So it’s been a while, but FringeArts is going on at a frantic, impossible pace, and I will have reviews going up. My general article on the Fringe and how it works was posted at Art Attack last week: http://www.philly.com/philly/blogs/art_attack/The-living-breathing-arts.html. I’m very happy to say that no Philly.commers have commented on it yet – everyone is keeping their bigoted mouths shut. That, or no one is reading it – but I welcome your informed opinions and feedback!
If there had been nothing of worth this year besides Attis Theater’s Ajax: The Madness, then I would have called the festival a success. Nearly every year there is one Presented show which changes the way I look at theater and the world around me, and this is the one. Unfortunately, it was also my first show, and though I will try not to let its excellence color the way I see every other show in the fest, it may somehow alter my perspective until next year’s Fringe. My brief review at Phindie is here.
And of course the incomparable Aaron Cromie and Mary Tuomanen have created their Saint Joan: Betrayed. My preview piece is a bit out of date now (and, I later learned, a little bit untrue). This will be one of the front-runners in the Neighborhood Fringe. Cromie said in our interview that Tuomanen is “a chameleon” and that “people will really dig that she can become so many things.” This is absolutely true. It is a constantly pleasant experience, and there are some shocks and laughs that come out of Cromie’s toy theaters, as well.
What should you see that’s still going on? Well, definitely check out On the Concept of the Face, Regarding the Son of God at the Suzanne Roberts Theater. That’s just this weekend. It isn’t pleasant, but it is insanely powerful. It’s one of those plays that will actually change you. Pig Iron’s Pay Up is really interesting, and The Quiet Volume is a must-see. I have reviews of all of them coming . . . eventually . . . at Art Attack’s whim, really.