Friday, February 12, 2016

News: A burgeoning nontraditional theater scene

Lots of shows, not necessarily in traditiobnal settings or with traditional theater companies, pop up around the region. Howard Shapiro reports.

News: A burgeoning nontraditional theater scene


By Howard Shapiro


In Mount Holly, the 10-person audience sits around a séance table. In Society  Hill, folks with beers and slices of pizza look on at dinnertime as little  one-acts unfold.

At a restaurant on Front Street, the crowd - mostly under 35 - drinks, plays  games, and watches as actors spin skits about the bar scene. In a Center City  townhouse, actors launch Strindberg's Miss Julie in the living room,  and maybe partly in the kitchen.

Call it oddball theater, or fringe or cutting edge or outré. Whatever you  call it, nontraditional theater is turning up regularly in Philadelphia and  environs. It has no season tickets or ushers or mass marketing. And although the  shows generally pay their actors and designers, they're largely the work of  theater artists either aiming for one of the region's 51 main-stage companies or  committed to working on the margins.

Philadelphians who go to the theater are used to unusual productions, and to  new ones, too. About a fourth of the more than 150 professional productions  staged here annually are world premieres, often by local playwrights. Some have  legs, moving to new productions in other cities after first playing here.

Plus, this is one of the nation's first cities to inaugurate a fringe  festival, built in large part on unusual work. The 16-day Live Arts  Festival/Philly Fringe is in its 16th year, a solid part of the city's arts  psyche each September.

Many theater artists doing unusual work acknowledge that they owe much of  their audience to the festival; the Fringe has year by year built a thirst for  the weird, inspiring a complaint from ticket-holders: "Why do we have shows like  this only a few weeks a year?"

Well, we don't - not anymore. Pig Iron and New Paradise Laboratories, locally  based companies that perform groundbreaking theater around the country, produce  shows here, often in the festival but also on their own in the city. The  companies have spawned artists who now work in Philadelphia on their own unusual  projects.

The Live Arts/Fringe organization itself is a part of that expansion. Its  monthly salon called Scratch Night - "Live art from scratch" is the series  subtitle - invites audiences into the artistic process by presenting artists  testing new ideas and seeking candid feedback.

The program - free, informal, beer-inclusive at the festival's Arts Lab in  Northern Liberties - draws audiences eager to be part of the process. "These are  really great nights for this reason: The work isn't complete without an  audience's opinion," says Nick Stuccio, head of the festival. "What we're saying  is, here's a piece and we want to get your perception of. It's a lovely night  with audiences and artists really getting to the heart of something."

You could call the work at Scratch Night a high-level risk - yes, the ideas  in play are not fully realized, but they often involve established artists whose  track records give them credibility; people want in on their experiments.  Elsewhere, however, there's nontraditional theater that has been rehearsed,  reworked, and staged by producers who believe it's ready for audiences who may  like oddity.

Take Miss Lilly's Seance Parlor. Its creator-producer, Tom  Greenfield, emphasizes to audiences in the old Mount Holly house where it is  staged that the experience is thoroughly scripted and is by no means trying to  call up the dead. Still, those emerging from the show one recent night seemed  delighted - "very unusual," "fun!" - with the sort of séance-parlor scene  popular in the early 1900s.

"It's a crazy little experiment I put together," says Greenfield, 51, a  former production designer for ABC television. "I call it my midlife crisis." If  so, it was a crisis that called on his design talents; he refurbished an old  house to look ghostly inside, installing all the necessary creaks and special  effects.

Another show recalling the old days is Magic Burlesque, which runs  the first Saturday of every month at the 50-seater called Grasso's Magic  Theatre, on Callowhill Street near Front, at the edge of Center City. It's  generally staffed by three female dancers and a musician, and has become popular  enough over the last few months for Joseph A. Grasso, owner of the theater, to  add a second show on the days it plays.

Magic Burlesque changes month to month. "These girls dance and sing  probably 10 songs, every one in a different costume, just like in the vaudeville  days," says Grasso. "It's clean burlesque with sexy costumes. There's a song and  then a magic trick, back and forth."

The audience demographics for shows such as these is as varied as the shows  themselves. A Play, a Pint and a Pie - a series of weekday, after-work  one-acts whose $15 ticket price includes a beer and a slice of pizza - draws  theatergoers who also attend main-stage performances, and who range in age from  21 to Medicare. The series, which ended its second season this week, generally  filled the Red Room at Society Hill Playhouse on Eighth Street in Center  City.

It's run by Emma Gibson, artistic director of Tiny Dynamite Productions, a  local company that presents the work of contemporary British playwrights. A  Play, a Pint and a Pie is, in fact, a knock-off of a successful British  series of informal productions, and Gibson says she's now sharing scripts and  ideas with the British operation.

Some of the city's unusual theater comes from collaborations. The Painted  Bride Art Center, on Vine Street, granted an 18-month residency to New  York-based theater and movement artist Ain Gordon and Philadelphia filmmaker  Nadine Patterson to create a new piece of theater involving a real but  never-told story of an everyday place in the city. Gordon, who had done a  similar piece called In This Place in Lexington, Ky., presented that  show at the Bride earlier this month.

Likewise, a New York company called the Riot Group joined with Drexel's  theater program for The Poet Laureate of Capitalism - an avant-garde  play that explored money, friendship, and art. It ran here earlier this month  over four days, then went on to several performances for invited audiences  Off-Broadway.

Some of the nontraditional productions are clearly goofs, while others aim  higher. One of the former is Bye Bye Liver, which draws young audiences  on Saturday nights to Downey's Restaurant, at Front and South Streets, where  they sit in a second-floor playing area to watch a small cast perform bar-scene  skits such as "The One Girl You Should Never Ever Serve Liquor To." Philadelphia  is the latest venue for Bye Bye Liver, which began in Chicago in 2006,  has spread to other cities, and would work well in college dorms if the drinking  age were lower.

On the other end of the spectrum is Miss Julie, August Strindberg's  1888 tale of power and social class set on a Swedish estate. But in the  production by In Version Theatre, a small new company, it will unfold during the  first week of May in a Center City townhouse whose location is currently under  wraps.

"We'll probably leave the homeowner's chairs in the angle they're in, and as  we add chairs we won't be creating rows or anything like that," says artistic  director Will Steinberger, whose day job is at the Wilma Theater as an artistic  assistant.

Steinberger says he's "really excited" about the possibilities - and like all  arts managers in theaters traditional or not, he's looking for maximum ticket  sales. "It's a beautiful home, and even before adding seats it sits 25. We'd  like to add to make it 50. We are still figuring it out."

Contact Howard Shapiro at 215-854-5727 or, or #philastage on Twitter.


Read his recent work  at Hear his reviews at the Classical Network,

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About this blog

Toby Zinman's night job since 2006 is theater critic for the Inquirer where she reviews New York and London as well as Philadelphia. Her day job: Prize-winning prof at UArts, author of five books about modern and contemporary drama, and doer of scholarly deeds (winner of five NEH grants, Fulbright lecturer at Tel Aviv University, visiting professor in China). She was recently named by American Theatre magazine "one of the twelve most influential critics in America."

Wendy Rosenfield has written freelance features and theater reviews for The Inquirer since 2006. She was theater critic for the Philadelphia Weekly from 1995 to 2001, after which she enjoyed a five-year baby-raising sabbatical. She serves on the board of the American Theatre Critics Association, was a participant in the Bennington Writer's Workshop, a 2008 NEA/USC Fellow in Theater and Musical Theater, and twice was guest critic for the Kennedy Center American College Theater Festival's Region II National Critics Institute. She received her B.A. from Bennington College and her M.L.A. from the University of Pennsylvania. She also is a fiction writer, was proofreader to a swami, publications editor for the Women's International League for Peace and Freedom, and spends all her free time working out and driving people places. Follow her on Twitter @WendyRosenfield.

Jim Rutter has reviewed theater for The Inquirer since September, 2011. Since 2006, he covered dance, theater and opera for the Broad Street Review, and has also written for many suburban newspapers, including The Main Line Times. In 2009, the National Endowment for the Arts awarded him a Fellowship in Arts Journalism. Thames & Hudson released his updated and revised version of Ballet and Modern Dance in June, 2012. From 1998 to 2005, he taught philosophy and logic at Drexel, and then Widener University. He also coaches Olympic Weightlifting for Liberty Barbell, and has competed at the national level in that sport since 2001.

Merilyn Jackson regularly writes on dance for The Inquirer and other publications. She specializes in the arts, literature, food, travel, and Eastern European culture and politics. In 2001, she was dance critic in residence at the Festival of Contemporary Dance in Bytom, Poland; in 2005, she received an NEA Critics’ Fellowship to Duke University’s Institute for Dance Criticism. She likes to say that dance was her first love but that when she discovered writing she began to cheat on dance. Now that she writes about dance, she’s made an honest woman of herself, although she also writes poetry.

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