Posts Tagged ‘Peter Pan’

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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Dancin’ On Air: Pennsylvania Ballet Dancers Reveal How They Learned To Fly In Trey McIntyre’s Peter Pan

Posted April 26th, 2012

Learning to fly while dancing.

In Pennsylvania Ballet’s upcoming production (and company premiere) of Trey McIntyre’s Peter Pan there is a lot of air time. But this air time is not just for the audience to say, “Wow, they’re flying,” but it is used to create a vertical canvas where much of the choreography and evocative imagery of the ballet takes place. For this production, the flying is not controlled by “eight guys standing in the wings” but is programmed, fully automated, and computer-controlled. We caught up with PA Ballet dancers Evelyn Kocak, who plays Wendy, and Alexander Peters, who plays Peter Pan, to discuss this process and what it’s like to be truly dancin’ on air.

Live Arts: Do you enjoy the flying?

Evelyn Kocak: I do enjoy the flying. Generally, I’m scared of heights, but somehow
 the sensation of flying is not nerve-wracking for me, possibly because there’s motion involved.

Alexander Peters: This whole experience of flying has been new for me. At first I would say I was slightly nervous, but within a few rehearsal hours, I was fully comfortable and enjoying the weightless and anti gravitational sensations.

LA: How does it work?

Just don't look down.

Evelyn: Aside from the pixie dust, we wear a harness that has a wire attached to the back of it that suspends us. The wire is connected 
to a machine, which has been computer-programmed to make us fly.

Alexander: A majority of the rehearsal process was spent doing trial-and-error through the specific choreographed sequences. We are put in a harness around the hips and sent into the air, and then slowly adding in the choreographed tricks as we felt more comfortable.

LA: Talk about a typical rehearsal for Peter Pan.

Alexander: Trey really likes for us to be fully immersed in our characters throughout the entire rehearsal process, so even during the flying, we are very aware of how our characters would act and react to what is happening in the air.

Evelyn: A typical rehearsal for Peter Pan usually means running through the
 material of the ballet from start to finish. I’m preparing for the
 role of Wendy, so there’s been a particular emphasis on creating a character and story that is believable and authentic. Trey McIntyre
 has been working with all of us to establish a dialogue in our heads that will help physically communicate the character and action we’re trying to portray on stage.

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