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HPFS Splash: Never Change, Philly

Posted April 16th, 2019

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

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

Jess Conda as bartender at Fergie’s Pub

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

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

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

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

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

Image result for arch street umc

Arch Street UMC Church

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

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

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

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

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

 

HPFS Splash: Gritty Edition

Posted April 9th, 2019

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

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

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

hpfs splash

Photo by Kyle Ross

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

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

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

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

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

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

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

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

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

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

 

HPFS Splash: Philadelphia Favorites, Bonus Edition

Posted April 4th, 2019

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

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

Park

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

hpfs splash

Shakespeare in Clark Park, Photo by Kyle Cassidy

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

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

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

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

Place to Get Coffee

Starbucks at the National Constitution Center

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

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

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

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

Song

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

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

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

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

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

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

Word/Expression

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

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

“Young Bol”
–Camae Ayewa, Circuit City

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

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

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

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

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

 

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

Posted March 29th, 2019

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

Conversation with Bradley Wrenn and Christa Cywinski

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

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

Brad: Wow.

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

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

Christa: Especially with a child audience.

Brad: Yeah!

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

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

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

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

Christa: Like gum under their seats.

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

Christa: Okay. Makes sense.

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

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

Brad: No, no.

Christa: So how do you give the reins away?

Brad: So right now the show is just a series of what I would just call bits at this point, or lazzis.

Christa: What are lazzis?

Brad: It’s an Italian word that means like, little schtick.

Christa: Okay. Lazzi. Sounds like a good food.

Brad: I know, right? Sweet Lazzi. So for example, there’s a moment in the show where we have enormous boxes of colored ping-pong balls and we say we’re going to play a “video game,” and we give the kids the ping-pong balls and let them throw them at Dave. And it just becomes—

Christa: That is gunna–yeah. A lot of laughter there.

Brad: Yeah. And we’re sort of saying like, how far can we go in that direction, of just like – it’s a playground, and it’s chaos and we don’t have control. And then sort of riding that line of can you then regain control after that?

Christa: You definitely can.

Brad: So we do improvise, that’s how we build our shows, we’ll improvise and say, oh that’s fun, we did that, let’s script that. And now let’s put it back on its feet and improvise some more. And then we’ll script that. That’s the cycle of how we do it.

Christa: And you try it out on your collaborators’ kids?

Brad: Oh yeah. I mean we’re a little limited. The showings we’ve done, like four at this point. We’re just like, how can we get some kids in a room? But at this point it’s very much like trying to find the boundary of how much play and free flowing whatever’s happening, and then we have a structure that we sort of go from place to place, but it’s a real give and take. We’ve done a super scripted children’s show but that’s not what we’re interested in with this one. We’re interested in something that says yes to the proposals in the room.

Christa: Mhm. Yeah, we’ve done shows like that here, where the troupe will take a few ideas from the kiddos, like a character, where they’re going and what problem did they have, and then just do a whole show from there.

Brad: Yeah, yeah. And I think, you know, it’s like a pendulum of how free and how open it wants to be, and also there’s a thing where it has to be fun for us. If it’s not fun for the three of us, we know that we’ll start hating it and then it won’t be fun for anyone.  So it has to be fun and it has to be joyful for us to do because I think sometimes when things are so open, it becomes chaos and you’re like, ah, this isn’t fun. It’s just crowd control. So finding that pendulum is important.

Christa: The kid audience though, you have experience with this audience, it gives you a lot. I can’t imagine it not being fun performing to the young audience.

Tenara: But I feel like so much of art and clown school is locating play in adult bodies.

Christa: Right. Right.

Brad: Yes. I mean, that’s 90% of the work.

Tenara: Exactly.

Christa: But kids go there super naturally. Right? Like, ‘jump into the pond!’ Okay, this is the ground and that’s the pond. They go there in a second. You have to like, leave a lot of stuff behind to put yourself back there.

Brad: Yeah. It’s wild. We went and studied with this provocateur clown teacher in France named Phillipe Gaulier, at his school. And essentially, all he cares about is pleasure on stage. He says nothing else matters but pleasure on stage and joy. But it is wild to see an adult get up in front of a group of peers and just fail to find that play, over and over, or comes with too many ideas, or comes with a desire to be clever. I mean, instantly it dies and it’s not watchable. And that’s why watching kids play tag is oftentimes more entertaining than theater because they are actually just purely alive and joyful and they just –

Christa: They hide in plain sight!

Brad: Yeah! And they find stupid games, and the inventiveness is just infinite! But with adults we start to edit ourselves, and we start to be clever, and are just “funny”. We want something from the audience, whereas a child who’s playing is just in the moment and present, and so is so watchable. Trying to get to that weirdly becomes work.

Christa: I mean, we’re just part of their play world, right? We’re facilitating play, we’re putting out offerings, we’re observing. Lots of observing, lots of listening to the really funny things that they say. And looking for those little sparks of what interests them and offering them something else, repeating things.

Brad: Do you think there is an age, or do you see it – what’s the oldest here?

Christa: The oldest would be almost six by the time they leave us, but in the beginning of the year, I’m gonna say 1 ½ to 4 ½ years old.

Brad: And six is like first grade, right?

Christa: Like, kids with late fall birthdays might be six when they’re going to kindergarten. Folks can stay here until entering kindergarten.

Brad: I just am curious about when it becomes hard to play. When it becomes – and maybe it’s not until teen years, maybe that’s when you start to become self conscious.

Christa: You see changes across even just our age group though. But in terms of being self-conscious a little bit, you see a little bit of oh, I don’t want to do that even creeping up in the Pre-K year.

Brad: Being aware of your peers? Like I don’t want to do that because I’m worried of what people will think?

Christa: Yeah. I think you see a little bit of that, you just see a little bit of I know that people are thinking something, so I’m going to showman a little. You start to see that awareness changing in this year before kindergarten, so it’s early.

Tenara: And doesn’t it develop alongside, you know, like, they talk about parallel play when they’re toddlers, just playing next to each other, and as they start to integrate play with each other they also start to integrate that awareness and testing boundaries of what people think?

Christa: Absolutely.

Brad: I mean, and that’s the thing about getting in front of an audience, it’s such an odd thing because the best clowns that I know don’t care what the audience thinks. It doesn’t mean they don’t want anything from the audience, they’re just present and there and open. But they’re present the way an animal is or in the way a very young child is makes them instantly so captivating. It’s like getting rid of judgment and just trying to find that fun and joy.

Christa: There does seem to be personality types where it’s easier to keep connected to play. So you don’t have to teach kids how to learn, or how to play. Everything they’re doing in terms of experiencing the world and playing is how they’re figuring things out. You can offer things, you can scaffold things, you can be part of it in a social piece, but you don’t really have to teach them that if you put water in this, this becomes the cup, you know? They’re just going to start experimenting. The toys with no explanation are better, with no beginning, middle, and end of how you have to use them and no like, this is what this is for. You can put out a box and they’ll just start making ramps and putting things in it, turning things upside down, they learn by just being hands-on, trying things. Then they start to watch each other , help each other do things a little bit, getting ideas from each other. You see that sort of brainstorming camaraderie develop. A little bit later comes the competition.

Tenara: When does that start?

Christa: I think you start to see it pretty young.

Brad: When you say competition do you mean like footrace? Like a competition for resources? Or like, ‘that’s mine?’

Christa: A little bit of both, yeah. I mean at this point with our kids, they’re young, so it all makes sense and it’s developmentally on target but there is a bit of, oh, I gotta do that the fastest, I gotta do that first, gotta be in the front. You know, they’re all still building their ego-strength.

Brad: That’s so interesting.

Christa: And then that sort of settles out again, those are just stages.

Brad: Peaks and valleys.

Christa: Yeah. Yup.

Brad: It’s something that we’re after with this show, like we’re looking at how to allow organic games to come up in a performance, like not even plot and narrative, just for organic games to come up. Like with the ping-pong balls. But there’s also this interesting thing in that making the show, we’re very cognizant that we’re not making “just” a kid’s show, we’re making a family show. We’re making a show for a unit. We saw a show in Edinburgh that really just bowled us over, because it was made for a unit. It wasn’t like, come drop your kids off in the front and then you go in the back. It was a show for a family unit.

Christa: That sounds fun.

Brad: Yeah. There’s something about if you just let play happen, the adults in the room get anxious? They’re like – ‘who’s in charge, what’s going on? This isn’t curated enough! It’s gone off the rails!’ So we’re cognizant of the adult presence, to be like, ‘hey, we’ve got this, this is supposed to happen here. Now we’ll get things back on the rails.’ And something incredibly virtuosic and composed will happen. And then we’ll let some organic play come into it. Doing that pendulum of keeping an eye to the adults in the room is really an interesting tight-rope.

Tenara: How do you get them to play with their unit?

Brad: I mean, one of the things that always works – always works – and we’ve done it and it works even in an adult context is that you go and get a dad. There’s something about the status of a dad. You can make fun of a big dad. And dads will then be performing for their kids, and it becomes this weird thing of bringing a dad up on stage work. Doing something really silly with that dad and making him really silly causes a whole audience to lean forward. It’s weird. There’s gender involved with that, there’s status involved with that, there’s family dynamics, but I’ve seen it work so many times. Pulling a dad up and putting a tutu on him. Dr. Brown, this clown we saw in Edinburgh literally takes a dad and turns him into a soccer ball and kicks him around the stage. And the dad does it because the dad wants to make his kids happy.

Christa: You gotta connect with the right dad though!

Brad: Yes, you’re totally right. There’s a particular kind of dad. You have to pull the right dad, you have to think and be looking for that dad in that moment.

Christa: My dad.

Brad: It makes the whole audience learn forward. It’s wild. It works. That causes that family unit to lean in.

Christa: I mean, the kids laugh a lot here when teachers get pulled into things, whether it’s like, ‘alright, Heather, show us your dance moves!’ or like ‘put on the firemen’s jacket!’ Whatever it is.

Brad: Yup. And I think there’s a whole way to access a whole new kind of audience participation by modeling an adult doing it first. And then you bring a kid onstage and let a kid do something. That’s its own narrative arc. You have to do it in a way that doesn’t feel forced and that takes really good care of everybody. It’s not great when a person gets pulled onstage and is not taken care of and is just sort of forced to do something really uncomfortable. Whereas with working with audiences and playing with an audience – it feels organic and the person should always know what to do. They always know what the right answer is. And know the right way to play. And know that there’s no wrong way to play. You have to set that up. Or you just give them a very narrow path to walk on – like, hey, can you make the sound of a cow? Boom! Of course they can! There’s no wrong. I think that’s the biggest thing, that’s the anxiety with play.

Christa: Definitely with kids a little bit older, but not in the beginning. There’s definitely no wrong at the beginning.

Tenara: So I’m curious, this is a question for both of you. For you, Brad – is there an age group that you have found in the showings of this piece that is the sweet spot for those kids, before the anxiety sneaks in? Or is it really just about setting up this culture with the unit? And Christa, is there – in what age do you see that ‘there’s a wrong answer, so it’s safer to not play’ start to happen? Is it developmental or is it external?

Christa: Oh. Both. For sure both. Because you can foster an environment that says it’s all okay, or you can foster an environment with a lot of limits. And that will change the nature of the way somebody grows. But I would say for almost all the time that we see kids in this school, they’re still pretty not rule bound, in terms of they’re taking risks, they’re just doing it. Not thinking, just doing it. In terms of like their play outside of their school settings, I think they’re probably still pretty open for a while too.

Tenara [to Brad]: Have you found that there’s an age where it’s harder to reach them?

Brad: Well, the showings we’ve done tend to run with younger kids, like two, three, four, five year olds, just because that’s the age of my peers’ kids. Which is not actually the group that we’re making the show for. We’re aiming a little older than that with five plus. It’s harder to get a group of just nine year olds. And also I think the other thing is because Justin, Dave, and I have all done children’s theater in other capacities, and performing for a group of kids with like five teachers is so different than performing for kids with their families. It’s a totally different audience and a totally different beast.

Tenara: How is it different?

Brad: I mean, a group of kids where the ratio is five adults to 35 kids are a frenzied beast, just like ‘Wahhh!’. I mean they’re easy to pump up but it’s a little like going to a concert with that group. With a group of kids with their adults, it becomes much more timid, and there’s also a lot of checking in with your unit.

Christa: But we all have different personalities in our family unit than we do out there in the school world or the work world – whichever world you’re in. So it’s different sides of ourselves get shown.

Brad: Yeah, yeah. And so I think it’s tough in making a show because it’s hard to get access to that thing. I mean, we’ll do showings up until the day we open at Fringe, but we probably won’t get the audience we’re going to have at Fringe until we open.

Christa: But then so why is that the age group that you’re shooting for? Not because it’s what you think is the sweet spot. You just want to try it with this group?

Brad: We just saw some shows in the Edinburgh Fringe Festival like 20-30 kids whows, and kids shows made for 5 and under – there was one that worked, and they did like every little bit in the book that you can think of for that age group. Cover your head with a blanket and have the person behind you sneak up, and they all go ‘he’s behind you!’

Christa: Oh they love it.

Brad: Yeah, they love it, and it works.

Christa: The slapstick.

Brad: Yes, and like, the peekaboo type stuff, yeah. But we knew that that wouldn’t be fun for us. For the three of us. We want to do something that was just a click up, and then there was something about this show that was called Dr. Brown and the Singing Tiger that was for more like a family unit, a little bit older, and it just felt really special for a unit. And we were like – I don’t know what that is, but I want to try and crack it. And I think that’s the thing that we’re interested in. We wanted to make a show that winks just a little bit to the adult not in a double entendres way, but more in the way that’s like, come along and play the way you used to.

Tenara: What is it about a family unit that is the thing that has the heat for you guys in this piece?

Brad: I guess there’s a way that there’s an audience built inside of a family unit. There’s parents watching kids and kids watching parents while they’re sitting next to each other, that becomes this force of kids watching the show, parents watching the show, kids watching parents – it’s just so interesting to me. When we’re setting up the audience at front, we thought, oh let’s put cushions down at the front, but then thought no.I want people to be sitting next to each other. I want whatever your family unit is, I want the adult/child mix that comes to the show. That is really important to me. And I think it’s harder.

Tenara: I imagine it’s harder also because of the culture around family programming specific to this country. Like, it doesn’t surprise me that it was in Edinburgh where you saw that done successfully.

Brad: Yeah, I think you’re totally right, I think there’s a way in which children’s theater in the United States is thought of as not important programming. It’s often seen as like, ‘oh well, then we’ll just do a family show.’ We’ll just put some funny costumes on and flounce about and that’ll be enough. But in Edinburgh there’s a real value behind that stuff. I mean there’s more value on family programming in general in Europe, but I think there specifically children’s shows are – well, there’s a lot more rigor in making them.

Tenara: Well I’m sort of curious about the values that foster the family programming culture of Europe. Are they the same that foster the kind of education systems that tend to have more success in those countries? Or are they’re coming from different places?

Brad: I mean, the cynical part of me says – this is really the cynical part of me – there’s just more value on art in, specifically in Scotland. I think there’s able to be more rigor around children’s programming because it’s just valued as important, so there’s more resources, more rigor, more time spent, and so you get something that is better crafted.

Tenara [to Christa]: I think a lot about something that you said to me once, which is that all preschools should be play-based, and so it’s so funny that Trinity Playgroup’s supposed ‘niche’ is that they’re a play-based preschool. But isn’t that what learning is at that age anyway?

Christa: Right. Yeah, I mean it’s – there is a little rush to ‘prepare.’ There’s this idea of preparing. You know, preparing kids for school. You know, I can’t speak for other places outside of here, but certainly we know that kindergarten is more like what first grade used to be, and so that trickles down to us. And what parents are thinking about is involved of course.

Tenara: Have you seen that trend change since you started working here?

Christa: I have. However, you know, as things change they swing. So you know, now people are swinging back, thinking more about outdoor classrooms and different, more experiential school set-ups, even all the way through into high school, and different ways to create great schools and so I feel like, it got pretty sort of – the expectations were pretty high on young people for quite a bit. But I think they’re swinging back a little.

Brad: What is a non play-based preschool?

Christa: Well, there are a lot of schools that will, in an effort to follow standards, have really specific curricula for kids. I mean, there are schools that sit everybody down and we all make this at this time, these are the parts that you use to make it. It’s out there for sure. It looks like this, this is what the outcome should be.

Brad: Like, it looks like a sun and it should have a smiley face on it.

Christa: Yeah, like, here are the pieces already cut out.

Brad: So is everything here guided by the child’s sort of curiosity and what they’re after?

Christa: Not everything. No, because, I mean, the teachers are well-informed about child development and they think a lot about what things to introduce at what time. They’re orchestrators in the scene and they’re paying attention to what kids are interested in, and they’re putting out things related to that interest. The kids are moving around the space with whatever is out and available to them, the kids are moving around like, oh I want to go there, I want to go there, so that’s driven. But it’s not that they just walk in and everything is put away and they just go for it. The teachers are part of that process and creating the invitations for play.

Brad: Yeah. I mean, it’s not dissimilar from what we’re doing, and the stage we’re at right now with this piece. Where we’re just like, we have an idea and a provocation and we’re going to put it in front of the audience, and then we’re going to do our best to just be present and just be curious about what’s going on. And we have an outcome that we probably do imagine but if something else happens, that’s okay.

Christa: Oh, you’ll always be surprised.

Brad: Yeah, and to be open to that I think is the real fearful thing, the anxiety of like I want to control and I want it to go a certain way. But it’s always better if you just stay in the moment and just follow what’s in front of you. When you’re listening to your audience or your classroom.

Christa: Or to anybody in your life!

Tenara: Yeah, well there’s that too. Hopefully we carry that into adulthood!

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

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

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