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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.

 

Shawn: Congratulations on your Gang of 19 anniversary!

 

Tony: No it’s yours too! It is yours too. You see, I just recently got disabled maybe four or five years ago. When I got disabled I noticed that the first thing that happens to you is you are stigmatized.

 

Shawn: Yes. Very often. As soon as people figure out that you are just a little bit different, they will shut you out.

 

Tony: Too true, man. We are trying to fight that with ADAPT. We work with an independent living center called Liberty Resources to try and progress our people.

 

Shawn: Yes, Liberty Resources. Your President is Thomas Earle. I know Thomas Earle very well. Good man, very good man.

 

Tony: He’s the CEO of Liberty Resources.

 

Shawn: Liberty Resources is one of the staples in the disability rights movement just like the Institute on Disabilities. I learned most of my advocacy skills from a program at the Institute called the Academy for Adult Learning, which is now Career Studies. When I tell you the Institute has been a major staple in my adult life, it has – I learned how to advocate for myself. That’s why I’m here today because of what the Institute and my mom gave me. The support. We have to make sure that people are educated about the history of the disability rights movement so they can help support us. Like people like Justin Dart, the father of the ADA. People like –

 

Tony: Ed Roberts, the activist at the University of California.

 

Shawn: Yes, Ed Roberts. Civil Rights Leaders like Roland Johnson who created the organization Speaking For Ourselves – he was a great advocate for people that have disabilities, who were trapped in institutions. I play him in A Fierce Kind of Love. I like playing him because I can relate to him. Even though he had struggles, he never gave up. All that he’s been through – it just was a stepping stone. And of course then, ADAPT – y’all do a lot. Y’all do protests, y’all stop buses, y’all stop trains.

 

Tony: Yeah we were the ones who started the curb cuts, which are the concrete ramps that are on the corner of curbs and crosswalks. It wasn’t for mothers rolling their prams, or deliveries to pull their carts across, it was for us – people with physical disabilities. And it’s not just physical disabilities – I see invisible disabilities on us all as well. That’s why I said earlier that everyone in the world has a disability, even if they don’t have it yet. I just met a lady in Denver last month for the anniversary of the Gang of 19, and she told me, in this world, we have two passports: passports that we use to fly around and go wherever we wanna go, and the disability passport. It is when you get the second passport, the disability passport, then you shall see the struggles in life. And it is true. I was born and raised in Ghana. But I came here, I got into a motor-vehicle accident, and this is where I landed. And I noticed immediately how stigmatized I became.

 

Shawn: Society has always tried to progress on every issue. And I love that dearly, but it seems like when it comes to people with disabilities, it seems like we try to progress but yet –

 

Tony: We are being dragged down.

 

Shawn: Right, right! But here’s what I tell people – you have people with disabilities in every culture, in every ethnic group, in every movement –

 

Tony: In every home.

 

Shawn: From the Jewish community to the Christian to the LGBTQIA, you have people with disabilities all over, but we need to get to a point that society just looks at us as people. Just normal people. That’s all we are. We cannot sit here and call this a great country until people recognize that it takes everyone to make this a good country. It takes all types of backgrounds, and all times of abilities. And see that’s what I’m trying to get at – I’m no better than you –

 

Tony: And I’m no better than you. You know, the word inclusion just came to my mind.

 

Shawn: Inclusion is key. Inclusion is key.

 

Tony: Inclusion even amongst ourselves. We should understand ourselves in the disability community. They have divided us, they have forgotten that each and every person has a disability. It may be that you are born with it or along the way as you’re growing up, your disability comes along.

 

Shawn: That’s right, that’s so true.

 

Tony: But you were right, we are everywhere. Roland Johnson and Ed Roberts, Justin Dart, Reverend Wade Blake, they all came from different backgrounds, and they all wanted to create accessibility. Ed Roberts created independent living centers. That was the same time when Wade Blake was fighting for disabilities also. They did have assistance from other communities, other activist communities. The Black Panthers were some. Reverend Blake got his start with Dr. Martin Luther King, Jr, and marched with him on Bloody Sunday over the bridge in Selma. When Blake came back to Denver where he was like helping in a nursing institution, he didn’t love the way those with physical disabilities were ignored while the abled bodied people could go into the park and enjoy themselves. So he got them together and asked them, what is your interest? What do you want? They said they wanted to leave. So, in 1978, after the first 19 were liberated from the nursing institutions with Reverend Blake, they decided to focus on accessibility for transportation. That is when they were fighting with the buses – leapt in front of the buses, held down the buses for 2 days.

 

Shawn: Right. And that’s why it’s so important that we educate. Educate people, educate communities, educate corporations so that we can get jobs that we want to work in. And it’s very important that we educate politicians so that they can write policies that benefit all people.

 

Tony: America had a disabled President!

 

Shawn: Yes! Yes! Yes!

 

Tony: America had a disabled President, and no one ever remembers that! The late George who signed the ADA needed assistance, he needed a wheelchair, he needed a companion. They talked about his dog for four days, about the career that the dog had with George, and I’m sitting back, watching all this and twisting my head to the side and saying, really, you would rather talk about a dog than the life that signed the American Disability Act into law – they didn’t really talk much about that. It was really sad. They might have said “he was the one who signed the ADA” but they didn’t explain what it really was.

 

Shawn: Yeah. How many people do you know who know where the curb cuts originated from? How many people know what the ADA really means? About sensory lighting? ADA friendly buildings?

 

Tony: How many people think about the labor it takes for us to leave our homes? We leave our homes at five in the morning to get ready to go to work, which is 3 or 4 miles away from where we live. You have to get to work at 8 o’clock to start working at 9-5. They said, okay, for the first four hours go, you have fifteen minutes to rest and get energy. At 12 or 1pm, you go for a 30 minute break, around 3:30 or 4 o’clock, you get another fifteen minute break, and in between this time, they have told you I am going to give you $7.50 an hour. That’s the wage rate in America. The outside world cannot believe that. Especially for a country that is being called the first world, even though it’s not being called that anymore! After the election, I turned on the television and I saw an orange face, yellow hair, a beak, and it said: U.S. AMERICAN PRESIDENT. As if we are not already fighting enough. When we have natural disasters, the disabled community is ignored. We have to educate the government about that. The only thing they want to do is help the people they see as physically healthy. But the disabled community is always forgotten about. That Shawn and I just came to the table to have a conversation – that is what the government is supposed to do too. But they won’t.

 

Shawn: Educate, advocate, and keep up the good fight. We got to keep on pushing.

 

Tony: Oh yeah.


Shawn: Togetherness is also the key, because look at back in the day when Dr. Martin Luther King, Jr. fought for everyone’s civil rights. He had a whole sea behind him! And backing him up. And see, that’s what we need to do today.

 

Lisa: So we’re talking a lot about inclusive societies. I would love to hear from each of you what that looks like – Shawn for you, or Tony for you, what is your vision for a truly inclusive society?

 

Tony: My vision is a community of inclusion of all kinds of disabilities, be it physical or invisible. We all have a disability, the only way we can have included communities is understanding each and every one’s disability. That for me is a community of inclusion – understanding individual needs. Be it a physical, or invisible disability, it’s all part of the community where we live and work in peace.

 

Shawn: My idea of an inclusive community is no more institutions, jobs for everyone, people with disabilities wouldn’t be judged when they talk or when they make a noise – just looked at as normal people. And live in the community and work in the community, We need affordable housing, good paying jobs, good support systems and a good community. That’s how I believe that we can all be as one.

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 stay tuned for our “Who’s Who in High Pressure Fire Service, part two” blog post, coming soon!

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

Who’s Who in Blue Heaven

Posted December 19th, 2018
by Kat Sullivan, Communications Intern Fall 2018

 

Blue Heaven, a FringeArts comedy festival, will showcase some of the most provocative voices in American comedy for one weekend of gut-aching hilarity. Our full lineup is live and now is the perfect time to plan which shows you just have to see (warning: it might be all of them). To help ease your comedic FOMO, we’re offering a limited amount of weekend passes to all 11 performances for $69 through Dec 31.

Read up on who’s who:

 

Michelle Buteau

Michelle Buteau, comedian, host, and actress headlining Blue Heaven, is bringing her unique perspective and big personality to stage and screen. She was most recently the co-host of VH1’s Big Morning Buzz Live. Her other television credits include Enlisted on FOX, Comedy Central’s Key & Peele and @Midnight, and Best Week Ever.

Jaboukie Young-White

Jaboukie Young-White is an NYC-based comedian and filmmaker. He and his popular  Instagram and Twitter accounts have been featured on The Fader, Clickhole, and Buzzfeed. He made his late night debut on The Tonight Show Starring Jimmy Fallon to viral reception in 2017, and is currently a correspondent for The Daily Show with Trevor Noah.

Erin Markey

Erin Markey cordially invites you to the “fantastically weird and occasionally terrifying” (Time Out New York) world of Wet Food. Comprised of Markey’s signature story-driven stand-up and scored by homemade pop, Markey presents an intimate musical conversation with themself. Philadelphia’s own Emily Bate helps the conversation along by singing and playing multiple instruments in Topshop flats (the shoes, not the music concept).

Cole Escola

Cole Escola, a comedian, actor, and writer, has been named one of the 2014 OUT 100 and Time Out New York’s Top Ten Downtown Cabaret Performers. His sketch comedy show, “The First Gay President,” sold out every performance and generated buzz and praise from the likes of PAPER Magazine and Lena Dunham.

Whitmer Thomas

Whitmer Thomas has most recently appeared in The Good Place (NBC), The Walking Dead (AMC), GLOW (Netflix), You’re The Worst (FX), and voiced and created the ADHD animated series Stone Quackers on FXX (now available on Hulu). His show The Golden One is a cohesive hour of Whit’s stand up, storytelling, and original music.

Catherine Cohen

Catherine Cohen is a comedian and voiceover artist living in Brooklyn. She was named by Time Out New York as one of five comedians to watch for in 2018. She hosts a weekly show at Alan Cumming’s new East Village cabaret, as well as the monthly variety show “It’s A Guy Thing,” which was listed as one of Paste Magazine’s “10 Best Alt Comedy Shows in New York City.”

Food 4 Thot

Food 4 Thot is a podcast where a multiracial mix of queer writers talk about sex, relationships, race, identity, what they like to read, and who they like to read. It’s not about food — they just really like the pun. Hosts include Tommy “Teebs” Pico, Fran Tirado, Dennis Norris II, and Joe Osmondson; catch them in Blue Heaven as they record a show live!

Champagne Jerry

Champagne Jerry (aka Neal Medlyn) is one of “New York City’s Top Ten Downtown Cabaret Performers” (Time Out). With perfect flow, outrageous lyrics, and impeccable comic timing, Champagne Jerry delivers a stage show that is at once shocking, smart, and very, very funny.

Sarah Squirm

Sarah Squirm is a Chicago based comedian who has become known for her unconventional, and popular show, Helltrap Nightmare. She was previously named one of Time Out Magazine’s five comics to watch for 2017.

Bechdel Test Fest

The Bechdel Test Fest is a comedy festival created in 2016 out of a frustration that stages in Philadelphia were still predominantly white, cis, straight and male. The festival celebrates the talented and hilarious women (both cis and trans) and non-­binary comedians who make up a significant part of the local comedy scene. Performance artist and clown Sarah Knittel and stand-­up comedian Tan Hoang will be part of the BTF segment at Blue Heaven, with more acts to be announced.

Good Good Comedy Theatre

Good Good Comedy Theatre is Philadelphia’s home for live, mercilessly unpredictable independent comedy. An intimate, BYOB black box theater located in Chinatown, Good Good houses up to four wildly different live comedy shows per night. This includes stand-­up, sketch, improv, storytelling and (especially) everything in between.

 

Check out our website for more information on the weekend schedule, ticket options, and more about each artist.

Celebrate Halloweekend at FringeArts!

Posted October 24th, 2018

Halloweekend at FringeArts is jam-packed with ghoulish good times! Take a look at what’s in store.

Outdoor Movie: Ghostbusters (1984) Rated PG-13

Thu, Oct 25 8 PM (Quizzo at 7 PM)

Ghostbusters Feature Image

Calling all mega fans! We’ll start off the night flexing our film knowledge with a pre-show quizzo and La Peg’s Halloween drink specials ($8 mulled wine, $6 hot chocolate, $8 spiked hot chocolate, $8 New Harvest) at 7 PM. Then witness your fave ghostbusting professors exterminate ghosts and save New York City in the process. Costumes are recommended but a cozy sweater or blanket is highly suggested.

The night doesn’t end there. That same evening we will be moving inside for….

Burn It All Down: A BTF Spectacular

Thu, Oct 25 at 10:30 PM

Bechdel Test Fest was born in 2014 to create a comedy festival to celebrate the talented and hilarious women, trans and non-binary comedians who make up a significant part of the local comedy scene. Now entering its 4th year, Bechdel Test Fest is resurrecting their favorite acts for a Spooky Late Night Comedy Spectacular.

The line up will include:

Kat Mosely – Storytelling

A Song In Her Ear – The Musical Improv Group of Philly Phame

Tan Hoang – Stand up

Alyssa Al-Dookhi – Stand up

CJ Higgins – Musical comedy

Cups and a Half – Sketch comedy

…and more.

Halloqweens

Sat, Oct 27 at 9 PM

Halloqweens Feature Image

Philly’s biggest annual queer and LGBT Halloween rager is back! FringeArts is being taken over by the dopest queer DJs, drag and burlesque performers, photo booths, tarot readings, and more. This is not a party to miss. Please note you must be 21+ to enter.

A few of the highlights-

LIVE:

PRECIOUS (Viceland’s My House)

DJs:

DAME LUZ | BB BASURA | DELISH | JAMZ | LOVE

Drag:

ANN ARTIST | ICON EBONY | PRETTY GIRL | ASIA MONROE | KUSTARD KREAM

Burlesque:

LUZIFER PRIEST | THE DEVA ARAZEL

Photos:

KALTOUM | DAVID FORD

Readings:

TECHNO TAROT

Outdoor Movie: Bedknobs & Broomsticks (1971) Rated G

Sun, Oct 28 at 6 PM

Bedknobs and Broomsticks feature image

Round out the spooky weekend festivities with your family! We’ll start off the evening with a children’s costume contest and pumpkin decorating at 5pm. Starting at 6, watch Angela Lansbury as Miss Eglantine Price, a witch-in-training, as she sets out to defeat the Nazi menace with the help of her powers, three inventive children, the head of her witchcraft school Emelius Brown, and an enchanted bed! While you cozy up in your favorite blanket (or costume!), enjoy some of the Haas Biergarten’s alcoholic and non-alcoholic selections, including apple cider and hot chocolate.

Prismatica at FringeArts and Cherry Street Pier

Posted October 11th, 2018

FringeArts, Race Street Pier, and our new neighbor, the Cherry Street Pier, are the sites of Prismatica, an interactive installation created by Raw Design and brought to Philly with Montreal-based group Creos. Deemed “a modern ice palace”, each prism is more than 6 feet tall and coated with film that reflects various colors of the rainbow, depending on vantage point and time of day. The prisms are mounted on projectors, adding a new layers to the light show come nightfall. Moving the prisms triggers ambient bell sounds, which means they are indeed designed for interaction and completely family friendly.

The installation is part of the Festival for the People, presented by Philadelphia Contemporary in partnership with the Delaware River Waterfront Corporation, which officially opens Saturday, Oct 13, though the prisms are already on display at the Haas Biergarten. The next three weekends will encompass several kinds of events showcasing analog, digital, and embodied art forms of various subcultures. (Think: live tattooing!)

Over the course of the festival, in addition to many live events, Cherry Street Pier will also be hosting Impulse; a group of interactive, illuminated see-saws that promote urban play and tranquility.

Prismatica remains on display at FringeArts through Oct 28.

Fringe Shows After the Fringe

Posted September 24th, 2018

The Fringe is over, long live the Fringe.

Though the 2018 Fringe Festival officially concluded yesterday, there are still numerous chances to see some Fringe this week. Here’s a selection of the continuing shows:

Humans 
Circa
Ten highly-skilled acrobats, a bare stage, and a stirring journey of what it means to be human. Straddling the borders between circus arts, theater, and contemporary dance, Australia’s bold contemporary circus troupe Circa explores the expressive possibilities of the human body at its extremes.
Presented with Annenberg Center Live and NextMove Dance.
September 28 at 8pm
September 29 at 2pm
More info + tickets

Stories of Refuge
Tania El Khoury
Tania El Khoury and Petra Serhal from Beirut-based Dictaphone Group collaborated with a group of Syrian refugees who had recently arrived in Munich. They provided each person with a discreet camera for a day, the only instructions being to film their lives in Munich and their favourite spots in the city. Interviews with the refugees work as a soundscape over the footage they created. Audiences engage with the films from metal bunk beds, outfitted with mattresses and pillows.
Presented in partnership with Bryn Mawr College as part of ear-whispered: works by Tania El Khoury.
September 26-29 during gallery hours 11am–5pm
More info

Read More

Edinburgh Bound: Chris Davis on Returning to the Mother Fringe

Posted July 30th, 2018

Chris Davis knows his Fringe Festivals.

The writer-performer is a stalwart of the annual Fringe Festival in Philadelphia, with his imaginative one-man shows (One Man Apocalypse Now, 2016) and modern adaptations of classic literature (Anna K, 2014) proving among the Festivals’ most popular and talked-about productions. But the locally based artist has also travelled his comedic solo shows to festivals across the United States and beyond, from Texas to Maine, from Pittsburgh to Edinburgh. 

Davis returns to this year’s Philadelphia Festival with The Presented, a world premiere play about what it means to be a “chosen” artist in the theater world. First, though, he’s off to the Mother Fringe, the Edinburgh Fringe (August 3-27), with his bilingual semi-autobiographical travelog Drunk Lion. Chris gave FringeArts the low-down on performing at the world-famous festival.

FringeArts: When did you go to your first Edinburgh Fringe?

Chris Davis: I first attended Edinburgh Fringe in 2014. When I went there I knew almost nothing about the festival or its importance, only that it was very big. The idea came when Brad Wrenn of the Berserker Residents said something like “hey you do solo shows you should take your show and do the Free Fringe festival there this year.” Neither Brad nor I had attended the fringe before, but I decided to take his advice and go. I still miss that first year because I had no expectations about anything and there was a certain freedom in that.

FringeArts: What surprised you most about the festival?

Chris Davis: The quality of the artists that participate. It still surprises me. In every show I see here I find something to love about it, and that’s a rare quality. Also the number of people who attend these shows is phenomenal. It never seems that theater is cool except to small niche audiences in the States; in Edinburgh it feels like everyone, from all walks of life, is excited to engage in live art happening around them. I love it.

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On the Record: Rebecca Wright on Applied Mechanics’ Latest Performance

Posted June 22nd, 2018

Philadelphia’s Applied Mechanics established itself as a Fringe Festival favorite with half a dozen shows between It’s Hard Times at the Camera Blanca in 2009 and Feed in 2016. The company will be absent from the Festival this September, but the cast of its latest offering, This Is On Record, draws heavily from 2018 Festival stars: Annie Wilson will feature in Meg Foley’s The undergird, Thomas Choinacky is part of Simpatico Theatre’s 4Solo show, and contributing writer Mary Tuomanen will appear in the Bearded Ladies’ Do You Want A Cookie?

This Is On Record displays Applied Mechanics’ signature immersive style, transforming 3,800-square-foot Glass Factory performance space in Brewerytown to tell six intersecting stories simultaneously. The show investigates the construction of cultural narratives through the lives of six different people as their paths intersect across time. FringeArts spoke to company member Rebecca Wright about the play, which opens tonight and runs through July 1.   

The cast of THIS IS ON RECORD: Alison Ormsby, Annie Wilson, Brett Robinson, Thomas Choinacky, Anita Holland and Daniel Park.

FringeArts: How does the format of the show contribute to its meaning and to the audience’s experience of watching the performance?

Rebecca Wright: This is a piece about the construction of cultural narratives and the various biases and circumstances that shape both the stories we tell and those we inherit. The parallel narrative immersive structure—where many stories are unfolding simultaneously and the audience is free to watch who and how they want—highlights how subjective storymaking is, as well as the question of how much we can and can’t control about what we see and inherit. Multiplicity is also really key here: there is not, in fact, ever one story—there are always multiple perspectives—and the structure of our work reflects this quite literally.

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People are Strange and other revelations from Josh McIlvain

Posted June 13th, 2018

FringeArts superfriend Josh McIlvain wears many hats in this week’s performance People are Strange and other revelations, serving as writer, performer, and producer. He is joined by performers Tara Demmy and Marissa Kennedy, and by writer/performer Nik Menotiades. This team of creators delivers a show that is at once funny, thought-provoking, and utterly bizarre.  

When describing the performances in People are Strange, McIlvain explains: “I think one thing that unites them is that they all involve fuckups to varying degrees, and they all have a lot of humor, though the tones and styles of the piece are varied enough to keep it interesting.”   

The show consists of four short solo performances set in different rooms of the Da Vinci Art Alliance in Bella Vista. It is a collection of moments, of the seemingly insignificant encounters of life. The audience will move between rooms of the art gallery to view the series of distinct yet cohesive performances. “As the show is made up of four separate places, we are able to create four different performance spaces,” says McIlvain. “These aren’t radical changes, but there is a pleasure in these little shifts between areas, and for the audience to be led to a new room or even part of the same room, and to encounter the next performance.”  

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Join The Crossing on a Musical Journey

Posted June 6th, 2018

Coming up in the 2018 Fringe Festival is Of Arms and the Man, a performance by Grammy-winning choir The Crossing. The show will explore ideas of life during war and the alliances and enemies that can be formed across national borders. It is a discussion through music about life, death, and purpose.

Before presenting this new work at Fringe, The Crossing will kick off the summer for the ninth year in a row with The Month of Moderns, a festival of new music led by conductor Donald Nally. The festival’s theme this year, life journeys, arises from the need to look inward, to reflect, examine one’s own life, and speak out on the current political environment.

Donald Nally. Photo by Becky Oehlers Photography.

“When I was a child, I was fascinated by how sad cows’ eyes seemed. I wondered if they were lonely,” says Nally on his inspiration for this year’s festival. “I no longer wonder that; they are animals, like us, and of course they are. I thought we might make a season about that.”

The Crossing, a world-renowned vocal ensemble, sings new music that reflects the values of our time and the issues facing the modern world. Every year, the choir unveils world premieres and performs music unlike anything the audience has heard before. Working with new pieces allows the members of The Crossing to explore the music and to freely interpret the notes and lyrics, creating a truly unique experience for both performers and audience members.

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Sam Tower Straps On Her Director’s Helmet For Simpatico’s Red Bike

Posted June 1st, 2018

Sam Tower is a longtime Fringe Festival favorite, having participated in at least six Festival shows since 2009. Her newly renamed production company, Ninth Planet produced Festival hits 901 Nowhere Street (2016) and Strange Tenants (2017).

This month, she’s teaming up with Simpatico Theatre as director for Red Bike, a play written by Caridad Svich that follows an 11-year-old child who, while riding a bike, discovers a world bigger than they could have imagined. We asked Sam about the play, her directing, and her newly rebranded company.

FringeArts: How did you become involved in this project?

Sam Tower. Photos courtesy Plate 3.

Sam Tower. Photo courtesy Plate 3.

Sam Tower: When Allison Heishman became the new artistic director of Simpatico Theatre, it was clear that her talents as a producer and director would support the community-centered mission of the company, and that she would continue to bring imaginative, socially driven new work to Philadelphia. Well, she decided to waste NO time in getting a new season up on its feet. She approached me as a director for Red Bike, and upon my first reading of Caridad’s play I was shook/enthralled/conflicted/inspired… all the things you want to be when beginning a new artistic process.

FringeArts: What appeals to you about Caridad Svich’s writing and this play in particular?

Sam Tower: The play is direct address from the perspective of “The Kid”, an 11-year-old. “The Kid” is a detailed storyteller, and also a dizzying narrator, taking you down winding curves and tunnels of memory, fantasy and vulnerable confessions of the pre-adolescent person. The play is cyclical, raw and poetic, and the language is so vibrant — dreamy and cutting at the same time. On first reading, I was already seeing three bodies in space as The Kid and hearing percussive musical scoring inside my head — that’s when you know you have to go for it. I quickly brought Jordan McCree and Andrew Nittoli of ILL DOOTS on board as live musicians to score this Kid’s epic afternoon on their bike.

FringeArts: How does directing this play fit into your other work?

Sam Tower: Caridad has written, “Writing for live performance is about writing for the body. It’s all in the body,” which speaks to my artistic process so directly. The rhythm and physicality of the body are integral in the work I make with actors. Athletic physicality is a vessel to be filled, a container for our deepest rivers of unexplainable expression. Those experiences must be held somehow. And in this play, they live in between the details, in lives in the long strings of broken words, they live in the music, and in the body.

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Songs of Rivers Tempesta di Mare Has Seen

Posted May 16th, 2018

The 2018 Fringe Festival features Songs of Wars I have seen, an intriguing theater/music work by composer Heiner Goebbels inspired by a World War II memoir by Gertrude Stein. The composition will be performed (and spoken) by musicians from two local ensembles. But while the Philadelphia Orchestra will be familiar to most Festival-goers, baroque orchestra Tempesta di Mare remains less known.

This weekend provides an opportunity to get to know the classical ensemble, as they present their Spring program in concerts at Penn’s Landing and in Chestnut Hill. The program, River Music: Bach & Telemann on Water’s Edge, includes pieces by J.S. Bach and Georg Philipp Telemann, Baroque heavyweights whose compositions figure prominently in Tempesta’s seasons.

“This music is powerful and evocative, and it tells fascinating stories,” says Rafael Schneider, who works for the orchestra. Telemann’s piece “Hamburger Ebbe und Flut” (Hamburg ebb and flow) premiered in 1723 at a large hall overlooking the Port of Hamburg, a location Schneider compares to the Independence Seaport Museum overlooking Penn’s Landing and the Delaware. The Seaport Museum will host Saturday night’s concert, an event which also serves as the centerpiece of Tempesta’s annual gala. This festive gathering includes boat rides along the Delaware, a cocktail hour with signature drinks, a meal, and a post-concert dessert reception with the artists.

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Mission Complete: Playwright Collective Orbiter 3 Launches Its Final Show

Posted May 15th, 2018

After producing six world premieres by local writers, playwright collective Orbiter 3 brings the curtain down on its three-year project with one final play, L.M. Feldman’s A People.

“The scale of this show makes for a fitting end,” collective member Douglas Williams tells FringeArts, as he considers the company’s coda, which runs May 16-June 2, 2018, at St. Stephen’s Episcopal Church. “It’s a huge sprawling show, both in terms of story and production.”

“These are qualities producers often shy away from,” adds Emma Goidel, another founding member of the collective, “and ones Orbiter 3 set out to embrace.”

L. M. Feldman

Goidel and Williams are two of creative theatermakers who form Orbiter 3. They are joined by playwrights Emily Acker, L M Feldman, Sam Henderson, James Ijames, and Mary Tuomanen — some of the best-regarded theater writers in Philadelphia — and led by artistic director Maura Krause, with associate producer Erin Washburn and company manager Cat Ramirez. Over its lifespan, Orbiter 3 has produced a play by each of its playwrights, from James Ijames’ Moon Man Walk in June/July 2015 to Sam Henderson’s The Brownings (a presentation by FringeArts) in November/December 2017.

“You can judge for yourself if you think each individual production was a success,” says Williams, looking back on the company’s output. “But, in my book, they were each artistically daring and brought a new story to Philly’s stages that audiences would not otherwise have been able to enjoy.”

Several playwrights used the opportunity to produce plays unlikely to be staged by mainstream companies. Whiting Award–winner Ijames launched Orbiter 3 with a quasi rom com that inhabited a world completely populated by African American characters. Goidel’s A Knee That Can Bend looked at a circle of queer friends in Senegal. Williams chose to use an ensemble devising process to create Breath Smoke, a piece billed as “more narrative mixtape than play.” Mary Tuomanen’s Peaceable Kingdom featured a cast of eighteen.

“Outside of a theater like The Wilma, or Walnut Street, you’re not seeing a show like that get produced in Philly, and certainly not a world premiere by a local playwright,” claims Williams. “I’m just so proud we were able to take those risks and put those stories and performers on a Philly stage.”

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A Séancers Syllabus

Posted May 10th, 2018

Photo by Julieanne Harris

This weekend, Nigerian–American curator, poet, and performance artist Jaamil Olawale Kosoko brings his latest work to FringeArts. Informed by the deaths of all his immediate family members, Séancers collapses lyrical poetry, movement forms, and discursive performance to explore how the American racialized body uses psychic, spiritual, and theoretical strategies to shape shift through loss and oppression.

Kosoko’s artistic practice is in many ways guided by his voracity as a reader and, in the case of Séancers, many of the works that inspired the piece were also pertinent to his grieving process, to seeing his loss in a greater context of cultural erasure and systemic oppression of Black people in America. At the top of a recent episode of Terrible, Thanks for Asking, he offered, “I think of a quote by James Baldwin: ‘You think your pain and your heartbreak are unprecedented in the history of the world, but then you read.’ And I think really situating myself inside of being bookish has allowed me an understanding to know that my story is not particularly unique.”

Below is a list of texts and works that inspired Kosoko to make Séancers—a mix of Black theory, poetry, performance art, and video art—along with links and quotes (some direct, some contextual) to help spark your own exploration into these illuminating sources.

 

Mumia Abu-Jamal and Cornel West, “The Empire Files: Black Radical Tradition”

 

James Baldwin, The Price of the Ticket (Viewing and Reading)

“If Raoul Peck’s fiery documentary I Am Not Your Negro piqued your interest in all things James Baldwin, then try this movie as a companion piece… This 1989 documentary is full of archival footage, recordings of Baldwin reading his work, old interviews, photographs and memories from friends like Maya Angelou and Amiri Baraka. Although some scenes, like a recreation of Baldwin’s fight with his father, haven’t aged gracefully, the documentary’s focus on Baldwin’s personal and creative life humanizes this literary legend.” Monica Castillo, The New York Times

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Vender Una Fantasia: An Interview With Alex Torra

Posted April 13th, 2018

Cuban President Raúl Castro’s second term is coming to a close and as such he’s preparing to vacate the office, making good on the two-term limit he set back in 2013. Though he intends to remain on the National Assembly and retain his position as First Secretary of the Communist Party of Cuba (the country’s only legal party), for the first time since 1959 someone other than a Castro will rule the island. On April 19th, Cuba’s National Assembly will undertake the historic vote to decide just who that someone will be. The following day, as the reality of that outcome is settling in with Cuban citizens, those of us here in the island’s not-so-friendly neighbor to the north will have a chance to settle into some theater seats and get an irreverent, pointed examination of our nations’ contentious relationship.

Jenna Horton and Benjamin Camp. Photo by Kate Raines, Plate 3 Photography.

¡BIENVENIDOS BLANCOS! OR WELCOME WHITE PEOPLE! will receive its world premiere here at FringeArts on April 20th through the 28th. This new, original play from Team Sunshine Performance Corporation has been years in the making, and a true passion project for the ambitious company’s co-founder Alex Torra. Serving as the show’s lead artist and director, he was spurred to create the work in part because of his complicated relationship with his Cuban heritage. However, as the project has grown, it’s expanded its concerns far beyond the personal to encompass the long history of cultural exploitation and outsider ignorance Cuba has suffered through. Case in point, I’m embarrassed to admit just how recently I became aware that Cuba’s aforementioned vote was happening so soon. Live and learn.

Recently, we spoke with Torra to learn more about the origins of this bold, lively new play; the long journey to making it a reality, full of trips to Cuba and visa nightmares; and what audiences can expect to see onstage once the rumba beat starts.

FringeArts: Where did the title ¡BIENVENIDOS BLANCOS! OR WELCOME WHITE PEOPLE! arise from?

Alex Torra: Back in 2015, I had an opportunity to travel to Cuba for the first time. It was a super intense and difficult trip for me – for many Cuban-Americans, we only understand Cuba through the things our parents tell us and from photos or videos. To see it with your own eyes is a whole different experience.

I was really taken aback by how many of my interactions were tourism-based, and how much of the culture I was seeing was focused on getting (at that time) white tourists to have a great time and spend money. I kept having the strangest sensation – that Cuba was selling itself. I saw this phrase “Rentar Una Fantasia” on the back of a taxi. It clobbered me. Cuba has opened its doors to tourists, and now, tourism serves as one of the largest sources of revenue for the country. Cuba openly caters to tourists, and especially tourists from wealthy majority-white nations, to come and partake of the island and culture. It’s for the sake of survival, for sure, but it makes me deeply uncomfortable.

Idalmis Garcia. Photo by Kate Raines, Plate 3 Photography.

In my research, I discovered that this is a recurring theme in Cuban history. There is desire/repel quality to the way Cuba has dealt with foreigners. It goes as far back as La Conquista, where the Native people of the island, at some moments, welcomed Spanish strangers to the “New” World before they were enslaved, tortured, converted, and poisoned by European sicknesses. Then, in the 19th and 20th Centuries, Cubans, who had achieved independence from Spain had begun to welcome Americans. The Americans, in the early 20th century, used Cuba as a new marketplace and the island, especially Havana, became a kind of playground for the mafia, Hollywood, and tourists. When Castro came into power, many Cubans were happy to see the Americans go, but then the country became reliant on the Soviet Union. After the fall of Russian Communism, Cuba opened up to tourism for the first time in 40-50 years, welcoming European and Canadian tourists, and now, Cuba has opened up and is welcoming American tourists.  It’s a powerful and complicated story, of both revolting against these outside forces and also welcoming them in.

FringeArts: How has your identity and relationship with your heritage informed the piece from its conception?

Alex Torra: It was the starting place for the project. We’ll see how much of this finds its way into the final performance, but a big complication for me is my white Latinoness. I present white (some say I “pass” as white), but I’m part of a Latinx minority group. As a first generation Cuban-American, I was encouraged to find success by my parents and community, and so I set out to do that. Along the way I deleted my Miami accent, I went to theatre schools that focused on American and Euro traditions of theatre where the work was made for primarily white audiences, and I worked hard to fit and succeed. I “whitened.”

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Always the Same and Never the Same: An Interview with Jérôme Bel

Posted March 7th, 2018

Photo by Herman Sorgeloos

This Friday, Jérôme Bel is returning to Philadelphia with his 2016 Fringe Festival smash hit Gala, a performance featuring 20 dancers, from professional dancers to first timers—including children, teenagers, pensioners, and people with disabilities. Back in 2016 we spoke to Bel about working with a new cast and creating a piece which anybody can understand and learn within a few days of the performance. In advance of this one-night-only remount, we’re reaching into our archives to share his insights.

FringeArts: What was the initial inspiration for Gala?

Jérôme Bel: I was giving a workshop for amateur dancers in a suburb of Paris. I immediately thought that it would be very interesting to put on stage people who are not skilled in dance, people who are very different—old, young, good dancers, bad dancers, terrible dancers.

FringeArts: How did you develop Gala’s basic structure?

Jérôme Bel: 1, Amateurs are not traveling, they can not go on tour, because they have their jobs or they have to go to school if they are young. So my idea was to have a local cast in each city where the performance would be invited. 2, Amateurs can not rehearse a lot because they have a job, so the piece should be rehearsed very, very fast. 3, Consequently I found a very simple structure that anybody can understand and learn within a few days in order to perform the piece.

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Laughing in the Face of Inequality: An Interview With Beth Eisenberg

Posted February 20th, 2018

Beth Eisenberg is one of the organizers of Philadelphia’s Bechdel Test Fest, a comedy festival highlighting our city’s funniest women, trans, and non-binary comedians and performers. Founded in 2016 to help foster a more inclusive comedy community in the face of gender inequality on Philly stages, the annual festival has continued to expand with each iteration—in duration, in number of performers, in stage sizes—and this year is no exception. Spread out over three nights at three different venues, the 2018 festival offers audiences around the city a series of diverse showcases, highlighting a wide range of comedic forms including stand-up, sketch, improv, clowning, and much more. Each evening also ends with a free open stage event for open-mic standup, performance pieces, and improv jams. FringeArts will be hosting the festival’s second night, March 3.

The festival’s continual growth speaks to the ever-present need for greater inclusivity in comedy, and it’s heartening that, as our cultural conversations around gender discrimination continue to develop with more verve than has been seen in many years, so too do platforms that are actively working to upend this universal inequity. It’s vital work that, as Eisenberg is quick to acknowledge, has been happening in our city long before the festival’s genesis, but it seems now more than ever comedy fans are eager for more diverse offerings. Thankfully, Bechdel Test Fest is here to provide.

FringeArtsHow did the Festival come about?

Pictured: Heather Raquel

Beth Eisenberg: Almost three years ago there was an uproar about diversity on some stages. Few women being cast. Few women being asked to create or direct. Most spots in comedy locally and nationally were pulling from the all men’s clubs. Initially, there was a post in the all female identifying Facebook group, Improvaries, sharing the feeling of exclusion and isolation around a recent audition that cast primarily men. Though this issue wasn’t a unique occurrence, it was from that moment that an energy was generated around making a space for female identifying performers in the city.

Everyone rallied. Everyone shared frustration. And lots of individuals shared about how other cities have successful females festivals. So it was the right time and interest from the group was there. That group is comprised of comics from all spaces and theaters, backgrounds, experience, ages, etc.

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An Uncanny Approach to Presence: An Interview With Megan Bridge and Peter Price

Posted January 22nd, 2018

Sp3 is shorthand for “space, pulse, pattern, and presence,” four abstract concepts from which storied Philadelphia multimedia dance theater company <fidget>‘s latest show grew from. Developed over the last two years, this interdisciplinary work, utilizing music and movement, obliquely grapples with the increasingly post-human nature of modern living, where technology is wedged between us all, disrupting our interpersonal relationships as well as our relationships to time and our environment. The show seeks to disrupt this interference, positioning the notion of presence as something radical.

Recently we spoke with <fidget> co-founders and co-artistic directors Megan Bridge and Peter Price to learn more about the concepts behind Sp3 and the development of its music and movement.

FringeArts: What was the first idea behind Sp3?

Peter Price: Sp3 is shorthand for space, pulse, pattern, presence. So the initial kernel of the work came out of discussions around those somewhat abstract concepts. We knew we wanted to make a work in a way we have not in some time—mostly set choreography to composed music.

Our last large piece was to preexisting music by the late great composer Robert Ashley, and much of our collaborative practice involves improvisation of both music and dance. So it had been some time since I wrote a piece of scored music of significant scope and Megan choreographed to it.  We began by thinking about the different ways these concepts map to sound and to the body. What does pulse mean and how is it articulated musically or by a dancer? What does playing with pattern do compositionally or choreographically?

Megan Bridge: Peter and I were having brunch (sans kids . . . rare!) on the day after Dust closed at FringeArts, and we were discussing our next projects. We knew that Peter was going to be the lead artist on our next collaboration, and after making Dust I was really excited again about music coming first and letting the body be moved by sound, treating sonic material as a physical phenomenon in the space, and figuring out what it does to the other material that occupies that same space.

In terms of the evolution of the work, I’d say we started very abstract, just playing with material, but as stuff started to stick we realized it had this dark, uncanny vibe. The mood of the piece started to feel very related to our perception of the world around us right now—tension-filled, edgy. So for me the biggest evolution is witnessing that mood and subtle narrativity weave its way into the work.

FringeArts: How is Sp3 structured? What does that structure enable you to do?

Peter Price: Part of the original conception of the piece for me was that the music was going to be continuously pulsed over for about an hour. So the historical models would be the classics of “pulse-pattern minimalism” like Terry Riley’s In C or Steve Reich’s Music for 18 Musicians. As we developed the piece that conception evolved and much of the first half of the piece is now concerned musically with non-pulsed dark atmospheres. The second half of the score remains continuously pulsed and unfolds in six main sections. Each of these sections, though sharing tempo and meter, has their own characteristic sound world and compositional approach to rhythmic pattern. A major concern compositionally is exploring the balance between novelty and redundancy so that the perception of the passing of time changes from section to section even if the clock time of the pulse does not.

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Return to Semi-Innocence: A Dear Diary LOL Playlist

Posted January 19th, 2018

Oh the early 2000s. What a time to be alive. Y2K was in our rearview mirrors and the freeze dried foods from our techpocalypse bunkers were in our children’s lunch boxes. Wayward boy bands roamed the earth hoping to strike a chord with young audiences, relying only on their good looks, dance moves, digitally-tweaked vocals, and focus-grouped personas. And an upset in the Presidential election had our country more politically polarized than ever before. Thank goodness that’s all over.

HAHA.

…ahem…

Anyway, this month FringeArts presents an encore presentation of AntiGravity Theatre Project‘s 2017 Festival hit Dear Diary LOL. Born verbatim from the real-life tween-teen diaries of middle school girls from the early 2000s, most of whom are in the show’s actual cast, this comedic theatre performance plumbs these once heavily guarded tomes for all the earnest desires, deepest fears, secret shames, and terrible poems that often come part and parcel with coming-of-age.

The concept of the show first came about during a fortuitous trip home for lead artist Francesca Montanile Lyons. At the time she was attending Pig Iron’s Advanced Performance Training School and had recently been tasked with devising a show as a lead artist. Montanile came across her middle school diary and found inspiration—or rather, deep, utter embarrassment—in its content. “Obviously it was the thing I had to bring in front of an audience,” she recently told FringeArts. She soon found that many of her classmates had similar diaries and similarly mortified responses to them in the harsh light of hindsight and from there the project began to grow.

While most of us would be equally aghast at having our own inanimate confidantes unearthed and their contents aired for anyone to hear, the intrepid ensemble of devisers fearlessly bare these texts and explode the material with moments of direct address, music, dance, and physical comedy, colliding the melodramatic musings with the inherent humor found in their earnestness. The result is a light-hearted, intimate glimpse of the ways these young girls come to understand the world around them, form a self, and use their voices as they experiment with their malleable identities and budding adulthood.

Since nothing triggers memory and nostalgia quite like music, Montanile has shared a playlist that embodies the spirit of that period in the ensemble members’ lives, a veritable early aughts megamix. Stream below or over at Spotify, and catch Dear Diary LOL when it returns for a limited engagement, Jan 25-26, here at FringeArts.

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Ready, Set, Sew: An Interview With Theatre SKAM

Posted January 15th, 2018

Since its founding in 1995, Victoria, BC’s Theatre SKAM has built a strong reputation for their innovative theatrical works. From intimate, elegant plays to boundary-pushing site-specific performances, they always seem to be actively widening the scope of what a contemporary theater company can, and should, do. Case in point: Fashion Machine.

SKAM will bring this widely acclaimed theater/design/education project to FringeArts later this month. Gathering a group of 28 local children, ages 9-13, SKAM artists will lead these budding fashionistas through a few days of intensive training and teaching. They’ll learn about the history and current state of fashion, play some drama games, and, most importantly, learn all the fabrication skills they’ll need to invite a handful of lucky audience members into the Fashion Machine. From January 23-27, these children will take the outfits of seven brave (and willing!) audience members and, over the course of an hour, transform them into something entirely new.

Recently we spoke with two of the projects core artists, Matthew Payne and Shayna Ward, to learn more about how this wild work came together, the benefits of working with children, and the experience of the performance.

From the 2014 premiere of Fashion Machine.

FringeArts: How did the idea for Fashion Machine first come about?

Matthew Payne and Shayna Ward: In 2009 SKAM co-presented the show Haircuts by Children in Victoria by a Toronto company called Mammalian Diving Reflex. We were in the room as children participated in training sessions with a professional hairstylist. It was remarkable to see children grasp concepts quickly while having a blast doing it. Seeing that spark made us want to embark on something equally audacious in spirit.

FringeArts: What made clothing the right vehicle?

Matthew Payne and Shayna Ward: We wanted to try something where the training session made more of an impact than the 2 two-hour sessions the kids received in Haircuts by Children before they started giving free haircuts to people.

As it turns out, remaking someone’s outfit is harder than cutting their hair. Fashion Machine requires more training (12 hours). Part of that time is spent discussing where our clothes come from, the state of the fashion industry, and how new clothes are presented to the public. So the kids who train with us learn how images are manipulated and what they can do to break or better this cycle.

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