bush? He signed it with Justin Dart, a disability activist, and everybody on the White House lawn? But many people don’t know that before the ADA, we just had ADAPT and the Gang of 19. They were the first 19 people with disabilities who broke out of nursing institutions with Reverend Wade Blank. We actually just celebrated the anniversary of the original Gang of 19.

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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.

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Announcing New Festival: High Pressure Fire Service

Posted November 8th, 2018

We are pleased to announce programming for a new FringeArts festival! High Pressure Fire Service will run from March through June 2019 and feature six new productions—five world premieres and one expanded remount—from some of Philadelphia’s preeminent performers.

High Pressure Fire Service takes its name from FringeArts’ historic building, the first high pressure pump house in the country. Starting 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, reflected in the artists’ innovative practice and uniquely relevant work that exemplifies why Philadelphia has remained such a hotbed for excellence and experimentation in contemporary performance.

For the inaugural series, FringeArts commissioned works from Lightning Rod SpecialPig Iron Theatre Company’s Jess Conda, Jenn Kidwell, and Mel Krodman; The Berserker Residents; Suli Holum, David Bradley, and the Institute on Disabilities at Temple University; Moor Mother; and Team Sunshine Performance Corporation. Addressing issues of representation, gender, accessibility, reproductive justice, and more through devised theater, comedy, and participatory play, these new productions embody the vast range and exceptional talent of Philadelphia’s rich performing arts community.

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HIGH PRESSURE FIRE SERVICE

March 1—June 22, 2019 at FringeArts

 

A Fierce Kind of Love by Suli Holum

Directed by David Bradley

Produced by the Institute on Disabilities, Temple University

March 1—3, 2019

high pressure fire service

Photo © Jacques-Jean Tiziou / www.jjtiziou.net

A cast of artists with and without disabilities chronicles the largely untold story of Pennsylvania’s Intellectual Disability Rights Movement in a remount of this deeply poignant work. Drawing from years of research and the performers’ lived experiences, A Fierce Kind of Love combines text, movement, and song to chart the Movement’s remarkable history and celebrate the struggle, activism, and fierce love that fuels the desire for dignity. This new iteration of the piece expands on the interviews and research conducted for the 2016 premiere, adding insight to the persistent issues in the disability community. The show, set, and theatrical environment for A Fierce Kind of Love are completely accessible; ASL interpretation and open captioning are directly integrated into the piece; all performances will be sensory-friendly, audio described and programs will be available in alternate formats. A Fierce Kind of Love was made possible with major support from the Pew Center for Arts & Heritage.

The Institute on Disabilities is Pennsylvania’s University Center for Excellence in Developmental Disabilities (UCEDD) at Temple University. Since its inception, the Institute has continued to innovate and serve in four core areas: pre-professional training, community training and technical assistance, research and information dissemination. Located within Temple University’s College of Education, the Institute addresses disability as a valued aspect of diversity throughout civic life. They learn from and work with people with disabilities and their families in diverse communities across Pennsylvania to create and share knowledge, change systems and society, and promote self-determined lives so that disability is recognized as a natural part of the human experience.

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The Appointment

Lightning Rod Special

March 20—31, 2019

World Premiere

high pressure fire service

Photo by Johanna Austin

Alice Yorke and Lightning Rod Special (Sans Everything, Underground Railroad Game) address the misogyny, hypocrisy, and absurdity surrounding the abortion debate in America in this musical satire. Following women at a clinic seeking to terminate their pregnancies, this timely new work uses a pop-musical format to ask tough, important questions about bodily autonomy, race, and who gets to have access. As hilarious as it is incisive.

Lightning Rod Special (LRS) makes live performance from the ground up. Raucous, contemplative, and highly collaborative, LRS uses theatre as a provocative tool to ask questions of ourselves, our audience, and the world at large. Since 2012 they have made six full length shows that have performed in 11 US cities and internationally. Underground Railroad Game, made by Jenn Kidwell and Scott Sheppard with Lightning Rod Special, received the OBIE for Best New American Theater Work and was listed among The New York Times’ 25 best plays of the last 25 years. Lightning Rod Special is Co-Directors Alice Yorke, Scott Sheppard, Mason Rosenthal, and company members Alex Bechtel, Oona Curley, Katie Gould, Rebecca Kanach, and Jenn Kidwell.

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Broccoli, Roosevelt and Mr. House!

The Berserker Residents

April 12—14, 2019

World Premiere

high pressure fire service

Photo courtesy of the artist

The Berserker Residents are asking the big questions: can broccoli make you giggle? How much dance is too much dance? And does your house have feelings? The trio has whipped up a comedy for all ages that’s unpredictable, original, fun and vibrant. The three wacky title characters serve up unique impishness, snazzy games, silly sounds, physical flights of fancy that encourage interaction and elicit pure joy.

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. They are a team of three Philadelphia-based wizards of imagination—Justin Jain, David Johnson, and Bradley K. Wrenn—who aim to plow the depths of the ludicrous and downright silly with one hand, while making a firm connection to their audiences with the other. They have been hailed as “daft, ephemeral and joyous” by The Scotsman and praised for their “refusal to relinquish that unrefined creative spirit” by The New York Times. The Berserkers’ work has been presented at Abrons Art Center, The San Francisco Mime Troupe, The Annenberg Center, FringeArts, Arcadia University, Swarthmore College, Theatre Horizon, University of the Arts, The Community Education Center, and The Assembly in Edinburgh, Scotland. They have been residents at FringeArts, White Pines Productions, University of the Arts, and Ars Nova NYC.

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A Hard Time

Pig Iron Theatre Company

May 1—12, 2019

World Premiere

Photo courtesy of the artist

Jess Conda, Jenn Kidwell, and Mel Krodman want to give you A Hard Time—an outrageous alt-comedy and futurist cabaret. Enter a boozy watering hole, where three dynamic performers play men, women, and everything in between for your entertainment, blowing farewell kisses to the patriarchy amid the absurdities and violence of gender expectations.

Founded in 1995 as an interdisciplinary ensemble, Pig Iron Theatre Company is dedicated to the creation of new and exuberant performance works that defy easy categorization.
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The Sincerity Project #3

Team Sunshine Performance Corporation

June 6—8, 2019

World Premiere

Photo by Jen Cleary

Team Sunshine Performance Corporation reunites The Sincerity Project cast for the third installment in an ambitious 24-year experiment that offers a new devised theater work every two years. A meditation on the passage of time that draws from the real lives of its creators, The Sincerity Project #3 explores the implications and challenges of aging, shifting expectations and identities, and how we all—as individuals and a culture—change, respond, evolve, and fail.

Since its founding in 2010, Team Sunshine Performance Corporation has created an eclectic array of performance works and interactive community-gathering events. Ranging from theatrical duets to massive, outdoor spectacles, the company’s body of work blends the social with the artistic, creating opportunities for people to come together and revel in the pleasures and difficulties of our collective contemporary experience. Team Sunshine returns to FringeArts after last spring’s hit ¡BIENVENIDOS BLANCOS! or WELCOME WHITE PEOPLE!

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Circuit City

Written by Camae Ayewa

Music by Moor Mother

June 20—22, 2019

World Premiere

Photo by Bob Sweeney

Poet and noise musician Camae Ayewa (Moor Mother) presents her first theatrical work, a futuristic exploration—part musical, part choreopoem, part play—of public/private ownership, housing, and technology set in a living room in a corporate-owned apartment complex. Framed by Ayewa’s bold poetry and bolstered by new Moor Mother music performed live by Irreversible Entanglements and the Circuit City Band, Circuit City is an afrofuturist song cycle for our current climate.

A prolific voice in the Philadelphia arts community, Camae Ayewa has released more than a dozen EPs as Moor Mother and Moor Mother Goddess since 2012. She has performed in the punk band The Mighty Paradocs and is also the co-founder of Rockers! Philly, an event series and festival focused on marginalized artists, and Black Quantum Futurism Collective, a literary and artistic collaboration with Rasheedah Philips (The Afrofuturist Affair).

 

High Pressure Fire Service performances take place in the FringeArts theater at 140 N. Columbus Blvd. Tickets go on sale Tuesday, December 4 (Thursday, November 29 for FringeArts members).

Support for High Pressure Fire Service has been provided by Wyncote Foundation.