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Archive for the ‘Pig Iron Theatre Company’ Category

HPFS Splash: Never Change, Philly

Posted April 16th, 2019

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

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

Jess Conda as bartender at Fergie’s Pub

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

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

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

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

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

Image result for arch street umc

Arch Street UMC Church

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

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

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

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

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

 

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.

Betty: I know Dan!

Jenn: Yeah, everybody knows that guy. That guy.

Jess: That scalliwag.

Betty: I saw him falling asleep at a show once.

Jenn: That just means he likes it. So Dan said – he was relaying this quote that ‘women are afraid that men are going to kill them. And men are afraid that women are going to laugh at them.’ And I was thinking this morning that ultimately perhaps this show gives male-identified people – gives the patriarchy an opportunity to laugh at itself. And notice how silly and idiotic it is.

Betty: The patriarchy.

Jess: OUR FRIEND THE PATRIARCHY.

Betty: The patriarchy! So that’s fantastic, can’t wait to see the show. Go on and remind me what the name of this show is.

Jenn: It’s called A Hard Time. But the official title is Jess Conda, Jenn Kidwell, Mel Krodman Want to Give You A Hard Time.

Jess: Duh duh duh da duh duh.

Betty: Beautiful.

Jenn: *laughing* How do you spell that?

Betty: Is this a noir piece? Where is this piece living? What’s happening in the show?

Jenn: It’s not noir!

Jess: It’s like a pastiche, which is a snobby word for collage, of different things that are funny to us until they’re not funny. So we kind of were inspired by vaudeville and quick change and the way like, our bodies can morph into different characters. You know, cause we’re all trained in this kind of clown way.

Jenn: Yeah like using your body.

Jess: But also like what can this body do, can this body take on all these different identities over the course of the play.

Jenn: And is that funny?

Jess: Yeah, and is that funny?

Jenn: But it starts off with this sort of – so some men got together and defined comedy as the benign violation theory. It’s their theory about comedy. And we open the piece by discussing this benign violation theory, and then we sort of put it into practice in this Vaudevillian, quick-change manner. And then we continue to put the theory into practice in a long, drag sequence in which we are playing three drag personas. Two of them are Len and Stan. And I pointed at Jess when I said Len because Jess is Len, and I am Stan.

Betty: So you’re talking about what is going on in this show.

Jenn: Yes. This is what happens in this show. We start off with the benign violation theory –

Jess: SPOILER ALERT – that was the first forty minutes of the show.

Jenn: But just to say actually there’s a throughline which is: what’s so funny?

Betty: Yeah, so tell me that. What do you think is the issue right now with women being called out for either being too sensitive around comedy or women being called out for not being funny? Tell me what you think of that?

Jenn laughs

Jenn: Do you call somebody out for not being funny? I feel like, the call-out – I always attach that to politics.

Betty: Well, I guess like people saying that women aren’t funny. That is a thing that people have said. Men specifically. For a long, long time.

Jenn: I mean, they also say that women aren’t powerful. But that’s not true! Why would I believe them?

Jess: That is funny.

Betty: So what do you think about this show proving that thing that you just said? Do you think it’s possible to create theater that can unravel that very frustrating thing? I am a comic, I hear it all the time that women aren’t funny. So tell me how your show could unravel that. What do you think about it personally, not even just your show?

Jess: I’m going to go back into something I was tapping at, and this is just true for me – about my body. Which is that sometimes, I think that women get labeled as unfunny, because you’re too caught up in my damn body. And that’s a complicated thing that we maybe can’t unpack as a society in a play. But I think there is something in the way in which my/our bodies are revealed to this audience over and over and over and over again where hopefully my body becomes fucking irrelevant by the time I’m through. That’s just how I feel. I think that that’s one key that we offer to the audience.

Betty: And this concept of making your bodies into – like you were saying you morph into things in this show, and you’re kind of pulling apart that concept with that through-line?

Jess: There’s a lot of shapeshifting in the show.

Jenn: Can I go back to something – what you said, ‘I feel like maybe people don’t think women are funny because they’re so caught up with my body,’ meaning like they can’t even listen to what you’re saying because they’re so focused on appearance? Is that what you mean?

Jess: Yes. I think there is a –

Betty: Like the first thing that a female brings to the world is their body and the second or third or fourth thing is what they say, or the space that they take up outside of that. I think it’s part of the reason why we see some comics who have different shaped bodies have to do different kinds of comedy, right? The people that on the planet would be considered less average body shapes, and bigger shapes would have to do a different kind of comedy.

Jess: Or what are you looking at when you look at this? I’m doing a stand-up and you have to like rank my tits for five minutes before you maybe listen to what I say. And that is part of why the drag piece is kind of important to me because it’s just like, watch our bodies do this, now this, now this, now this, now this, and like, have you listened? Have you taken my tits out of the equation of your listening? Cause I don’t need to be sexualized when I do public speaking about whatever I might be public speaking about.

Jenn: I think, I appreciate what you’re saying and I think that the drag section works in a couple different ways. It works in the like, how about we take my tits out of the equation, or like, all of the ways that you want to sexualize me as like a woman out of the equation because we’re playing these dudes – I mean, they’re not calendar guys. I don’t know. The other way that that section works is this thing that you were trying to say which is like, how are you hearing me? We might actually be saying lots of the same things, so how is the humor working now that we’re inhabiting these other bodies? And also don’t forget that we’re still here. So actually all of this stuff is being said by and written by women. We just decided that the mouthpiece for this section is going to be these dudes. And then there’s more, but that would be spoiler alert.

Betty: What do you think is funny?

Jenn: I have no idea how to answer that question. You mean, just in general, in life?

Betty: Yeah, what’s funny to you?

Jenn: I’m trying to think of the last funny thing that happened today…

Jess: We’re just gunna cut that part out –

Jenn: Yeah, edit that out! “What do you think is funny?” “Uhhhhhhhhhhh…..um. Stuff.”

Jess: We do make each other laugh a lot. Have you ever done that game with kids? Or adults? The theater game where you have two partners facing each other and you have to like make the other person laugh?

Jenn: Just like, do whatever you can do?

Jess: Like I would say a funny word and then you would say a funny word?

Jenn: Yeah, I think so. In like clown class.

Jess: I’m just thinking about that.

Betty: Have you ever done the game where you look at someone and you just have to just start fake laughing together? And then turn that into fake-crying?

Jess: Oh yeah. The membrane is so thin between laughing and crying!

Jenn: It’s true!

Betty: Well I guess I want to know what’s funny because I want to know what drives this show for you as you build something comedic. So you’re playing in a space and the thing that makes you laugh, or delights you is the thing that you’re doing, and then you have this like other social thing that you’re trying to push out there, so that’s why I’m wondering what’s funny to you.

Jess: I wish Mel Krodman, who is a comic genius, was here.

Jenn: She’s in Atlanta.

Jess: She’s in Atlanta. I mean, there’s general weirdnesses that are delightful to us. And I’m talking about like when we first started rehearsing basically we sourced this gigantic amount of – I’m going back to vaudeville – a giant amount of vaudeville costumes and put them in the rehearsal room. And we just followed our bliss in terms of inventing these characters and a lot of that is based on like stupidity, just like what tickles us in this stupid way. I’m thinking of our French teacher in grad school. She would say, ‘That is so stupid!’ and that was like the best compliment you could get in art school. So stupid things are funny to us. Mel has this real talent for being like, these teeth and these eyebrows and this belly and this cape make me wanna go, wooooo, and it’s just because it’s so pleasure-based, so that’s kind of the practice.

Jenn: You have a talent for those one-liners that are so wise but also just like everything gets distilled in just a few words.

Jess: Well, Len is dumb. Len is kind of a base man. But the maker is smart, so he gives me a vehicle to the kind of like, to have some dead air.

Jenn: But there’s some real wisdom there.

Jess: Yeah.

Betty: Do you ever feel – so I’m faced in comedy to be super clever, we have to be super clever, we have to always be at the top of our intelligence, we have to create and craft these words and these kinds of concepts and things that are the smartest. But the way I do it is more towards this, because I feel like that’s where you get people to really open up, to get them to laugh at something that they don’t realize is the funniest thing. It kind of shuts off their brain center a little bit and they react to the fun.

Jenn: I think it can be visceral. It’s visceral at times.

Betty: Mm. Yeah. So, if you could wave a magic wand and have someone who’s leaving your show have a thought in their bodies because of what they just saw, what would it be?

Jenn: Uhhh…I kind of would love for people to be like, I think I have to go throw up right now…but like enjoy it.

Betty: YES! Yes!

Jess: I mean, it would be nice – I would like to have a talkback where the old white men in the audience said nothing. But like, in a way where they were checked in but they didn’t want to speak first, or perhaps at all.

Jenn: That’s what the magic wand really does. It says: ‘you don’t have to say nothing.’

Jess: Right?! Like if they were like, ‘perhaps this is a gentle time in my life to allow listening to enter.’

Jenn: ‘Let me unburden myself from the feeling that I need to insert myself.’

Jess: Can you sing that again?

Jenn: ‘InSERT myself.”

Jess: No, what’s the song?

Jenn: You don’t have to say nothing, just sit there and be quiet.

Jess: But like if they really meant it! If they were like, ‘ahh…I can free myself from all this…. penetrating.’

Betty: Yeah, yeah, that’s what’s up.

Jess: That would be amazing.

Jenn: *impersonating a pastor* And every man becomes a wide receiver!!

Betty: A wide receiver for like a football team?

Jenn: I don’t actually know what wide receivers do.

Betty: *impersonating a pastor* Every man becomes a titan!

Jenn: I was just thinking like instead of constantly pushing themselves, you know it’s like, they expand, take it all in.

Betty: So they can check their privilege and really check in?

Jenn: But we don’t even have magic wands. We have magic vagina lips.

Betty: Yeah! Some of us do! I can’t wait to see your show. Is there a talkback for your show?

Jenn: We were just talking about that today.

Jess: We have to talk about that, I think there will definitely be. I think it’s nice to have a chance to put discussion in the room after a performance. I mean, all that said about how I want all the men to be quiet, but still be in the room and engage with the material.

Betty: Have the two of you ever done work before that’s tried to shift the understanding around gender on the stage? Or at least leave your audience with a new understanding? Have you done theater for social change before? I mean, I know nothing about the two of you except for a little bit. Where does this rank in terms of on your road of work?

Jenn: I tend to do politically charged work that sometimes makes people throw up.

Betty: Nice.

Jenn: Or faint.

Jess: Send emails.

Jenn: Oh yeah, send emails. Respond.

Betty: Did you get emails from a show you did?

Jenn: Oh yeah. I once had somebody watch something I did and when we were doing the talkback, and this individual stood up with no question, but just told me in no uncertain terms how much he hated what I had just done and how terrible it was. He was like, ‘I don’t know what you are, if you’re a man, a woman, a lesbian.’ It was beyond.

Betty: Was that the worst moment – well, I won’t say worst – was that the most intense review you’ve ever gotten?

Jenn: Noo…

Betty: Alright then, what was the most intense review you’ve ever gotten after a show?

Jenn: I’ve been accused of pornography, I’ve had an entire campus of students hate me and everybody else associated with the show. And they’re still mad, I think! I mean, that’s just such a long story. Somebody on the faculty just quit not because of our show, but I think our show kicked off some things on that campus that, uh…so yeah.

Betty: You shook it up! You jostled it!

Jess: I was recently called some things by the local press that were motivating.

Betty: What local press? Is there still local press?

Jess: I just like the phrase, you know, the local press.

Jenn: They were motivating?

Betty: Extra! Extra! Read all about it!

Jess: Well, yeah! I was doing a cabaret in the Fringe with the Bearded Ladies, and the reviews came out, and one said, ‘the half-screamed, half-bleated vocals of Jess Conda proved particularly inept.’ Bleated like a sheep.

Betty: Oh shit!

Jess: Baaaa.

Jenn: Baaa.

Jess: And the other one said ‘I wish I had skipped the self-indulgent Jess Conda’. Cause I do a lot of rock and roll singing in my underwear.

Jenn: I would say – a gentleman asked us – accused – it was an accusation. It was a j’accuse.

Jess: Oh! Are you going back to the very first question of our talkback in our works in progress showing?

Jenn: We had a work in process. He said, ‘I have a question. I mean…is metaphor dead?’ Right? That’s what he said. Is metaphor dead.

Jess: It was like louder and grumpier though. I HAVE A QUESTION.

Jenn: Yeah. ‘I have a question. I mean. Come on! Is metaphor dead?’ And then were we like – ‘do you mean, did we kill it?’ Is that what we’re getting at here?

Betty: Did you watch the murder of metaphor here?

Jenn: What did we say?

Jess: I’ve kind of erased that question.

Betty: I have a question. In terms of like why we make work and what the reviews say or don’t say, what is for you the ultimate point of doing this show?

Jenn: It’s pleasure. It’s fun.

Jess: Yeah.

Jenn: And it allows me to ask myself questions about like my point of view and how I’ve been conditioned, how I’ve been gendered or accepted a gendering of the world. How am I feeding into the patriarchy, what am I doing to buck up against it?

Jess: I do think humor is a rad vehicle to have conversations that are important but can maybe feel too earnest in other mediums. You know, I’m thinking about the funniest thing that I think happened this year was Michele Wolf’s White House Press Correspondents dinner bit. In the way that humor can be the thing that lets us say all this shit that if we were just doing some kind of autobiographical monologue play perhaps would be tedious for all. Perhaps. But you know, comedy is this boat that allows us to be like, ‘this is stupid. This is so stupid. This is so pleasurable, this is so stupid, stupid, stupid.’ And this is also so fucking stupid and it’s actually not funny anymore. And I think it’s just a medium to have these kinds of harder talks.

Jenn: It’s the truth-telling medium, and I think that is why tears and laughter reside so closely. I mean, I’m a big proponent of this. You know, just peeking over the fence of comedy is devastation. And that’s what we’re talking about when we’re talking about the patriarchy. That’s some real suffering.

Betty: Yeah, just to plug one of the things that I do –

Jenn: To anal plug it?

Betty: Just to anal plug one of the things that I do is an event called Porn Stash, which is a panel of comics where we look at porn and review different –

Jenn: Like a mustache? Or…

Betty: And a stash of porn.

Jenn: A stash of porn!

Betty: It’s a double entendre, I guess. We always have sex educators in the audience just to be there, but it’s all about sex education and sex positivity and we’ve been doing the show for a couple years, our goal is just to shift – by getting somebody to laugh, their mouth is open, which connects directly to their brain, and we can just throw the stuff in there, and it kind of jostles in there while they’re laughing. Like if you can get their mouth open laughing, you can insert in the bigger things, even if it’s just questions or curiosities or whatever. It sits in a different place, because you suddenly have all this access to the ‘HA!’

Jess: You mean something clinical’s happening when you’re laughing?

Betty: A hundred million percent.

Jess: I believe that.

Betty: It shifts a part of open mindedness that removes all barriers.

Jess: Boi-oi-oi-oing.

Betty: Well I think we’ve said it all – what do you guys think?

Jess: I think there’s plenty of material to cobble together into a piece!

Betty: I think women are funny, I think people are funny, I think men are funny, I think that we can do more, we have to do more–

Jenn: Anybody who would make a statement like, ‘women aren’t funny’ – I’m like, what? I just want that person to look themselves in the mirror with a finger in their butt –

Betty: I mean, are you in the comedy community? I’m about to bring you into some groups with specific comics where their main goal is to continue to make sure people know that women are not funny, that women can’t be funny, that women are not as funny as men, and there’s like incredible comics in this city. We’re talking Mary Radzinski, Chanel Ali, Michelle Biloon, who are phenomenal comics, who do not get booked as often as the most mediocre, straight white dude fucking two years out because there is this overwhelming sense that men are funnier than women. Or that audiences want to see male comics over female comics. So the reason that I’m saying it is because for some reason there’s a community out there that doesn’t fucking think it.

Jess: That’s so stupid.

Jenn: If you wake up in the morning and you think to yourself in any semblance of rational sense that women aren’t funny, you need to take your dominant hand and put it on your genitals. Take a finger from your other hand and stick it up your ass. Open your mouth. Thank you.

Betty: Well, you two are in the theater world, I think core, and then music and then comedy and clown and all that stuff. I do a bunch of shows every month and am always looking for comics to come on up and do a bit, a character, a song, even if it’s just chatting with the audience. There are stages with microphones filled with a bunch of people who think that women aren’t funny. So, when y’all wanna come down and fucking shake your shit out, I got a mic for you.

Jess: That is so kind!

Jenn: That is kind! We might take you up on it.

Betty: And when can I come see your show?

Jess: Come through! It’s May 1-12.

Betty: Dan is the director, and you three are the writers, and who is the lighting designer?

Jenn: Amyth. Justin Hicks on sound, Meredith Reese is on scenic design, Jack Tampuri on the Dramaturgy. Lavonne Lindsay on costumes. That’s a heavy lift.

Jess: That is a heavy lift, she’s doing great.

Betty: Where is the show? It’s going to be at FringeArts?

Jess: Right here at FringeArts.

Betty: Well, I wanna thank y’all for doing this, and please come to the Bechdel Test Fest –

Jess: Yo, thanks for all you do man, in the trenches, getting the funny to the people.

Betty: I’m in those other trenches in the other side of the stream, but I want to jump into your brook once in a while and you can come into my pond.

Tenara: Is metaphor dead?!

Jenn: TAKE THAT!

Betty: I also think we should start a Facebook group that’s just the bad reviews and emails and everything –

Jenn: Let’s start a WhatsApp group, cause I quit Facebook, because…fuck Facebook.

Betty: Yeah, dude, I’ll do a WhatsApp.

Tenara: You know, Facebook owns WhatsApp.

Jenn: FUCK.

Betty: Fuck!

Jess: Oh no.

Tenara: Thank you for joining us for this episode of Happy Hour on the Fringe. Make sure to follow us on Facebook, Twitter, Snapchat, and Instagram, and download the FringeArts app. Visit FringeArts.com to purchase tickets for A Hard Time, which runs May 1-12. We’ll see you soon.

HPFS Splash: Gritty Edition

Posted April 9th, 2019

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

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

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

hpfs splash

Photo by Kyle Ross

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

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

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

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

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

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

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

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

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

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

 

HPFS Splash: Philadelphia Favorites, Bonus Edition

Posted April 4th, 2019

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

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

Park

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

hpfs splash

Shakespeare in Clark Park, Photo by Kyle Cassidy

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

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

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

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

Place to Get Coffee

Starbucks at the National Constitution Center

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

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

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

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

Song

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

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

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

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

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

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

Word/Expression

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

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

“Young Bol”
–Camae Ayewa, Circuit City

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

THE TOP

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

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

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

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

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

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

Circuit City
Moor Mother
June 20–22

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

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

HPFS Splash: Disconnecting with a Good Book

Posted March 28th, 2019

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

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

Favorite Places to Disconnect:

“The Korean Spa”
–Alice Yorke, The Appointment

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

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

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

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

“The shower”
–Camae Ayewa, Circuit City

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

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

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

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

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

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

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

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

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

HPFS Splash: Making Art in Philadelphia

Posted March 19th, 2019

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

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

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

Photo by Johanna Austin

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

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

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

sincerity project

Photo by Jen Cleary

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

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

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

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

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

 

HPFS Splash: Philadelphia Favorites

Posted March 14th, 2019

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

Life Hack

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

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

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

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

Cheesesteak

Jim’s Cheesesteaks. Photo by Visit Philadelphia

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

“Jim’s”
-Camae Ayewa, Circuit City

“Jim’s”
–Alice Yorke, The Appointment

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

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

Place to Get Work Done

Good Karma Cafe at the Wilma Theater

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

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

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

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

Stay tuned for our next HPFS Splash next week!

hpfs fire hydrant

Photo by Raina Searles

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

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

 

HPFS: A Commitment to Philadelphia

Posted February 25th, 2019

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

A HISTORY

HPFS philadelphia

Photo by Robby Virus

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

A NEW PRESENTATION SERIES

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

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

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

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

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

Zach Blackwood and Katy Dammers
Artistic Producers at FringeArts

Featured Photo by Robin Barnes

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

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

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

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

Wandering Alice, 2008

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

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

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

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

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

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

Sans Everything, 2017, Photo by Johanna Austin

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

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

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

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

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

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

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

The Appointment
Lightning Rod Special
March 20–31

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

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$150 Six-Show Package / $120 for members
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Taking Care: Nell Bang-Jensen on Pig Iron’s new show

Posted May 30th, 2018

“I was thinking about what happens in domestic spaces that is often hidden from plain sight but could benefit from being brought into the open”

Pig Iron Theatre Company is well established as Fringe Festival favorite, with Pay Up (2005, 2013) Welcome to Yuba City (2009), Cankerblossum (2010) and A Period of Animate Existence (2017) among its many memorable offerings. The company’s interim associate artistic director, Nell Bang-Jensen is a prominent figure in the Philadelphia theater world committed to expanding the boundaries of theater production and consumption. She uses models of community engagement and social practice to reimagine the way theater can include and represent the diverse community it serves.

Bang-Jensen has brought her interest in community involvement to Pig Iron Theatre’s new show The Caregivers, a play created by and starring caregivers from the neighborhood surrounding Pig Iron’s headquarters in Old Kensington, where it is on show this weekend (shows are FREE but “sold out” and waiting list–only). The involvement of real caregivers in every step of the process allows authentic, lived experiences to be revealed, and shines a spotlight on underpaid, often invisible members of the community. We spoke with Bang-Jensen to learn more about the inspiration for the show as well as the joys and challenges of putting caregivers, creators, and actors together in one room.

Nell Bang-Jensen

Nell Bang-Jensen

FringeArts: What inspired The Caregivers?

Nell Bang-Jensen: I’m serving as interim associate artistic director of Pig Iron through a grant from the Theatre Communications Group . One of my focal points of the last eighteen months was observing and working with theaters around the country (and abroad) that have radical approaches to community engagement. I think sometimes theaters use the term “community engagement”  as a blanket term that really just means trying to diversify their audiences. I’m more interested by models of civic and social practice, which go beyond questions of how to make specific productions more inclusive and accessible, and ask more broadly: how is a theater actually serving its community? How could it be? It requires us in the theater industry to step back and think more deeply about  what the form of theater specifically is primed to do.

I knew I wanted the culmination of this grant period to be making a piece with citizen artists who were both driving the content and also performing.  Pig Iron’s neighborhood [what’s known as Old Kensington] is largely residential and I was thinking about what happens in domestic spaces that is often hidden from plain sight but could benefit from being brought into the open. I also took stock of what organizations were around and noticed that almost all of them had to do with giving care: there is a Visiting Nurse Group, Hospice Center, and Children’s Crisis Treatment Center all within a few blocks of Pig Iron.

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A Period of Animate Existence Reading List

Posted September 15th, 2017

Next weekend the beloved Philadelphia institution Pig Iron Theatre Company returns to the Fringe Festival with their first major work in two years, and it’s clear they put that time to good use. A Period of Animate Existence may be their most ambitious work to date, an awe inspiring large-scale piece of symphonic theater that examines the most universal, urgent issue of our time: climate change.

In an era called the “Sixth Extinction,” when up to 50 percent of all living species might die off, rather than grappling with the issue in a lecturing, damning manner, the creative team hopes to achieve something more nuanced and universally relatable. “We’ve tried hard to avoid an activist voice with this piece—we want to avoid haranguing or scolding as we investigate the landscape of emotions around climate change,” director Dan Rothenberg told the FringeArts Blog. “As we contemplate extinctions, I keep talking about emotions that I don’t have a name for. I know what grief is, having experienced the deaths of people close to me. And I know what terror is. I think finding ourselves in the middle of extinction creates feelings like grief and terror, but it’s some other emotion that doesn’t have a name.” In taking this lofty approach to the issue, the artists have most certainly done their homework, and then some.

The company has been gracious enough to share with us a list of texts that helped inform the piece. These works may help deepen audiences’ understanding of the show, but, perhaps more importantly, they will help deepen their understanding of the serious crisis we are currently living with. If confronting this harrowing information sounds daunting or terrifying or a surefire way to send yourself into fear-induced catatonia, believe me, I understand. Yet, in reading from these works, I’ve found being informed in my dread has been far more comforting than being ignorant in it. And thankfully, despite the dire nature of the situation, many of these writers chart concrete courses of action for how we might curb the most catastrophic effects of climate change.

Taking in this full picture, perhaps you’ll find yourself not quite feeling grief, not quite feeling terror, but feeling that liminal emotion A Period of Animate Existence strives to articulate.

Vibrant Matter
Jane Bennett

Renowned political theorist Jane Bennet—known for her focus on nature, ethics, and affect— examines the active participation of nonhuman forces in natural events. Exploring just how political analyses of public events might change were we to acknowledge that agency is not strictly human, she suggests that such a change in perspective might provide impetus for more responsible, ecologically sound politics.

 

Key Writings
Henri Bergson

French philosopher Henri Bergson was an influential thinker of the early 20th century, one who recognized his time as a distinctly new and modern age, and in turn helped shape its intellectual discourse. At the core of his philosophy is his concept of Duration, a theory of time and consciousness, but most pertinent to the show is his concept of élan vital, his explanation for evolution (a relatively new concept at the time) and the development of organisms which essentializes life into “mobility itself.” This collection assembles Bergson’s most essential writings, including excerpts from Creative Evolution.

 

The Great Derangement: Climate Change and the Unthinkable
Amitav Ghosh

Acclaimed Indian novelist Amitav Ghosh takes to task our inability to grasp the scale and violence of climate change, particularly in terms of what he sees as an imaginative failure of literary writers. Arguing that the extreme nature of climate events make them resistant to contemporary modes of thinking and imagining, he sees this as connected to the fact that politics and literature have become matters of personal moral reckoning rather than a platform for collective action. They are therefore, at the moment, unequipped to deal with what is truly the greatest threat humanity has ever faced. It’s not all doom and gloom though, as Ghosh sees the climate crisis as an opportunity for us to imagine other forms of human existence. He sees no better realm to address this task than in the world of fiction.

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2017 Festival Spotlight: Apocalyptic Visions

Posted September 2nd, 2017

In these turbulent times, artists in the Fringe Festival are using their mediums to present worst case scenarios for our unpredictable future. Check out the horrifying projections of reality coming to our city at this year’s Fringe!

 

AMERICANA PSYCHOBABBLE @ Berks Warehouse
Alexandra Tatarsky

A delirious anti-narrative of American emptiness, violence, and nonsense—part exorcism and part enema! With styrofoam wings, Xmas lights, and ketchup. “Phyllis Diller meets Artaud!” “Like Kellyanne Conway woke up from a coma after overdosing on sleeping pills and reading too much Gertrude Stein.” AMERICANA PSYCHOBABBLE exists somewhere between irrational healing ceremony, sad clown song, dance in the abyss, and desperate diatribe to take back ecstatic nonsense as an act of resistance. More info and tickets here.

 

Every Day APOCALYPSE! @ The Collective
Lone Brick Theatre Company

The death rays and nukes of outrageous fortune are aimed squarely at a struggling theater group when an irate son of God condemns the company to face a new apocalyptic scenario every day, for eternity. Can they learn to get along in order to save the world, not to mention the world’s worst production of Hamlet? More info and tickets here.

 

GATZ @ Philadelphia Shakespeare Theatre
Harrison Stengle

Philadelphia, year 2025, the tempo of the city had changed sharply. The buildings were higher, the parties were bigger, the morals were looser and the kush was cheaper, the restlessness approached hysteria. From the makers of the off-off Broadway show Sword of the Unicorn comes GATZ a Great Gatsby modernist parody. More info and tickets here.

 

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2017 Festival Spotlight: Family Friendly Fare, Part 2

Posted August 27th, 2017

Just because it’s at the Fringe doesn’t mean you have to leave the kids at home. Check out some of the Festival’s productions appropriate for all ages. Bring the whole family! Check out Part 1 here.

 

A Period of Animate Existence @ Annenberg Center for the Performing Arts 
Pig Iron Theatre Company

Children, elders, and machines contemplate the future in a time of dire predictions and rapid technological change in this work of symphonic theater. How do we contemplate the future in such a perilous time, an era called the “Sixth Extinction,” when up to 50 percent of all living species might die off? An inspired, large-scale melding of music, design, and theater, A Period of Animate Existence investigates the intense, unnamable emotions that arise in a time of extinction. More info and tickets here.

 

Photo by Michael Bach.

Lost in the Woods @ German Society of Pennsylvania
A Moment for Music

Lost in the Woods is the journey of two starving children who must find their way in a world that threatens to both empower and devour them. This family-friendly romp through Hansel and Gretel’s forest is a multimedia adventure featuring classical, jazz, and pop singing, lip-sync, and dance. More tickets and info here.

 

Photo by Michael Ermilio.

 

Life Lines @ Christ Church Neighborhood House 
Tangle Movement Arts

Seven women collide and are changed forever. In this dynamic circus-theater show, strangers meet their match, empty rooms listen in, and women find their power in flight. Tangle’s acrobats climb trapezes and aerial silks as they face sudden changes, spark chain reactions, and test the hidden threads that bind us.

 

Worktable @ BOK
Kate McIntosh

We provide the hammer, you do the rest. Worktable is a live installation that takes place in a series of rooms, which visitors engage with one at a time. Having signed up beforehand for a specific time slot, you enter and can stay as long as you like. Once inside there are instructions, equipment, and safety goggles so you can get to work—it’s up to you to decide how things come apart, and how they fall back together. More info and tickets here.

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Textbook Definition of Life: Interview with Dan Rothenberg of Pig Iron

Posted July 13th, 2017

“I think the question ‘Does a machine have a perspective?’ is another way of asking the question ‘What is alive and not alive?'”

Brilliant in their innovation and shining in their craft, the Pig Iron Theater Company has earned its accolades for its artistic excellence. The recipient of several Obie awards, the company never fails to amaze in its fresh, interdisciplinary takes on current events and social themes of the human experience. Dan Rothenberg is one of the founders and artistic directors of Pig Iron, producing their newest work, A Period of Animate Existence. This production has amounted to a huge collaboration between actors, musicians, and a number of choirs, culminating in a show about the human experience of climate change, in the form of a symphony. We caught up with Dan to find out about how the idea for this show came about, and what it’s been like to put it all together.

FringeArts: How did the title A Period of Animate Existence come into being?

Dan Rothenberg: Troy Herion proposed this title.  He looked up the word “life” in the dictionary.  It is a textbook definition. We were working with a few different sources of inspiration: Alan Watts, who talks about “the rocks peopling” as a way of imagining the beginnings of life on Earth, and understanding that we organic creatures are made out of exactly the same stuff as inorganic rocks. We looked at Richard Dawkins and “the Selfish Gene,” which talks about humans as big lumbering robots “operated” by genes within us.  This grade-school question: “what’s the difference between alive and not-alive?” remains elusive for both scientists and philosophers, even today.

FringeArts: How did you go about gathering your key collaborators, what were the artistic conversations you were hoping to foster between not just them and Pig Iron, but between each other?

Dan Rothenberg: Some of the collaborators are folks I’ve worked with before for years, like Tyler Micoleau (lights) and Nick Kourtides (sound). These are people I trust who have contributed to some of the Pig Iron work I am most proud of. I am working with the librettists Kate Tarker and Will Eno, and with choreographer Beth Gill, for the first time. We were looking for artists who take on big ideas and who care about form. People who make work in which the form is front and center.  Especially with choreographer Beth Gill, I wanted somebody with a deeply mathematical mind. Someone who sees the poetry in mathematics, since I feel that this piece is about seeing the world in terms of fundamental forces rather than as a set of relationships between people.

FringeArts: What prompted the five movements structure?

Dan Rothenberg: Gustav Mahler said that a symphony must be like the world, containing everything. So the five-movement structure is a symphonic structure. It’s our own “13 ways of looking at a blackbird.” A deliberate effort to get at something that’s too large to get your head around, by coming at it from five very different angles.

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Fringe at 20 Profile: Adrienne Mackey

Posted July 11th, 2016

Name: Adrienne Mackey

Adrienne Mackey, Swim Pony

Adrienne Mackey, Swim Pony

Type of Artist: Theater and lately interdisciplinary

Company: Swim Pony Performing Arts

Fringe shows I’ve participated in:
A Portrait of Dora as a Young Man, Stolen Chair Theatre Co, 2003 – actor
Hell Meets Henry Halfway, Pig Iron Theatre Company, 2004 – assistant director, sound operator
Like Ink and Paper, 2004 – director
Bardo, Leah Stein Dance Company, 2005 – production manager and vocalist
The Ballad of Joe Hill, 2006 – director
recitatif, 2007 – director
Echo, Tribe of Fools, 2007 – director
The Giant Squid, The Berserker Residents, 2008 – director
Purr, Pull, Reign, Johnny Showcase and the Lefty Lucy Cabaret, 2009 – director
Lady M, 2011 – director
The Ballad of Joe Hill, 2013 – director
It’s So Learning, The Berserker Residents, 2015 – outside eye – fringe

Also a past LAB fellow.

2016 Fringe show I’m participating in: Possibly working with Mary McCool on her in-progress piece. Still not definite . . .

First Fringe I attended: My initial experience with Fringe was in 2000 as a first semester freshman in college. I was only weeks into school, living away from home for the first time and so excited to see what Philly’s arts scene had to offer. I remember taking the train into Philly with some guy on my hall named Dima who I barely knew. We picked a show at random—all I remember about it was that it was a middle-aged woman in a tutu who took off all her clothes halfway through the show. I had no idea what was happening and I remember feeling both overwhelmed and extremely cool to be doing something so weird. Later that same festival I saw a play in a karate dojo in which actors were trapped in a scene with their own feelings portrayed by other actors wearing black and white mime makeup. Sort of Marcel Marceau meets No Exit by way of Pirandello. I remember thinking, “I could do that.” Two years later I was in my first fringe show.

First Fringe I participated in: While I was still a junior in college I acted in a show called Portrait of Dora as a Young Man that explored Freud’s famous case of Dora, one of the few women who ever rebelled against his analytic theories. We rehearsed an entire summer together at Swarthmore College—a mix of folks who had just graduated and a bunch of us still in school. We lived together and worked together in this commune-style experiment in creative collaboration. I played Herr K, a neighbor to the young troubled girl, I think, it’s all a blur now and designated this mostly using an old fedora and trying to talk in a low voice.

 The Ballad of Joe Hill, 2013. Credit: Kyle Cassidy

The Ballad of Joe Hill, 2013. Credit: Kyle Cassidy

What a gorgeous mess! I broke up with my boyfriend, the director, near the end of the process and half of us ended up furious with each other because we would rehearse all day and then have to go home and sleep 10 people in a tiny house with no room to get away from each other. I remember taking the train into Philly from Swarthmore and setting up a dress form mannequin in the courtyard of the old National Museum of American Jewish History (behind the bank on 5th and Market). I did an entire scene puppetting that inanimate mannequin while playing a German man named Herr K. Dear god, we had no idea what we were doing—all the actors wore khaki pants and either a forest green or maroon long sleeved shirt and did vocal warm ups outside the museum’s entrance as homeless people passed by looking at us in mild horror.

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Fringe at 20 Profile: Mel Krodman

Posted June 21st, 2016

Name: Mel Krodman

Type of Artist: Performer, creator

Companies: I make and perform work with various ensembles including the Philadelphia-based companies Pig Iron Theatre Company, Team Sunshine Performance Corporation, and No Face Performance Group. And since 2010 I’ve worked in collaborative partnership with New Orleans-based choreographer Kelly Bond.

Fringe shows I’ve participated in:
Elephant, 2010, with Kelly Bond – performer, creator
Colony, 2012, with Kelly Bond – performer, co-choreogrpaher
Swamp Is On, 2015, with Pig Iron Theatre Company and Dr. Dog – performer, creatorIMG_4776

2016 Fringe show I’m participating in: Sincerity Project with Team Sunshine Performance Corporation (performer, creator).
Also in November my show JEAN & TERRY: Your Guides Through Dark, Light, and Nebulous will premiere at FringeArts.

First Fringe I attended: The first time I came to the Philadelphia Fringe Festival was with Kelly Bond when we were producing Elephant in 2010.  We were both still living in DC and drove into town in pouring down rain, rushing to make it to the Kimmel on time to see Jérôme Bel’s piece Cédric Andrieux. I was absolutely blown away by this work—instantly impacted, forever changed. As soon as the show was over we jumped back into the car and were rushing (possibly even more than before) to make it to Brian Sanders’ JUNK. It was a truly jam packed evening of dance work at two ends of a spectrum: Bell’s stripped down and Brian’s spectacle. From then on I was in love with Philly and totally hooked on the festival.

First Fringe I participated in: I was a co-creator and performer, along with Lillian Cho, in Kelly’s piece Elephant. Kelly had found a venue that was an artists’ collective—FLUX space—in North Kensington up near Allegheny and Front streets. Our piece was performed entirely in the nude, which was kind of hilarious in this raw space with fine sawdust everywhere. And it was hot out and we were sweating. So you can imagine. But that kind of artists’ space was so inspiring to see. It was my introduction to the badass DIY Philly art scene that I love. It was during this run of Elephant that we met the magnificent Megan Bridge of <fidget> space. She invited us to come back and perform Elephant at <fidget> the following spring. In 2014-15 Kelly and I were yearlong artists in residence with <fidget>, so we have Fringe to thank for launching a significant creative relationship and friendship.

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Fringe at 20 Profile: Corinna Burns

Posted June 2nd, 2016

Name: Corinna Burns

Type of Artist: Theater MakerCorinnaBurns

Fringe shows I’ve participated in: Wow. A lot.
A series of short plays produced by the now-defunct Brick Playhouse performed at the now-defunct Old Original Bookbinders, 1996
Bartleby the Scrivener, the Madmen, 1998 – actor, creator
The Trial, 1999 – adaptor, director
Live at the Apollo Diner, Theatre Exile, 1999 – performer
Live Girls, 2000 – co-creator, performer
Brinksmanship!, Termite TV, Bad Penny Productions, 2001 – co-creator, performer
Little/Yma, Weak Chin Productions, 2004 – actor
Pay Up!, Pig Iron Theatre Company, 2005 – performer, creator
Isabella, Pig Iron Theatre Company, 2005 and 2013 – performer, creator
Oedipus, Emanuelle Delpeche at FDR, 2008 – actor
Purr Pull Reign, Johnny Showcase, 2009 – Lady Dancer
Raw Stitch, Jackie Goldfinger, 2012 – actor
The End of Hope, the End of Desire, [ad hoc theatre project], 2013 – actor
99 Breakups, Pig Iron Theatre Company, 2014 – performer, creator

2016 Fringe show I’m participating in: I’m not signed up for anything (so far) this year! But that just means I can go see more stuff!

First Fringe I attended: I’ve been Fringe-ing since the beginning. I remember doing these little plays at Bookbinders while people ate their three-course lunches and thinking how exciting it was that Philadelphia now had this special time of the year when people could think about performance in new ways. Even though in that year, that particular project wasn’t super boundary-pushing, we were still performing new plays for an audience of people that would otherwise never have been exposed to them. And in the early years, the Fringe office was on Vine Street and the Fringe Bar was at what I think was a Turkish restaurant across the street, and everything was performed in Old City, so there was a closeness to everything. You’d run from show to show to show because you really could. And everyone would gather at the bar to dance and talk at the end of every night.20160526_135838

First show I produced/created at the Fringe: The first show I produced entirely on my own was an adaptation of Kafka’s The Trial, performed by three actors at the Museum of Jewish American History in their old space. What is most memorable to me about that experience: the number of people who are willing to help you for free! I think the museum gave me the space for free, and the actors basically donated their time, although we split the profits at the end. And that people who don’t know you will come to see your show!!! I’ve never not had audiences for any of my Fringe shows, even the ones that I thought were a disaster and I didn’t want anyone to see (Live Girls)!!

The Fringiest show, venue, action, or moment I ever experienced: I think I’ve been blessed to be in some of the Fringiest of the Fringe, but I’d have to say that the experience of performing Oedipus at FDR down at FDR Skate Park would top the list. Pure magic. Walking the edge of the bowl in a red satin dress with Pearce Bunting as the blind Oedipus holding on to my yards-long train, audience seated in the other end of the bowl, the chorus of skaters swooping through the space like bats, and the intimacy of all the sound happening through headphones because the atmospheric noise of being under I-95 made it otherwise impossible to hear anything—being so far from the audience but able to whisper in their ears. I feel so blessed to have been a part of that show.

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How to Live Faster: Interview with Dito van Reigersberg of Pig Iron

Posted May 19th, 2015

141005_PIG_IRON_LIVE_FASTER19118Pig Iron Theatre Company’s latest wild theatrical creation opens this week at FringeArts. I Promised Myself to Live Faster is an absurdist sci-fi epic and wild allegory about gayness in 2015, and inspired by the life and works of theater legend Charles Ludlam. We caught up earlier this year with co-creator Dito van Reigersberg while Live Faster was still in development to give us some insight.

FringeArts: How did the idea for I Promised Myself To Live Faster come about?

Dito van Reigersberg: It was a strange and circuitous route to the sci-fi world. Mainly we began with the idea of a Pig Iron piece instigated by me/Martha Graham Cracker, my drag alter-ego. Originally it was called The Melodrama Project and I was interested in going for high-stakes drama but in a kind of camp or ridiculous setting. One exercise we did early on was create characters based on silly voices that we liked and then we tried to retain these goofy voices/characters but play a serious, dramatic scene, with no comment or laughing on the part of the performers. I guess it was a version of what Martha is, a hairy-chested drag queen who is sometimes playing for laughs, sometimes quite unexpectedly serious and sincere.

Then I was doing Irma Vep at Act II, this crazy quick-change romp of a play by Charles Ludlam. And I was reading a biography of Ludlam at the same time. He was also a hairy-chested drag queen, like me! He led an insanely talented and wild group of ragtag performers and made a huge mark on the downtown New York City theater scene. He was one of our director Dan Rothenberg’s heroes; Dan knew all the anecdotes about Ludlam via his High School drama teacher Bill Sweeney.

141005_PIG_IRON_LIVE_FASTER19466Then we thought about making a kind of biopic about Ludlam. His life story is kind of incredible. He was an outcast, a precocious teen—he staged Japanese Noh dramas with his High School friends. In acting school he was told that his acting style was “too enormous” and that he was to be strictly “a character actor,” and then he created this theater company in which he was the star performer, playwright, director, and impresario. His most famous performance was Camille, in which he tragically dies in hairy-chested drag in a performance that also blended the dramatic and the ridiculous; his company in fact was named the Ridiculous Theatrical Company. His real-life death of AIDS at the age of forty-four is the chilling counter to all of the silly joy of his life. And it is haunting, the fact that he played Camille, a character dying of consumption, over and over, as his most famed role.

But eventually, although a biopic did seem possible and exciting, we decided to set ourselves free from the truth and the real history and give ourselves permission to do something as silly and frolicsome as Ludlam, in a Ludlamesque way, sprayed with an Essence du Ludlam.

FringeArts: And the title is from . . . ?

Dito van Reigersberg: Our title comes from a line from Camille. She says: “I knew I would not live as long as the others so I promised myself to live more quickly.”

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Museum of Broken Relationships

Posted September 4th, 2014

I learned about this through Adrienne Mackey‘s Facebook. Adrienne recently ran off to Edinburgh and Zagreb, and found the Museum of Broken Relationships. Wish I could see it, because somehow this has been a year of stresses upon and dissolutions of long-term relationships among my friends. Instead, I’ll probably go see the Pig Iron/Kirk Lynn/Dayna Hanson collab 99 Breakups, taking place over 75 minutes at PAFA, because I’m a glutton for punishment.

99 Breakups
Pennsylvania Academy of Fine Arts
118 N. Broad Street
$15 to $29
Dates and times vary. Click here for tickets.

–Nicholas Gilewicz