Posts Tagged ‘Film’

Dance Collection

Posted September 13th, 2019

September 13 + 14, 2019

Dancefusion presents Dance Collection with Dance Iquail and Megan Flynn Dance Company. The program features Dancefusion in the revival of Mary Anthony’s Seascape (1973) along with new works by Janet Pilla Marini, Camille Heasley, and Omar Frederick Pratt. Dance Iquail and Megan Flynn Dance Company present compelling new works.

$25 / 85 minutes

Dancefusion in collaboration with Dance Iquail and Megan Flynn Dance Company will present Dance Collection at this year’s FringeArts Festival on September 13 at 7:00pm and September 14 at 3:00pm and 6:00pm at the Performance Garage 1515 Brandywine Street Philadelphia 19130. The program will offer an assemblage of works, both old and new that will offer the audience a wonderful glimpse into three powerful, Philadelphia based, modern dance companies. 

Dancefusion will feature the revival of Mary Anthony’s Seascape. Choreographed in 1975 to music by John La Montane, this work illustrates Mary’s love for the sea and its wildlife along the coast of Fire Island, NY. Dancefusion will primer three new works by company members; Dawn Chorus, by Janet Pilla Marini is set to music by Inward Coil and is inspired by a community of prey and predators. Camille Halsey’s A Time for a Season explores Ecclesiastes 3:1 “To everything there is a season.” Set to music by Zoe Keating, Camille states, “we all go through different season in life where we are challenged, but we must choose to embrace our circumstances and grow as people. Pictures in Glass Frames by Omar-Frederick Pratt is set to music by Craig Armstrong and Max Richter. It’s been said “A picture is worth a thousand words”. This piece explore the feeling of vulnerability by putting those “pictures” on display, having to talk about them in an open setting.

Dance Iquail will present a mini-documentary From The Directors Point of View followed by Night Falls a solo choreographed by Iquail Shaheed set to music by Booka Shade.

 Megan Flynn Dance Company will premiere Megan’s newest work, Ties which is inspired by an exploration of Attachment Theory – how the type of attachments we form in early childhood, shape a lifetime of interpersonal relationships. What is the long term psychological impact when those earliest bonds are secure, unstable or unexpectedly severed? How do we find stability amidst chaos? Flynn explains, “I commenced creative research on this piece while I was in residence with The NADINE Project this summer at the Dragon’s Egg in Ledyard, CT, not far from my parents’ home. I was simultaneously embodying memories of my own happy childhood, against the backdrop of the horrifying accounts of the current crisis in the child detention centers. With my dancers, we are questioning the distinction between boundaries and borders, ties and tethers, confinement and containment, and how we perceive attachment to others.”

Learn More:

Facebook (Dance Fusion)
Facebook (Megan Flynn Dance)

Red Lodge, Montana

Posted September 7th, 2019

September 7–9, 11–13 + 15, 2019

A mysterious death. An enigmatic detective. And some damn fine huckleberry pie. Inspired by the work of filmmaker David Lynch, Red Lodge, Montana will immerse you in a nightmare world of danger, desire, and doppelgängers. (Pie not included.)

$20 / 80 minutes

Red Lodge, Montana follows a troupe of actors as they attempt to produce their own send-up of David Lynch’s landmark television series Twin Peaks. What they end up creating is a live-action nightmare. Audience members will follow characters through the performance space as if they are walking through one of Lynch’s films.

Please Note: This performance will require audience members to stand and travel through the space, and the venue is not ADA-compliant. The performance contains strobe lights, loud sounds, simulated drug use, nudity, and moments of simulated violence. If you have additional questions about the content of the show, please e-mail info@findtheantidote.org.

There will be no late seating at this performance.

Director & Co-Creator Michael Osinski Cast & Co-Creators Terrill Braswell, Anthony Crosby, Megan Edelman, Josh Hitchens, Kelly McCaughan, Amanda Schoonover, Geremy Webne-Behrman Stage Manager Eleanor Safer Sound & Video Designer Daniel Ison Lighting Designer Sydney Norris Scenic & Props Designer Dylan FitzSimons

The Antidote is an ever-changing collective of artists led by Philadelphia-based director and theater artist Michael Osinski. The Antidote believes live performance succeeds most when it entertains audiences and gives them a puzzle to solve. We blend contemporary pop culture with classic plots to craft a new way of telling stories. One that blends timeless tales and viral videos. One that appeals to the fast-paced multi-tasking world we live in.

The Antidote’s first production in 2015—The Hamlet Project—reimagined the Shakespearean classic through the lens of daytime television talk shows, music videos, online blogs, and pharmaceutical commercials. Great Again (2017) paid homage to Ibsen’s housewife heroine Nora Helmer, blending 1950’s sitcoms, dance crazes, and pulp fiction, all within the comfort and confines of a South Philly row home. Most recently The Antidote debuted its take on the self-help seminar with The Celebrity Guide to Mental Health and Wellness at the 2019 Philadelphia SoLow Fest.


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Posted September 6th, 2019

September 6–8 + 13–15, 2019

Separated by time and space, Meg and Sterling have to find their way back to the center of the Wild Wild Web. Through dance, theater, and video, SplitScreen helps us rediscover who we are in this new digital landscape. No one is turned away at the door due to lack of funds.

$10 / 45 minutes

Created and Performed by Meg Kirchhoff and Sterling Melcher Music by Tom Carman MN Outside Eye by Karina Culloton PHL Outside Eye by Jeffrey Evans

For information about the Minneapolis location, please email tree.lock.productions@gmail.com

This production was developed through Philadelphia’s SoLow Fest 2018, Springboard for the Arts and the Hinge Artist Residency in Fergus Falls, MN, Joe’s Steak + Soda Shop, and the generosity of the populace at large.

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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:


  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


  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

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Romeo, Romeo: Castellucci Film Screening and Discussion

Posted August 12th, 2014

castelluccifilmscreeningOn August 19, FringeArts wants you to come talk about Italian theater director Romeo Castellucci. We presented his On the concept of the face, regarding the Son of God as the centerpiece of last year’s festival. As part of the 2014 Presented Fringe, we’re offering The Four Seasons Restaurant.

If you saw one, or want to see the other, stop on by. We’re screening Castellucci excerpts, and Yale School of Drama professor Tom Sellar (who also edits the renowned performance journal Theater) will discuss things like: why does Castellucci use a NASA-recorded sound of a black hole? Are those police in that picture actually helping that guy? And why might women appear to cut of their tongues? I’m not sure if there will be free beer, but I’m guessing the evening should be mind-altering anyway.

RSVP here.

Romeo Castellucci Film Screening and Discussion with Tom Sellar
Tuesday, August 19
7:30 pm
140 N. Columbus Boulevard

–Nicholas Gilewicz

The Weekender: QFest, family friendly community disco, the mass appeal of sugar substitutes, and storming the Bastille with high-kicking ferocity

Posted July 12th, 2013
Who's Afraid of Vagina Wolf?

Who’s Afraid of Vagina Wolf?

See such born-to-be classics as Who’s Afraid of Vagina Wolf?, The Secret Disco Revolution,and Meth Head at the biggest queer film festival on the east coast, Philly’s QFest! The festival, kicking off Thursday, July 11th and exciting our filmic senses until July 22nd, is stocked with goodies from the cow hide-laden James Franco/Travis Matthews film Interior. Leather Bar. to the scintillating Pratibha Parmar documentary Alice Walker:Beauty in Truth. View the event shedule and venue map and make good choices!

Caili Quan, Billy Cannon and Richard Villaverde in Beautiful Decay, Photo by  Alexander Iziliae

Beautiful Decay, Photo by Alexander Iziliae

“Is it like, all classical?” a friend asks as we enter The Wilma Theater, 265 South Broad Street.  “No, it’s BalletX! Like the “Z“ in Zorro, the “X” clearly indicates that we are about to see edgy, cerebrally demanding contemporary ballet!” And that’s just what choreographer Nicolo Fonte and the BalletX company deliver in their Summer Series piece, Beautiful Decay. Running July 10th through the 14th with tickets ranging from $22 to $40, it is an enthrallingly impressive work The Philadelphia Inquirer pronounces as “too important to be unknown to Philadelphia ballet lovers.” (TIX)


ParkJam at Malcolm X

Strap up your workman’s boots and prepare to A-town stomp the chlorophyll out of West Philly’s outdoor discotheque, otherwise known as the spacious green at Malcolm X Park, running between 51st and 52nd Street and between Pine Street and Larchwood Avenue. On Saturday, July 13th from 2pm to 7pm, the green lends itself to ParkJam, a  Garden Community Association sponsored community dance party featuring co-presenter and Philly DJ Danophonic Dan, folk rock/golf enthusiast band HighKick, a moon bounce (!!), local artisans, food trucks, and community members and groups galore.


Tastier by Leslie Friedman

Ongoing until July 26th, Philadelphia printmaker and installation artist Leslie Friedman, explores the bodily and psychological effects of our culture’s strange sexual attraction to Coke ZeroTastier, showing at Space 1026, 1026 Arch Street, 2nd Floor specifically aims to stage interventions between Crystal Light lemonade packet suckers and art goers all over Philadelphia by drawing parallels to the allure of simulated pleasures and stripping sleek, sexy soft drink labels from bottles and replacing them with bright sugar-rushes of technicolored sex. Bring your own juice box.

Bearded Ladies, Bastille Day 2011

The Bearded Ladies, Bastille Day 2011

As we mourn the loss of Twinkies, we look to Marie Antoinette, patroness of good will and hope, as she cries “Let them eat Tastykake!” from atop Eastern State Penitentiary, 2027 Fairmount Avenue. All day Saturday, July 13th the Penitentiary will celebrate Bastille Day with discounted tour rates, the beheading of Antoinette, emcee Edith Piaf, French-themed menus at surrounding restaurants, and a slew of sobering, historically faithful theatrical performances including a visit from experimental cabaret group, The Bearded Ladies. Before you go, check out this instructional video on how to dance like a revolutionary. 

Spend a relaxing Sunday afternoon entranced by ornately costumed body rolls and globally infused instrumentals. For $12 on July 14th at 7:30pm, World Cafe Live, 3025 Walnut Street provides the scene for ANIMUS- Philadelphia’s Belly Dance Spectacular. Musical ensemble ANIMUS brings its culturally diverse musical concepts and traditions–Greek, Blues, Middle Eastern, Jazz, Spanish, Funk, Latin, Rock, Indian, Jewish Klezmer, and African and tosses the norm amongst the reverberations of emotional rhythmic energy. (TIX)

–Maya Beale

Philly Fringe Vital Stats: Martine Pelletier of the Film Fringe Tour

Posted August 15th, 2012

Film Fringe Tour is in Scotland right now, strutting its reels at the Edinburgh Festival Fringe. Even fitted with international features that include Runaway, filmed in Bangladesh, and Viette, which explores the divide between a first-generation American and her Vietnamese parents, one real draw is local. The Prep School Negro is a feature-length film by André Robert Lee, and explores the consequences of elite education: as a 14-year-old growing up in a low-income Philly neighborhood, Lee receives a scholarship to attend Germantown Friends School. Soon he finds himself sharing classrooms with children of the city’s wealthiest (and whitest) families, while feeling increasingly ousted by his neighborhood allies. Watch a preview below:

[youtube http://www.youtube.com/watch?v=8c14sWbuTw8&w=560&h=315]

After the jump: One of the tour’s producers Martine Pelletier Vital Stats’d us.

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Why Philadelphia Rules: David Lynch Edition

Posted July 23rd, 2012

“I always say my greatest inspiration came from the city of Philadelphia, Pennsylvania. So many reasons, the mood of the place, the architecture, what I saw and heard and felt. It was very magical, but laced with a deep tormenting fear and sickness. And I ate many steak sandwiches there.”

I Like America and America Likes Me: A Meditation on Performance and Violence

Posted July 22nd, 2012

“When you’ve begun to think like a gun / the days of the year are already gone.”
—John Cale, “Gun”

“John Kennedy shot John Wilkes Booth in the heart. Booth went to a farm bleeding. He ate a live cow. Kennedy found him and shot him with Kotex. He shot him in the Goddamn fucking empty American heart. He shot him with McGeorge Bundy. He shot him with Arthur Schlesinger. He shot him with miracles and master plans. He shot him with everything. Everything has 13 or 26 or 89 letters. Kennedy, Booth, Oswald, Ruby and Lincoln are all dead.”
—Bill Hutton, A History of America

In 1974, Joesph Beuys came to New York and spent three days living with a coyote in the Rene Block gallery. Beuys titled his performance Coyote: I Like America and America Likes Me. Of the show, Beuys, ambivalent about the United States and its role in global warfare and perpetuation of violence, said, “I wanted to isolate myself, insulate myself, see nothing of America other than the coyote.”

Beuys fashioned himself a mystic, a shaman, and he hoped in some way to commune with what, perhaps, he saw as the spirit of America, the coyote, the spirit with which Americans themselves were (and are) at war. According to David Levi Strauss, Beuys “engaged the coyote in a dialogue to get to ‘the psychological trauma point of the United States’ energy constellation; namely, the schism between native intelligence and European mechanistic, materialistic, and positivistic values.” The investigation has been framed as one of artistic authority. But in its connection to the United states, the question regards authority more broadly.

Aspects of this schism pervade United States culture. The coyote is reviled by ranchers, for example, as an agent of chaos; but we also laud the coyote for its freedom to roam the United States heartland, and in some way, respect its ability to resist and adapt to our attempts to exterminate it. This tension—between what we understand (and desire) as pure freedom and what we accept (or inflict) as order—undergirds how we think about what it means to be American. And that includes how we think about our gunmen.

After the jump: the duplicity of terror, and getting free.

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