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

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

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

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

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

Happy Hour on the Fringe: Circa Contemporary Circus’ Libby McDonnell & Nathan Boyle

Posted October 11th, 2018

Libby McDonnell and Nathan Boyle from Circa Contemporary Circus stop by Happy Hour on the Fringe to chat about their breathtaking show Humans.

Photo courtesy of Mark Garvin

Circa Contemporary Circus, one of the world’s leading performance companies at the forefront of the new wave of contemporary Australian circus, has been wowing audiences around the world since 2004. The company is known to use extreme physicality to create breathtaking performances that straddle the worlds of circus, dance, and physical theatre. Last month, Circa traveled all the way from Brisbane to close the 2018 Fringe Festival with a dynamic exploration of what it means to be human. Before wowing Fringe Festival audiences with their performances of Humans, Circa’s associate director, Libby McDonnell, and senior acrobat, Nathan Boyle, sat down with host of Happy Hour on the Fringe Zach Blackwood at the Annenberg Center for Performing Arts. They gave him a peek into the creation of Humans and their current tour of the piece.   To learn more about Circa Contemporary Circus visit circa.org.au. Let us know you think of podcast, and check back next week for a new episode of Happy Hour on the Fringe.

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International Fringe 2018: A Welcome to Artists from Around the World

Posted September 2nd, 2018

The United States government may be pursuing an isolationist policy but the Philadelphia Fringe is doing the opposite: opening its doors not only to the most creative American performers and performances but also to the best and most creative theater artists and their productions from around the world—overcoming the ancient fear of the symbolic Tower of Babel with people not understanding each other.

To show the worldwide scope of the 22nd Philadelphia Fringe Festival, we offer this spotlight on performers from abroad and productions by American artists that present a global perspective.

Theater writer Henrik Eger, editor of Drama Around the Globe and contributor to Phindie and Broad Street Review, among other publications, has lived in six countries on three continents and has visited Africa and Australia as well. He bids everyone a hearty WELCOME to the City of Brotherly Love—this year in 18 different languages: Arabic, Celtic, Chinese, English, Esperanto, Estonian, Farsi, French, German, Greek, Hebrew, Hindi, Irish, Italian, Latin, Polish, Romanian, and Spanish.

We start this year’s overview with a special welcome to two programs featuring a wide range of global creators:

INTERNATIONAL CREATIVES

  1. le super grandBienvenue & welcome to Montreal-based choreographer Sylvain Émard and Le Super Grand ContinentalLe Grand Continental wowed audiences during its run at the 2012 Fringe Festival and has garnered enthusiastic response across the world. Fully realizing a blissful marriage between the pure delight of line dancing and the fluidity and expressiveness of contemporary dance, the celebratory event enlists hundreds of local people to perform its synchronized choreography in large-scale public performances. The world’s most infectious performance event returns to the front steps of the Philadelphia Museum of Art in an even larger spectacle of dance.

More info and tickets here

  1. Bonvenon, willkommen, bienvenido, witamy, bienvenue & welcome to Do You Want A Cookie? from The Bearded Ladies Cabaret—a world premiere with an international cast. Do You Want A Cookie? serves up a delicious romp through cabaret history, with an international cast of artists performing a live revue of cabaret from the Chat Noir to Weimar nightlife to 21st-century drag. The all-star cast comes draws from around the world, including Bridge Markland (Berlin), Malgorzata Kasprzycka (Paris/Warsaw), Dieter Rita Scholl (Berlin), and Tareke Ortiz (Mexico City).

More info and tickets here

REFUGEES and EXILES

  1. ear whispered

    As Far As My Fingertips Take Me. Photo by

    وسهلا اهلا (ahlaan wasahlan) & bienvenu. Welcome to Tania El Khoury who lives in Lebanon and the UK with her multifaceted program ear-whispered. Little is known about Palestinian refugee camps and their communities. El Khoury presents her Fringe work in five parts through interactive performances and installations at Bryn Mawr College:

    1. Gardens Speak, an interactive sound installation containing the oral histories of ten ordinary people who were buried in Syrian gardens. (Bryn Mawr College.) Read more.
    2. Camp Pause, a video installation that tells the stories of four residents of the Rashidieh Refugee Camp on the coast of Lebanon. (Bryn Mawr College.) Read more.
    3. As Far As My Fingertips Take Me, an encounter through a gallery wall between a single audience member and a refugee. (Old City & Bryn Mawr College.) Read more.  
    4. Stories of Refuge, an immersive video installation that invites audiences to lay down on metal bunk beds and watch videos shot by Syrian asylum seekers in Munich, Germany. (Old City.) Read more.
    5. Tell Me What I Can Do, a newly commissioned work featuring letters that audiences have written in response to Gardens Speak. (Bryn Mawr College.) Read more.

More info and tickets here

  1. Bienvenido & welcome to the bilingual (Spanish & English) cast of La Fábrica performing Gustave Ott’s Passport. Lost in a foreign country, Eugenia is detained and thrown into a vicious maelstrom of miscommunication. This poetic and immersive Kafkaesque thriller delves into the question of immigration—exposing the mechanics of language and power. Some performances will be presented in English, some in Spanish, and some will be decided at the toss of a coin.

More info and tickets here

Read More

Poetry in the Air: Tangle Movement Arts brings Life Lines to the Fringe

Posted July 26th, 2017

Rebecca Mo Davis in Life Lines

In their seventh consecutive Fringe Festival show, Tangle Movement Arts uses the poetry of aerial dance and acrobatics to express stories of loss. The show is Life Lines, and it blends together circus arts, theater, and live music.  Philadelphia-born Lauren Rile Smith is one of the producers of the show and founders of the company. “Life Lines is a portrait of a community that is recovering from sudden losses,” she says. “It follows the story of three different women who are processing and healing from really unexpected change: one losing a lover, one losing a sense of safety or security, one losing a sense of connection with others.” In line with much of Tangle’s past work, this show is intensely emotional. The artists use their movements as a physical language to express feelings of loss, “like when you literally feel like the ground can’t support you, or that the person who’s holding you will drop you suddenly.”

Lauren grew up in a family of artists. She’s the oldest of four sisters, all artists: one sister is a violist, one is a playwright, and another a glassblower. She had never practiced circus arts – she had been on the track to become a writer. But while studying English at Swarthmore College, Lauren encountered the writings of a dancer and acrobat that guided her in another direction. “I’ve had chronic pain for most of my adult life. She wrote about her body as though it were a companion, a creative project, a creative constraint, something to take care of, and something that took care of her. I was mesmerized by the possibility that really anyone could relate to their body that way, and I thought, I want that.” She began learning the trapeze in 2009, and found that the nature of the exercise, along with becoming stronger, diminished her pain. All at once, she found herself falling in love with the art form of trapeze. “I loved the way it married these concrete visual metaphors with these surreal actions, like spinning upside down.”

With a couple of friends, she started Tangle Movement Arts in 2011, as an all-women group that was barreling head-on into a new and growing contemporary circus arts movement. Their first show, Ampersand, was in the Fringe Festival that year. Since then, they’ve put on two major shows each year, along with smaller pop-up productions in between. Even though she’s from Philly, she found herself thrown into the Philly arts scene in a new way, discovering that it was a vibrant and innovative community. She met many artists that moved Philly specifically to make art. “I’m finding that it’s such a welcoming community, and the different artistic communities have such great overlap.” One of these artists was Megan Gendell, who wrote the words that inspired Lauren back in college and changed the way she viewed her body. (She has since collaborated with Tangle, in past shows Tell it Slant and Points of Light.)

Read More

The Back Side Of Things, or The Art Of Volunteering

Posted August 10th, 2012

Festival Blog contributor Ellia Bisker is a writer, performer, and all around arts-girl who fronts NYC-based indie rock band Sweet Soubrette.

Glamor moment for volunteers.

When I started volunteering with the circus and variety arts troupe I’ve been working with for a decade now, it was the glamorous aspects of the show that pulled me in. I had no special interest in working in stage management or theater tech; I was just a starry-eyed fan and I wanted to see the show for free. Since then I’ve gone from volunteer to volunteer manager, with some detours along the way (merch girl, performer, board member), and I’ve learned a few things about the magic of stagecraft. I’ve also observed an interesting phenomenon that goes on when it comes to making that magic happen.

At a typical variety show I manage three volunteers, whose efforts are critical to the success of the operation. There’s the roustabout, who gets the privilege of carrying things on and offstage between acts (and occasionally of cleaning up . . . most memorably, after a “synchronized swimming” act left the stage covered in water, to the theater staff’s deep dismay). There’s the merch girl (or guy, but usually girl), who is tasked with trying to charm audience members into buying T-shirts and other wares during intermission and on to the bitter end of post-show socializing, while also keeping track of the money. And there’s the usher/mailing list person, whose responsibilities include getting people seated in orderly fashion and later pestering them to write down their e-mail addresses on a clipboard.

Backstage we’re all just people: the ringmistress and a volunteer share a moment.

In addition to delegating the tasks above, I play house manager, which involves liaising between the theater staff and our people, dealing with miscellaneous odds and ends, and handling unexpected emergencies. Are we ready to start? Are they ready to start? Why is the house music so quiet? Where is the sound guy? Who is on the comp list? Can we have our drink tickets now? Is there a mop handy? Is one of the volunteers willing to wear a Statue of Liberty costume in the next bit? Can we get some ice backstage, like, immediately?

These roles are not exactly glamorous. With a few exceptions (see: Statue of Liberty, above; occasional requests for lovely assistants), the volunteer jobs can be described as distinctly non-glamorous. For clarification, glamorous things include: spangled costumes; false eyelashes; fishnet tights; makeup; three-piece suits; larger-than-life stage characters. Non-glamorous things include: clipboards; spreadsheets; counting the money in the merch bank; carrying heavy things; mops. Put more broadly, glamour involves the end result, the glittery artifice, the successful illusion, while non-glamour involves everything it takes to get there. Presentation vs. process.

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Video Teaser For Séquence 8 by 7 Fingers

Posted April 17th, 2012

The Live Arts Festival is very excited to bring back the Montreal-based urban circus group 7 Fingers (Traces) for a U.S. premiere of their new show Séquence 8. Enjoy the trailer!