Philadelphia City Paper, September 3rd, 2015

ISSUE #1579

SEPTEMBER 3 - SEPTEMBER 9, 2015

P H I L A D E L P H I A

S ’ T LE LK TA T U O AB CE RA A IK AL

BY M MISON JA

The Dina Wind Power of Art Conversation The Digital Experience | Wednesday, Sept. 9, 6:30 p.m.

Google Art’s Lucy Schwartz, artist Mark Tribe, and Museum Director Timothy Rub. Free ticket required. Continue the conversation afterward at the free reception. philamuseum.org This is a Power of Art program, sponsored by the Wind Foundation.

CIT YPAPER.NET // SEPT. 3 - SEPT. 9, 2015

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IN THIS ISSUE ‌ p. 8

HISTORY, HOW WE LIKE TO SEE IT

Philadelphia’s Beer Authority OVER 1000 AMERICAN CRAFTS AND 500 IMPORTS

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Philadelphia Ceili Group 41st Annual Irish Traditional Music & Dance Festival September 10, 11 & 12, 2015 The Irish Center, Philadelphia, PA John Byrne Matt Ward The McGillians Marian Makins Philadelphia Ceili Band

215-468-0222

2809 S. Front St.

Front & Oregon

Philadelphia

4AX NOT INCLUDED s 1UANTITIES ,IMITED .OT RESPONSIBLE FOR TYPOGRAPHICAL ERRORS

CP STAFF The River Drivers The Jameson Sisters John McGillian Haley & Dylan Richardson The Next Generation

McDade-Cara School of Irish Dance

and Saturday’s Festival Finale Concert Featuring

Girsa Mary Courtney For more info on the Festival’s three days of Irish traditional Singers & Musicians, Dancing, Sessions, Free Hands-on Workshops & Lectures for all ages* go to: www.philadelphiaceiligroup.org/2015pcgfestival

Something Different.

Tikkun Olam Chavurah High Holidays 2015/5776 With Rabbi Linda Holtzman, Fringes, and other rabbinic and lay leadership.

All services at Germantown Mennonite Church, 24 W. Washington Lane, Phila., PA, unless otherwise speciďŹ ed.

Selichot:

Sat., 9/5, 10:00 PM, Mt. Airy Moving Arts Studio, 6819 Greene St., Phila., PA

Rosh Hashanah:

Mon., 9/14, 9:30 AM, followed by a potluck lunch (please bring a dish to share)

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THE LAST TIME we heard from comic artist Andrea Tsurumi, she mooned us with a drawing of Ben Franklin’s bare butt in her cartoon, “Famous Body Parts of Philadelphia.� Now, she’s back with another history lesson, this time a tale from 1808 and a pair of grizzly bears that were “perfectly gentle� as cubs.

See what happens when a Philly museum operator tries to drum up attendance with them.

*Workshops & Lectures free for PCG members and students with paid admission on Saturday

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Associate Publisher Jennifer Clark Editor in Chief Lillian Swanson Senior Editor Patrick Rapa Arts & Culture Editor Mikala Jamison Food Editor Jenn Ladd Senior Staff Writer Emily Guendelsberger Staff Writer Jerry Iannelli Copy Chief Carolyn Wyman Contributors Sam Adams, Dotun Akintoye, A.D. Amorosi, Rodney Anonymous, Mary Armstrong, Bryan Bierman, Shaun Brady, Peter Burwasser, Mark Cofta, Adam Erace, David Anthony Fox, Caitlin Goodman, K. Ross Hoffman, Jon Hurdle, Deni Kasrel, Alli Katz, Gary M. Kramer, Josh Kruger, Drew Lazor, Alex Marcus, Gair “Dev 79� Marking, Robert McCormick, Andrew Milner, John Morrison, Michael Pelusi, Natalie Pompilio, Sameer Rao, Jim Saksa, Elliott Sharp, Marc Snitzer, Nikki Volpicelli, Brian Wilensky, Andrew Zaleski, Julie Zeglen.

Production Director Dennis Crowley Senior Designer/Social Media Director Jenni Betz Contributing Photographers Jessica Kourkounis, Charles Mostoller, Hillary Petrozziello, Maria S. Young, Neal Santos, Mark Stehle U.S. Circulation Director Joseph Lauletta (ext. 239) Account Managers Sharon MacWilliams (ext. 262), Russell Marsh (ext. 260), Susanna Simon (ext. 250) Classified Account Manager Jennifer Fisher (215-717-2681) Editor Emeritus Bruce Schimmel founded City Paper in a Germantown storefront in November 1981. Local philanthropist Milton L. Rock purchased the paper in 1996 and published it until August 2014 when Metro US became the paper’s third owner.

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C I T Y PA P E R . N ET // SEP T EMBER 3 - SEP T EMBER 9, 2015 // PHIL ADELPHIA CI T Y PAPER

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THE BELL CURVE

-1

Artist Perry Milou, whose painting of Pope Francis was licensed to be printed on souvenirs, is at press time in negotiations with Getty Images, which owns a similar photograph. “How ’bout I just absolve you of all copyright obligations?

I’m the crazy pope. I do what I want.”

+2

The Philly Naked Bike Ride photobombs wedding photos being taken near City Hall. This week in Byko!: Bicycles are threatening the sanctity of marriage!

more picks on p. 24

EARL SWEATSHIRT

He couldn’t really spell it any more clearly: the title I Don’t Like Shit I Don’t Go Outside (Columbia) slapped against a flat, tattered black field, makes for a pointedly unenticing cover image. And the contents of the latest fulllength from Odd Future’s most gnomic member — a onetime prodigy turned bitter, disillusioned veteran at age 21 — follow suit. It’s a deeply dour, insular affair, an old-schoolstyle half hour/10 tracks of little but bleakly minimalist post-El-P beats and Sweatshirt’s dogged, deliberate, ticked-off rhyming. 9/5, TLA, tlaphilly. com.—K. Ross Hoffman

The Washington Post says New York City and Washington, D.C., are not freaking out over their impending papal visits, and says “Philadelphia risks reinforcing the notion that it is a second-rate stopover.” What say we organize a hayride to go down there and teach them eggheads a lesson?

+1

The World Meeting of Families says it has tried to stem the growing negativity surrounding the pope’s visit with a new marketing campaign, including posters of Pope Francis with the slogan “I’ll be there.” If you’re planning on driving or taking public transit, this slogan does not apply to you.

THE MEETING

QUICK PICKS

-2

There won’t be any sheet music onstage at Chris’ for this summit meeting of three of Philly jazz’s leading voices: saxophonist/ bandleader Bobby Zankel, bassist Jamaaladeen Ta cuma and drum mer Webb Thomas. Though they’ll be improvising, the spirit of Ornette Coleman, who passed away in June and employed Tacuma in his avant-funk band Prime Time, will no doubt unite them. 9/4, Chris’ Jazz Café, chrisjazzcafe.com.

+2

Comedian Kevin Hart leads 4,500 runners on a 5K through the city. “5K? I was chasing him down to get my money back for The Wedding Ringer.”

RI CH BRO ME

2

-

SEPTA expected to sell out of its 350,000 papal passes, but still has 200,000 remaining. “It’s hard to tell what went wrong,” says SEPTA spokesperson. “We might have overestimated demand, but it might be that our shitty site doesn’t work, so we can’t actually complete any sales. Oh, or that these passes don’t actually get you anywhere near any of the pope stuff. Probably doesn’t help that everyone in city government is losing their goddamn minds over this and nothing will be open, so why would anyone want to come anyway? Sometimes I talk too much.”

DENGUE FEVER

Jamaaladeen Tacuma

PLANTING A FOREST

—Shaun Brady

Earl Sweatshirt

Some of the most beautiful spots in Philadelphia would be nothing without the foliage that frames them. For the more than 30 artists showcased in “Planting a Forest,” Phila del phia’s trees hold per sonal sig nif ic ance.

TreePhilly partnered with Painted Bride for this exhibit, which is part of their RE-PLACE-ing Philadelphia project. Reception 9/4, exhibit through 10/17, Painted Bride Art Center, paintedbride.org.

—Katie Krzaczek

Dengue Fever

MARC WALKER

The Philadelphia chapter of the National Organization for Women demands District Attorney Seth Williams investigate the porn emails. “OK, how’s this?: I hereby seize all the porn via civic forfeiture,” says Williams.

“I’ll be in my den.”

SOUNDEVIDENCE

+2

BRICK STOWELL

THIS WEEK ’S TOTAL: +2 // THE YEAR SO FAR: -17

OUR WEEKLY QUALITY-OF-LIFE-O-METER

When they started out, Dengue Fever threatened to be another hip ster appropriation act, performing psych-rock covers of ’60s Cam bod ian pop tunes. They’ve grown into their hybrid style since then, wearing their fusions as a comfortable skin rather than as a thrift-store chic outfit. There’s nary a wink in the original songs on The Deepest Lake, which finds room for L.A. punk and new wave influences.

9/9, Johnny Brenda’s, johnnybrendas.com.

—Shaun Brady

UNCOMMONS

Planting a Forest

In this installment of the Incubation Series — a collaboration between Penn’s grad programs in fine arts and history of arts — five artists present a mixedmedia exploration of our physical, psychological and digital worlds. Each piece examines the way bodies “perceive, negotiate and move in public, private and virtual spaces.”

9/4, Little Berlin, littleberlin.org. —Katie Krzaczek

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PHIL ADELPHIA CI T Y PAPER // SEP T EMBER 3 - SEP T EMBER 9, 2015 // CI T YPAPER .NET

THENAKEDCITY

NEWS // OPINION // POLI T ICS

TOO QUIET: A disabilities service provider called Special People in the Northeast spent more than $400,000 to renovate this building to hold 120 preschoolers, but the state budget standoff means the rooms will remain unused until the squabbling in Harrisburg ends.

MARK STEHLE

EDUCATION

BY JERRY IANNELLI

BUDGET IMPASSE IS HOLDING PRESCHOOLS HOSTAGE

Preschools funded through the Pre-K Counts program were expecting a huge funding increase this year, but the state budget stalemate has left them in the dark and scrambling to pay bills.

THE PENNSYLVANIA BOARD of Education’s Pre-K Counts program, which launched in 2007 and helps more than 10,000 students, many of them low income, attend preschool in communities across the state, was slated for a huge expansion. Earlier this year, the state board told childcare providers funded through the program that it was pushing for a $100 million increase, and that schools ought to start gearing up for a jump in enrollment.

Among those providers was Special People in the Northeast Inc. (SPIN), a nonprofit that provides services,

including early-childhood education, to people in the Philly area with intellectual disabilities. Kathy Brown McHale, SPIN’s president and CEO, said her organization spent more than $400,000 to renovate a building on Dunks Ferry Road owned

by St. Anselm Church in Northeast Philadelphia. SPIN created a space that could hold 120 pre-K students, hired 25 more employees and trained them according to state regulations.

SPIN also bought $180,000 in equipment and school supplies.

Renovations to SPIN’s new facility will be completed by Sept. 4, but

the pre-K classrooms will likely remain empty much longer. Because the state has yet to adopt a budget, Pre-K Counts providers are not only stuck waiting for funding just to stay in business, they don’t even know how much the state is going to provide under a new budget.

“The people who work here want to work here, and think these jobs are important,” Brown McHale says. “Unfortunately, we have to tell them now that we can’t pay them what we thought we could. On top of that, we have to tell parents now that their kids might not be able to go where they expected.”

According to figures provided by the Delaware Valley Association for Educating Young Children, the need for early childhood care in Philadelphia is so great that Pre-K Counts providers in the city requested more than 4,000 new seats this year — and each of those providers is being held hostage financially until the impasse ends.

The state legislature is currently tasked with putting together a working budget, despite the mile-wide ideological gulf between Democratic Gov. TomWolf and the Republican-controlled state legislature. Wolf, elected last November, wants to raise income taxes, and promised during his campaign that he would tax natural gas drillers in the state, two sticking points with prominent state Republicans, including Senate President Pro Tempore Joe Scarnati and House Speaker Mike Turzai.

In theory, the state was supposed to have passed a budget before the new fiscal year began on July 1. But with budget negotiations now at an impasse, lots of state payments, including those to some construction companies and, most notably, $110 million due to human services nonprofits through the end of July, are being delayed.

Though state shutdowns across the country typically last only a handful of months, that revenue loss can be catastrophic for human-services providers like nursing homes and schools, which often rely heavily on state aid, and usually operate on small budget margins. Groups with large cash reserves or diverse sources of income, like construction firms, can typically make it through a shutdown just

fine — nonprofits, meanwhile, are often forced to take on hundreds of thousands in loans just to keep their doors open.

An August survey conducted by the United Way of Pennsylvania identified 110 nonprofits that planned to take on a combined $1.4 million in loans to stay open until the end of October.

The Pennsylvania Department of Education’s early childhood programs, like the Pre-K Counts program, for example, are funded through a number of complicated grant programs. Some pay individual school districts, who then divvy up money to preschool providers; others pay pre-K programs directly.

‘The people who work here want to work here, and think these jobs are important....

On top of that, we have to tell parents now that their kids might not be able to go where they expected.’

The state started the Pre-K Counts program as a way to better fund “high quality” preschool programs in low-income areas, which tend to lack preschools with adequate supplies or well-trained teachers. (The state ranks pre-K programs from one to four stars; “high quality” means three- and four-star programs.)

According to a Department of Education spokesperson, there are currently 13,456 students enrolled in Pre-K Counts programs statewide, and 2,834 in Philadelphia.

Even among nonprofits, the state’s early-childhood-education programs are getting hit particularly hard. A July report by the Nonprofit Finance Fund and the William Penn Foundation said that virtually all of the early-childhood education providers in Pennsylvania are operating “close to the financial edge,” regardless of the quality of care they provide. Most providers, the report said, are barely able to break even, and do not have the cash to weather long stretches without much income.

Suzann Morris, assistant director of public policy at the Delaware Valley Association for the Education of Young Children, says that since none of the organizations that applied for new seats will know how many the state will award

continued on p.6

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C I T Y PA P E R . N ET

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BUDGET IMPASSE IS HOLDING PRESCHOOLS HOSTAGE

continued from p.4

Minyan Sulam Yaakov at the Gershman Y

6

them until the impasse ends, the entire program has been thrown into disarray. “This sets the whole school year behind,� Morris says. “Some programs will be scrambling to fill those seats. It’s already an uphill climb — asking schools to wait a couple of months, and then to recapture parents, will be tough. The Pre-K Counts program right now is not very visible to the public.

It’s going to be tough to get a full enrollment.�

Statewide, she says, there are 300,000 3- and 4-year-olds who aren’t getting preschool care, which means the state can’t afford to lose any more seats than it already has. “We’re not really making a dent right now,� she says.

Shawn Towey, the child care policy coordinator for Public Citizens for Children and Youth, which advocates for better education and health-care programs for Pennsylvania children, says the longer the impasse goes, the “less likely it is that new expansion seats will open. If it keeps going, it’s more likely providers will turn away the seats.�

They won’t be able to fill them that late in the year, she said, as many parents will have either found different programs, or quit looking for child care.

Most of the schools, Towey says, are still recovering from the state’s last budget impasse in 2009, which lasted more than 100 days. “We lost about one in 10 providers statewide,� she says, adding that she’s spoken to many providers across the state that just finished repaying the loans they took on that year. “Some places closed temporarily, and some parents had to find other arrangements,� she says. “It was pretty devastating.� She says the last impasse knocked out the small cash reserves schools may have had, and severely weakened the industry’s ability to withstand this one.

Tina Viletto, the legislative director at the Montgomery County Intermediate Unit, which runs multiple preschools, said her organization began gearing up earlier this year to take on 730 new students. She spoke with the principals of each of the organization’s schools,whowereeagertodevoteclassroomspaceto the county’s poor youth.“But we’re in a hold status,� she says. “We’re really hoping to have pre-K classrooms up and running, and we’re doing a lot of professional development, teaching staff, keeping aides

fully trained, so we can have qualified teachers in the classroom.�

She says her organization is trying to do all it can to be ready the minute the impasse ends, but says starting up again midway through the year will be messy. “If there isn’t a service, it’s very difficult for our lower-income population to find somewhere else to be,� she says. “Some of these children may not be able to find care at all.�

At SPIN, meanwhile, Brown McHale is trying to figure out how her organization can pay its bills until the stalemate ends. Not only did SPIN spend hundreds of thousands to create their new pre-K space, it’s paying monthly rent on the building, too. “We’re very upset,� she says. “We’re finding assignments for our new staff elsewhere in our organization. They were trained and ready to start teaching little children.� (jerry@citypaper.net, @jerryiannelli)

This sets the whole school year behind.

TELL IT TO HIM, PHILLY-ST YLE

JEFFREY BRUNO:ALETEIA

CENTER CITY WEST: %JGUVPWV 5V ĂŠ

BuffaloExchange.com

WHAT WOULD YOU like to tell Pope Francis about life in Philly? Write your own message, up to 150 words, and City Paper will publish the best essays in our our Sept.

24 issue. There’s no guarantee the pontiff will actually read your messages, but maybe it’s the right time to push all the pomp aside and tell it like it is — Philly style.

You’re welcome to write about whatever’s on your mind — the condition of our prisons, the impact of the priest sex-abuse scandals or the number of homeless people on our streets. Or, tell him something good. It’s up to you.

Message us by email at editorial@citypaper.net, and include your name and neighborhood (and a daytime phone number, for verification purposes only). Put “Pope Talk� in the subject line.

Who knows? We may find a way to get our paper, and your message, under his nose.

C I T Y PA P E R . N ET

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Unarmed

LET’S TALK ABOUT RACE IN THE 2015 FRINGE Underground Railroad Game

Five shows this year will do just that.

BY MIKALA JAMISON

Y Black Male Revisited

ou walk into the Shiloh Baptist Church on Montrose Street for the Fringe show Unarmed. Before you even sit, you see a naked Black man lying face down at the middle of the stage. He’s fallen, dead.

How do you feel about that body? What’s your relationship to that body? Would you do anything to help that body, if you could?

Those are the questions Arielle Pina, director and producer of Unarmed, says you could entertain upon beholding this “Fallen Black Man” character in the show.

“We see in media, or hear about in media, Black Americans getting killed … but we don’t have to look at it for an hour,” Pina says. “We see it for five minutes and then keep going with our lives.” The choice to include such a character, she says, is “different than being able to shut off the news.”

And what Pina says of her show could ring true for any of the handful of shows touching on racial issues in this year’s festival: “It’s going to be uncomfortable, it’s going to be difficult, but I hope you stay.”

T Performers and creators from f ive Fringe shows dealing with race.

MARIA S. YOUNG

FRINGE • 2015

his year, Curated FringeArts show Underground Railroad Game takes on race relations in America by way of, among many other things, a “troublesome” middle-school lecture about the Civil War. Unarmed uses dance and other disciplines to “reflect America’s failure to confront racism.” The Colored Girls Museum “exposes the audience to a small sampling of ‘colored girl herstory.”’ The Illinois Five tells the story of five African-American male friends who find themselves in the middle of a race riot in the ’20s.

And Black Male Revisited employs monologue, poems, songs and cabaret to explore existence in a Black body.

You could look back at the past few years’ seemingly unrelenting onslaught of tragic headlines that sparked discussion, protests or violence about racial issues — everything from Trayvon Martin to #BlackLivesMatter to Freddie Gray to Sandra Bland — and think, ‘Well, now that racial tension is so explosive in America, of course there would be an onslaught of concurrent, topical art and theater.’

“That shit’s been going on forever,” says Jenn Kidwell, co-creator and co-performer, along with Scott Sheppard, of Underground Railroad Game, balking at some media’s alarmist proclamations that only now

are things reaching a boiling point.

“The only difference now is that people have cell phones and people who didn’t hear about it or people who didn’t want to address it before are now being confronted by it,” she says.

Pina agrees. “We didn’t used to have so much video footage of police brutality or violence in general; it’s just so apparent now in our culture, we see it all the time, that I think artists this year are like, ‘all right, let’s try something.’”

Says Sheppard, “The stuff we’re dealing with in [Underground Railroad Game] is always relevant. Yeah, we happen to finally be having this conversation, but we should have been having this conversation [already.]”

Kidwell continues, “We would be very irresponsible if we were even trying to be opportunistic, if we were saying ‘This is so au courant!’ How embarrassing would that be?”

“This is nothing new,” says Jaamil Kosoko, creator of Black Male Revisited. “[It’s not like] oh, you know, Trayvon was murdered, I need to make a show about Black male death. We’ve been dying in this country for centuries. I’m just happy that it’s finally getting some kind of attention.

“These ideas, these concepts, have always been at the forefront of my thinking,” he continues. “They have to be — I don’t have the luxury of taking off my skin.”

There is a palpable frustration in his show, he says, relating to how long it’s taken for some of these racial issues to reach the forefront of our cultural consciousness.

He says Black Male Revisited gently pokes fun at the cultural establishment, the gatekeepers of the industry.

“I can’t help but be frustrated, but at the same time … better it be later than never,” Kosoko says.

In Pina’s case, with Unarmed, there’s anger.

After the events in Ferguson, Mo., Pina captured and exhibited a series of photographs of people without shirts, backs to the camera and hands behind their heads, as if being arrested. In April, when Freddie Gray was killed, “I was just so angry about it. [I thought] it would be a waste of the work if I didn’t do something with it. That day, I registered for Fringe.”

There was a sense of urgency, she says.

“It felt like my life depended on making this piece right now; because so many Black Americans are being killed right now. … This is the way I know how to respond.”

“Emotionally it was very hard for me as a Black female artist … to express anger and that be OK; there is the stereotype of the angry Black woman. There is definitely an undercurrent of anger in parts of [Unarmed].”

Unarmed tackles issues, Pina explains, like “how white affirmation is important for Black visibility — if there’s a Kanye West or Jay-Z happening in America, it’s only validated if the white population is completely behind it,” as well as micro-aggressions (like being mistaken for “the help” in a restaurant or store when you’re a person of color) and how one deals with their own privilege.

The cast members of Unarmed, who identify as Black, mixed-race, Latina and Caucasian, engaged in exercises and discussions during rehearsal about how they identify with race, the stereotypes attached to other races and issues surrounding racial and socioeconomic privilege.

“Once we got that out, it was a lot easier to trust each other,” she says.

T

he Colored Girls Museum is meant to be an open dialogue between participants and concept, between viewer and collaborator, says Vashti DuBois, founder and director of the piece, which takes place in a home in Germantown.

“I have no preconceived notions of what The Colored Girls Museum will be. The women and girls who lend their stories will determine that,” she says.

“The colored girl owns a unique and powerful historic and cultural perspective — it is my hope, and my

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intention that this museum will serve as a safe space to unpack and share those perspectives and our stories.”

There are about 12 artists involved, from musicians to fiber artists. Audiences have a chance to interact with the creators as they move about the “museum.”

DuBois says she thinks a potential audience member might tell themselves, “That’s probably gonna make me feel uncomfortable, or it’s not about me, it’s about Black people.”

But shows about race create opportunities for dialogue and engagement for everyone, she says.

“You have to want [diversity in the arts community] as a city and be honest about the ways artists of color are always marginalized, have to be working harder than everybody else to get chosen — to have a voice — to have their perspective not be token but a necessity, a welcome gift.”

And when it comes to audience members potentially being uncomfortable, FringeArts’ president and producing director Nick Stuccio says, well … good.

“There is literally no line you can’t cross,” he says of artists creating Fringe work. “If you imagine a taboo line … make the piece you wanna make, go there and go 10 times beyond it.

“I think it’s interesting for this generation to talk about these issues of race and political correctness,” Stuccio says. “As they grew up, they were hammered [with] the notions of being very, very sensitive. That’s why I’m really interested to see the nuance with which they take on these issues.”

Kosoko, whose Black Male Revisited was influenced

by Thelma Golden’s 1994 Whitney Museum exhibit, Black Male: Representations of Masculinity in Contemporary American Art, says he’s not presenting work that shocks just for the sake of shock.

“It does have a way of making particularly white audiences, more conservative audiences, feel some kind of way, but you know, that’s for them to feel,” he says.

He sees himself more as an educator.

What will his show teach?

“We’re more alike than we are different, we all have a sense of complexity,” he says. “The media has a way of simplifying the Black experience, particularly the Black male experience in this country, as ‘super brute’ or ‘from slave to superhero,’ but what about the mundane complexity of just being a human? I’m still fighting to be seen as a fully realized human being. I don’t know if white people get that idea.”

But there’s an entry point, he says, for all people in this work.

T

he Illinois Five explores the story of the characters who escaped the 1920s race riots, but swore to meet again when the violence ended, says playwright Teresa Miller.

“This story is about the paths they took,” Miller says.

“It will show people who aren’t African-American that under the constraints of what was nationally going on at the time, there was even a greater issue at stake to be close-knit, to survive by any means necessary,” she continues.

But, again, it’s not just a Black experience story. It’s about humanity.

“This show expresses another side of people that’s not often seen. The human condition lies within all of us, but it’s conveyed by way of the African-American experience,” Miller says.

The show, really, “is about choices.”

S

o, what’s an “Underground Railroad game”?

You might have read about it before in Lena Dunham’s book Not That Kind of Girl. Or maybe you participated in one as a kid like Underground Railroad Game co-creator Sheppard did.

FRINGE • 2015

Sheppard experienced a Civil War curriculum in fifth grade at Hanover (Pa.) Middle School, where he says there was a “real romance” about that war and a pretty intense re-enactment culture. The kids were split into two groups — Union soldiers and Confederate soldiers. While learning the history, they played re-enactment and Civil War games for points.

“We came across some tricky territory,” Sheppard says.

In each of the fifth-grade classrooms, there were boxes representing states. There were also little Black “slave” dolls. The Union soldiers played abolitionists, who had to sneak the dolls around and bring them to the safe house. If they got to “Canada,” they were free.

There was even a display case of “freed slaves.”

The Confederate soldier-students, however, had to catch the students with the slaves. “[They were] effectively playing bounty hunters, or slave catchers,” Sheppard says. This year’s graduating class from Hanover, he says, was the last group to participate in the curriculum.

“If you asked any of those teachers, I’m sure they’d say … they believe in equality, it’s about education, it’s ‘an optimistic look at how slavery was starting to come to an end.’ But what actually happens is this objectification of the Black body, the dehumanization, and once again they are the objects of a history that is written and perceived by white people.”

Underground Railroad Game, Sheppard and Kidwell say, is meant to confront and poke fun at a culture that would conceive of such a game.

American popular culture hasn’t been much better at tackling the tough subject of race, Sheppard believes, citing the movie The Blind Side as an example.

“I hope people realize how terrible [that movie] really is,” Sheppard says, launching into an impassioned,

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impersonation-filled minutes-long rant about the film and its hokiest scenes.

“The popular modes for Black and white people coming together and reconciling their differences, and making progress are so fucking disgustingly flawed,” he says. That is part of what the two hope to tackle in the show.

Tropes they’ll also attack: the “magical Negro,” the “white savior” and the politics of the n-word, as well as the themes of power and competition.

“One of the things that this piece has allowed us to do is attack other ways in which ‘progressive people or liberal people or forward-thinking people’ continue to harbor beliefs that are prejudiced, like those [Hanover] teachers, without even knowing,” he said.

“If we do it right,” Kidwell adds, “it’s not like the kind of piece where the audience walks away feeling safe, that the people they just watched are, like, ‘Now that’s a moral compass, those two really know what’s right.’ If we do our job right, then the audience walks away like, ‘I don’t know …’”

They want simply to change the conversation, not provide answers.

“Growth doesn’t come from answers,” Sheppard says. “If it’s an answer, it’s too simple. That’s The Blind Side, making white people around America feel like they’re not racist anymore. There are a lot of shows out there that present these topics in such a way that the audience is left off the hook.”

Underground Railroad Game doesn’t do that.

“It doesn’t leave you in a totally pessimistic place,” Sheppard says. “But it doesn’t leave you in an optimistic place, like, ‘Thank God.’” During Fringe this year, we’re all on the hook. (mikala@citypaper.net) continued on p. 14

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Pig Iron Theater Company; Dr. Dog JASON FRANK ROTHENBERG

TURN ON, TUNE IN, DROP OUT Just what the hell ‘psychedelic’ stuff is happening between Dr. Dog and the Pig Iron Theatre Company?

BY A.D. AMOROSI

O

ne thing you should know about Pig Iron Theatre Company and indie band Dr. Dog’s FringeArts joint venture, SWAMP IS ON: Band members Toby Leaman, Scott McMicken, Frank McElroy, Zach

Miller, Eric Slick and Dimitri Manos won’t do any thespian emoting or movement.

“I mean, we’re not going to dance or try to act,” says McMicken. “Then again, we are really in the spirit of the thing, there is improvisation and this is an experimental collaboration between us, so …”

Here’s what we know about SWAMP IS ON: McMicken calls it “psychedelic” and “absolutely full of joy.” There is indeed a “swamp” involved, “a real psychedelic centerpiece of the show,” McMicken says.

Matt Saunders, a scene designer whom Pig Iron’s Dan Rothenberg, director of SWAMP IS ON, calls “a bona fide visual genius, has designed a cross between a radio telescope array and a tornado-hunter rig for the staging at Union Transfer,” says Rothenberg. “I mean,

the evening is all about receiving signals from another dimension and gathering the magnetism of the audience and the music — so it’s dominated by a large satellite dish to gather up all the energies.”

Uh, OK. Rothenberg knows full well that people are confused about what to expect from the project; that the newly created theatrical alter egos “Dr. Dog Pop Detachment” and “Pig Iron Psychedelic Signals Auxiliary” might as well be a couple of question marks.

In reality, the collaboration is a Dr. Dog concept album brought to life on stage, a chance for Dr. Dog fans to come hear rare and unreleased songs and brand-new material, saturated with visuals provided by Pig Iron.

“It’s a simple story of a rock band who receive a cassette tape from another dimension, join forces with a gang of maverick scientists, and try to make contact with that other dimension, known as the Psychedelic Swamp, while shadowy government forces try to keep a lid on the event,” says Rothenberg.

McMicken claims that when Pig Iron approached the band with the idea, the ensemble was thrilled. Pig Iron’s Geoff Sobelle and James Sugg were early fans of the band. Dr. Dog musician friend Bradford Trojan played Samuel Beckett in the Pig’s James Joyce Is Dead and So Is Paris: The Lucia Joyce Cabaret in 2003 — and the Dr. Dog guys saw that show. “We think of Dr. Dog as poets and visionaries,” says Rothenberg.

“The show’s about communicating beyond, about finding something other,” says McMicken. He laughs when asked what might transpire between the troupes for Fringe.

“Pig Iron is just as psychedelic as we are,” he says.

For more information, visit fringearts.com/event/ swamp-is-on. (editorial@citypaper.net)

FRINGE • 2015

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From @AstroJennie

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DIGITAL WITNESS

Fringe’s new category explores intimacy, accessibility and the nature of performance. BY JULIE ZEGLEN

T

he Fringe Festival has always been about more than live theater, featuring shows from the dance, visual and multidisciplinary worlds, too.

Now, in its 19th year, 16 of the festival’s shows are happening entirely online, across a variety of media — from prerecorded web footage to an Instagram account to smartphone animations accessed via QR codes in FringeArts’ beer garden.

It’s called Digital Fringe, and it “came out of our desire to showcase artists whose work wasn’t easily presented on a stage or just took place online or in an application,” says Jarrod Markman, festival coordinator.

“We’re just opening up that opportunity to present new and different works of art that didn’t have the opportunity before.”

All digital shows must be free, so anyone with access to the Internet can see them, and artists were only charged $50 to be featured, compared to the usual $350 participation fee.

“Digital media fills our main goal of creating accessibility through theater and through art,” says Joshua McLucas, web developer of This Damned Body, a multimedia documentation of collaborator Swift Shuker’s male-to-female gender transition. “There will always be some sort of barrier, but a digital medium really reduces that to a very, very small one, as opposed to a live show,” which many people may be unable to attend because of lack of time, transportation or funds.

The website for This Damned Body serves as an archive of videos and diary entries, and in them, Shuker bears all,

FRINGE • 2015

literally and figuratively, in what Shuker sees as a more intimate performance than can be found on a stage. In a video titled “E Day,” for instance, Shuker is seen selfadministering the first shot of estrogen at home.

“If I made it really personal and really intimate and very much about myself, then it has that aspect of theater which is that it’s a real life and you’re actually responding to a human being,” Shuker says. “It feels like theater to me, to experience this kind of work.”

Also premiering is “@AstroJennie,” the fictional tale of an astronaut who returns home to Philadelphia following a stint on the International Space Station. The show takes place entirely on Instagram, which allows the main character to interact (through the work’s creators) with followers in comments on posts.

Presenting art in this way is a “timely challenge,” said Martha Stuckey, who will play Jennie. “It’s unavoidable that technology is going to come up against our work as theater artists.”

That’s what makes the section so valuable, according to Markman.

“That line keeps getting blurred more and more … between what is theater, what is interactive, what is more performance-art-based,” he said. “I think that conversation, both in Digital Fringe and in other parts of the festival, will continue to evolve as well.”

For all Digital Fringe listings, visit fringearts.com/ all-presentations. (editorial@citypaper.net) continued on p. 14

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MAY WE SUGGEST

A selection of recommendations for what to check out on the Fringe schedule.

SEPT 3-19 BOX OFFICE: 140 N. Columbus Blvd. (at Race Street), 215-413-1318. For more info, tickets and showtimes, visit fringearts.com.

TILL BIRNAM WOOD THEATER John Schultz’s one-hour Macbeth adaptation — in which the audience is blindfolded while the action unfolds around them (safely, he assures) — was a sold-out hit last year, which is an excellent reason to revive it for some late-night (10 and 11:30 p.m.) performances this weekend. Immerse yourself in what Schultz says is an “an experience of the language,” as well as “the visceral sounds and overwhelming scents of Macbeth.” Most importantly, he adds, “The audience will feel the energy of actors at work; the electricity of the moment will be a shared experience between actor and audience.” • Through Sat., Sept. 5, $15, Philadelphia Shakespeare Theatre, 2111 Sansom St. —MARK COFTA A N D Y: A P O P E R A THEATER The Bearded Ladies’ aesthetic has grown through low-budget cabaret successes Marlena and the Machine, No Regrets, My Dinner with Dito, their annual Bastille Day fete and this summer’s Bitter Homes & Gardens, but ANDY: A Popera, a collaboration with Opera Philadelphia, is artistic director John Jarboe’s biggest and most outlandish creation yet. This is the long-awaited developmental third stage of this ambitious examination of Andy Warhol’s life and infamy that, after last summer’s two-week run, moves from the Ladies’ comfy Wilma Theater lobby home to a vast Kensington warehouse that’s been transformed into a den of pop iconography and absurdity. • Sept. 10-13, 17-20, $30-$40, Opera in the City, 1526 North American St. —MARK COFTA IT’S SO LEARNING THEATER The Beserker Residents’ latest smart, zany escapade — after Fringe hits

FRINGE • 2015

The Jersey Devil, The Giant Squid, The Annihilation Point and The Talkback — takes us back to middle school and the almost primal experience of learning and growing up in the classroom. This dark, savage, interactive comedy, created by core members Justin Jain, David Johnson and Bradley K. Wrenn with Dawn Falato, Lee Minora and director Adrienne Mackey, promises to gleefully skewer America’s floundering education system. Why do we go to school?

After the Beserkers guide us through homework, bullies and grades, grades, grades, maybe we’ll have some kind of answer. • Sept. 11-20, $15, Ruba Club Studios, 416 Green St. —MARK COFTA

Damned Dirty Apes!

THE DOLLS OF NEW ALBION THEATER Live theater has largely eluded otherwise-artsy Manayunk, but Sean Connolly and Gabe Henninger, Roxborough natives both and founders of the Manayunk Theatre Company, plan to change that. They produced the edgy thriller Splatter in last year’s Neighborhood Fringe and now present the U.S. premiere of Paul Shapera’s utopian steampunk opera in the shiny new Venice Island Performing Arts & Recreation Center. It “mashes together Mary Shelley’s Frankenstein with this steampunk world,” Henninger explains.

Can a machine hold a human soul and give it new life? • Sept. 3-12, $20, Venice Island Performing Arts & Recreation Center, 7 Lock St. —MARK COFTA THE CAPTIVE THEATER Like many local small companies, the Philadelphia Artists’ Collective received an early boost by producing Fringe shows, including site-specific successes like 2013’s The Sea Plays (aboard a ship) and 2012’s

It’s So Learning

The Dolls of New Albion

Creditors (in the Franklin Inn Club’s library). Edouard Bordet’s seldomseen 1926 drama, directed by PAC co-founder Dan Hodge, was censored in its time, its producers and actors jailed. That sort of outrage is just good publicity today, but PAC doesn’t trade in cheap thrills — its record of excellence in producing little-known classics transcends momentary controversy, revealing the timeless qualities of overlooked works of importance. • Sept. 1-20, $25, Physick House, 321 South Fourth St. —MARK COFTA DAMNED DIRTY APES! THEATER The Renegade Company takes to the park for a walking tour inspired by the films Planet of the Apes, King Kong and Tarzan the Ape Man, written by Chris Davis and Sam Henderson, conceived and directed by Mike Durkin. This mash-up from these rebellious deconstructors of familiar works, such as Fringe hits Hunchback and Bathtub Moby Dick, posits a wary,

sometimes violent coexistence of man and apes in an alternate universe much like our own. The participants are warned to wear comfortable shoes and to prepare to get dirty — and to not, under any circumstances, stray from the path. • Sept. 9-13, 15-19, $20, FDR Park, 1500 Pattison Ave. —MARK COFTA SPOOKFISH THEATER I took a PlayPenn playwriting class last spring that included talented UArts grad Haygen Brice Walker, in which he shared some provocative scenes from his play about four loser teens toiling at a bleak haunted house attraction. Those scenes were pretty damn good. He hoped the play would shock and disgust audiences.

Now it’s ready for an audience strongwilled and strong-stomached enough for it, with the caution that “due to graphic violence, strong language and sexual situations” all must sign a waiver before the performance. This, of course, will only further entice late-evening continued on p. 16

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Complexions Contemporary Ballet

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October 14-18, 2015

BODYTRAFFIC November 4-8, 2015

“High-kicking displays of athleticism and flash.” The New York Times

“Superfast, super sexy and super expressive.”

Dancetimes.com

Dorrance Dance

Les Ballets Jazz de Montréal

December 2-6, 2015

January 13-17, 2016

“Inventive, electrifying take on tap.”

The Boston Globe

“If it is chic artistry you desire look no further.” dailygazette.com

Ezralow Dance

Limón Dance Company

February 3-7, 2016

March 9-13, 2016

“Spellbinding, a brilliant coup de theatre.” Corriere

“A spectacle of the highest artistic level.” Messagerro Rome

Seán Curran Company

MOMIX

April 6-10, 2016

May 11-15, 18- 22, 2016 “Feast for the eyes.”

The New York Times

“A stunning marriage of virtuosity and emotion.” The New York Times

Subscribe and save 30% off single ticket prices Prince Theater • 1412 Chestnut Street • Phila., PA 19102

215-422-4580 • www.princetheater.org

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Magoo (one of four cast members), the show deals with the idea of rejection. An acoustic guitar provides a soundtrack of thoughtful angst. The adult-themed drama is adorable and, well, awkward. “In today’s fast-paced world of dating apps and immediate gratification, the show offers an equally quick look at instant rejection,” said Monokian. “It’s tragic, but ultimately hopeful.” • Sept. 4-6, 11-13, 18-19, $15, William Way LGBT Center, 1315 Spruce St. —SJ PUNDERSON

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P R E T T Y TA L L FOR A HOBBIT

Duende BILL HERBERT

Fringegoers, but it’s really no gimmick.

You’ve been warned. Now go. • Sept.

4-13, $15, Headlong Studios, 1170 S. Broad St. —MARK COFTA

life is consumed by the effort to stay alive? Rosenberg, who also performs this one-man show, is donating proceeds to medical charities. • Sept. 10-19, $10, The People’s House, 1323 Mifflin St.

SHE IS A PROBLEM

—MARK COFTA

THEATER Part of the Fringe Festival’s success is that while audiences love outlandish comedy, they’re not shy about darker and deeper material — the more raw the better. This “interactive gallery installation and devised theater experience” comes with “trigger warnings” about themes of suicide, mental illness, self harm and substance abuse, as well as nudity.

The seven women in the all-female company Problem Collective explore the romanticism we often associate with a female artist’s death, baring the issues through the lives, works — and suicides — of Francesca Woodman, Sylvia Plath, Diane Arbus, Unica Zurn and Kay Sage, all up close and personal at the Adobe Café. • Sept. 9-14, $10, Adobe Café, 1919 E. Passyunk Ave. —MARK COFTA

THE LIGHT PRINCESS

M E F I R S T: A N AUTOBIOGRAPHICAL COMEDY ABOUT DYING THEATER Local playwright Jason Rosenberg and the Cursed Church Artist Collective explore Rosenberg’s grueling, surreal struggle with three autoimmune diseases, which he’s coped with for more than five years. The recent UArts grad examines how hard it is to live while fighting an unseen disease, what some call an “invisible disability,” and finds humor amidst the pain. How do you keep friendships or romantic relationships alive when your

FRINGE • 2015

THEATER Anthony Lawton, creator of the Barrymore Award-winning fairy tale The Foocy and busy local actor, adapts George MacDonald’s littleknown 19th-century Scottish story for the stage with the all-star assistance of Alex Bechtel (music), Aaron Cromie (puppets), Matt Pfeiffer (direction) and Dave Jadico (set), collectively billed as “Ugly Stepsister.” The title character is cursed with a loss of gravity, both inner and outer; she not only floats in the air, she cannot feel emotion. This story of rebellion, grief and the enduring power of love is suitable for kids but, thankfully, hasn’t been Disney-fied into a bland cash cow. Though it’s technically a work in progress, its pedigree and potential make The Light Princess a Neighborhood Fringe mustsee. • Sept. 11-13, $10, Lantern Theater, 923 Ludlow St.—MARK COFTA DUENDE DANCE If you enjoy performance that’s up close and personal, then you’ll dig Duende, where the audience is seated on the same level as the musicians and dancers. The proximity helps create a relaxed, informal vibe to allow for more intimate connections. Because the dance is largely improvised, you never know where dancer Chloe Felesina may end up, or how close she may get to the

audience as she moves to the sounds of cellist Gabriel Cabezas and violinist Zoe Martin-Doike. The music includes 20th-century classical and electronics.

It’s sonically challenging, and the relaxed atmosphere combined with the spontaneous movement offers a nice invitation to keep your mind and ears open. • Sept.19, $15, Performance Garage, 1515 Brandywine St. —DENI KASREL P U R G AT O R Y THEATER In the video for his Indiegogo campaign for PURGATORY, Gunnar Montana says, “I really feel like I’ve challenged myself on this one. I’m stepping outside of my box — and I have a very big box.” Indeed. If you’ve caught any of Montana’s prior Fringe shows, you know this guy makes spectacles that assault your senses and sensibilities, all in the name of entertaining — even if, at times, raw and uneasy — escapism. With this latest creation, Montana digs deeper while reaching for a higher level of artistry as he explores the concept of purgatory — not as a temporal condition to be dealt with while dying, but rather as a state we experience in our daily lives. • Sept.

9-19, $25-$35, Latvian Society, 531 N. Seventh St. —DENI KASREL THE MOST AWKWARD LOVE LIFE OF PEABODY MAGOO THEATER Based on writer/director Brandon Monokian’s own horribly awkward love life, The Most Awkward Love Life of Peabody Magoo is the story of a bumbling boy and his search for love. Starring Scott Brieden as Peabody

THEATER Chicken nuggets will be served at this comedy about growing up and hating every second of it. Writer Katie Verde is a self-admitted nerd, and it follows that Hobbit is inspired by her own experiences. Do we have control of our future? How do we minimize regret? These questions and more will be pondered as the Lord of the Rings score guides the audience through 45 minutes of stream-of-consciousness playacting. Anyone who’s ever attended a con, done cosplay or simply has an overly active imagination will surely appreciate the show. It’s also familyfriendly, for the kid in all of us. • Sept.

3-6, 10-13, $12, Middle Earth, 339A W. Girard Ave. —SJ PUNDERSON NIGHT TROLLEY THEATER Combining elements of cabaret, sketch, standup and drama, Night Trolley features the talents of nearly 17 Philadelphia comedians. The topic: SEPTA. Comedy gold? Perhaps.

The audience can expect to be greeted by a kindly conductor and ushered along on a briskly entertaining journey of the mind. The show will be similar to an actual trip on public transit, with all the surreal humor and strangeness that comes with it. Live house band Misandrist Haberdashery will supply the beats during the 90-minute show.

“I didn’t anticipate all the philosophical conversations I’d be engaging in with the performers, but we’ve really dug deep in exploring the nature of the trolley,” said writer and director Alejandro Morales.

“I believe U2 wrote a song about it in the 90s; it moves in mysterious ways.” • Sept. 18, $15, Johnny Brenda’s, 1201 N. Frankford Ave. —SJ PUNDERSON POPE UP ART EXHIBIT Despite the impending descent of Pope Francis on Philadelphia (you may have heard about it), Pope Up is somehow the only papal entry in this year’s Fringe Festival.

A medley of artists across various mediums will display their vision of his visit. Deanna McLaughlin addresses the commercial side of the event in creating the Pope Tote, Pope-pourri, continued on p. 17

C I T Y PA P E R . N ET // SEP T EMBER 3 - SEP T EMBER 9, 2015 // PHIL ADELPHIA CI T Y PAPER

continued from p.16

Shelter-in-Place

being a dishwasher. I always wanted to be an actor.” Once asked to perform Beyonce’s “Single Ladies” as a dramatic monologue in a Scottish brogue, Feldman says he “likes the mystery of not knowing how many people, dishes or what the monologue is.” And he won’t reveal his favorite dishwashing soap. “In my pursuit of a sponsor, I don’t think it’s good to pick one.” • Sept. 3-12, $20, your home.

17

meet Henderson at a predetermined location in the city and roll dice, an action that determines just what they’ll be witnessing. It’s a piece of art based on algorithms and a mechanical way of thinking (and a passion for 1980s role-playing games), one that Henderson insists creates a wholly new relationship between audience and performer.

• Sept. 8-17, $20, various locations. —MARC SNITZER

—GARY M. KRAMER

SOMETIMES CALLIE AND JONAS DIE

S H E LT E R - I N - P L A C E

Pope Soap, etc. Sculptor Joan Menapace’s “Tend Your Flock” is concerned with the lack of attention given to transgender Catholics. Clifford Bailey’s church steeple, made with rebar, represents lost churches that were once proud symbols of their communities. Several artists use a feminist lens to examine the Catholic Church through sculpture, painting, even a “Pope Binder.” • Sept. 5-6, 12-13, 19, free, Global Dye Works, 4500 Worth St. —SJ PUNDERSON

THEATER Playwright Alisha Adams (The Men From the Girls) brings her newest, site-specific work to North Philadelphia. There, a group of self-identifying survivalists will plot to finally leave Philadelphia and civilization as a whole behind, all the while confronting the (very big) notions of survival, autonomy, escape and whether or not those words even mean anything.

Seems like a tall order for an 80-minute performance, but Adams prior work proves she is no stranger to big ideas. Shelter-in-Place’s immersive nature is designed for thoughtful provocation and is bound to leave audiences mapping out their own escapes, however they may choose to define them. • Sept. 18-20, $10, Las Parcelas, 2248 N. Palethorp St. —MARC SNITZER

DISHWASHER THEATER Why would you let Brian Feldman into your home to wash your dishes and then read a monologue of your choosing? What if he breaks your favorite coffee mug? According to the titular actor/dishwasher: “Hopefully, you get clean dishes and the experience of having an actor perform in your home.” For Feldman, “It’s about the artist/actor’s dilemma — wanting to do your dream job. I don’t know anyone passionate about

100 EXPERIMENTAL Fate, the human condition and textbased choose-your-own adventure games inform the intimate 100. Intimate as in, performer and playwright Sam Henderson’s procedurally generated solo show is limited to one audience member per performance.

Framed as an intersection between computer language and theatrical language, 100 has that audience member

THEATER With its fairly direct title, Sometimes Callie and Jonas Die immediately raises questions about what the hell dying sometimes even means. Turns out, Callie and Jonas use their temporary deaths for a cruel game, one-upping each other in the amount of terror they can cause others by killing themselves in public. At first seemingly a softly gruesome fantasy, the Austinbased Poison Apple Initiative’s production is also a commentary on adolescence, the hunger for attention and the actions taken to receive it. • Sept. 8-13, $15, 1fiftyone, 151 N. Third St. —MARC SNITZER

STILL NOT ENOUGH? We’ll be marathon-reviewing most of the shows on this year’s lineup over the next few weeks.

Check out the blog at citypaper.net/fringe2015 for the latest Fringe reviews.

FRINGE • 2015

continued on p. 18

for colored girls who have considered suicide/when the rainbow is enuf

by Ntozake Shange \aj][l]\ Zq D]] C]ff]l` Ja[`Yj\kgf

Photo: Jan Versweyveld

Season 48 September 16 - 24 Randall Theater

September 3–19 FringeArts.com

Temple University 2020 North 13th Street Philadelphia, PA 19122

After the Rehearsal/Persona

Tickets: $20 - $25

Toneelgroep Amsterdam (Netherlands) Written by Ingmar Bergman | Directed by Ivo van Hove

Join us for a free event:

Two Bergman screenplays reimagined for the stage, featuring a 10,000-gallon pool of water and powerful emotional and physical performances to match the layered psychological drama of Bergman’s text.

A Conversation with FLGR9C= K@9F?= GR K;GLL Sunday, September 20 at 4 pm Temple Performing Arts Center 1837 North Broad Street Philadelphia, PA 19122

L]ehd] L`]Yl]jk :gp G^Ú[]

23rd Street Armory | 22 S 23rd St (at Ranstead) This week only!

Thu–Sat, Sept 3*–5 at 8pm *Post-show discussion on Sept. 3

STUDENT DISCOUNTS AVAILABLE

215.204.1122 tfma.temple.edu/events

$35 | $15 for students + 25-and-under

Tickets: FringeArts.com | 215.413.1318 This presentation of After the Rehearsal/Persona has been supported by the Pew Center for Arts & Heritage.

PHIL ADELPHIA CI T Y PAPER // SEP T EMBER 3 - SEP T EMBER 9, 2015 // CI T YPAPER .NET

continued f rom p.16

18

Still Standing You

HAND-PICKED I

n the Fringe Festival, there’s the “Neighborhood Fringe,” which is open to any artists who sign up to participate (they’re the more wild-card performances), and then there’s “Curated Fringe,” which means FringeArts muckety-mucks themselves select the shows.

That’s basically a guarantee you’re getting only the freshest, finest, freakiest presentations for your money. They’re the Fringe blockbusters, if you will. Here’s what you need to know about each of the 12 Curated Fringe shows this year, boiled down to their essence with the words of FringeArts itself. (Check fringearts.com for detailed descriptions.)

AFTER THE REHEARSAL/PERSONA: There’s a 10,000-gallon, full-stage pool of water in this presentation of two Ingmar Bergman screenplays “reimagined” for the stage. The plays focus on “the messy lives of theater artists.”

Three shows by Jo StrØmgren Kompani: A DOLL’S HOUSE: On stage, the home of the actress playing Nora is literally in miniature: She can barely fit in it. THERE: Dance theater performed in a nonsensical dialogue that sounds like a real language but isn’t. THE BORDER: Theater plus dance, a “complicated love story.”

ALIAS ELLIS MACKENZIE: Ellis MacKenzie was the alias for Barry Seal, America’s most

FRINGE • 2015

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TAG YOUR PHOTOS WITH #PHILLYCP & you could be featured on our instagram! @PHILLYCITYPAPER

BY MIKALA JAMISON

notorious drug-smuggling pilot. In the show, performers play actors on a telenovela about his adventures, on a soundstage-like set.

AVAILABLE LIGHT: A rarely performed, 30-year-old work by esteemed choreographer Lucinda Childs. The new, unique set, with two industrial platforms, is an architectural marvel.

Expect gorgeous lighting and sound.

STILL STANDING YOU: Two dancers; scenes of male friendship/love/rivalry; the naked male body in an aggressive and intimate dance.

UNDERGROUND RAILROAD GAME: See our feature on page 10.

SWAMP IS ON: See our feature on page 12.

SUITE IN N°2: A choral work for five solo voices singing of spoken words; ordinary words and sounds evolve and are treated as precise musical scores. “Words dressed in Versace.”

SOUL PROJECT: Dancers perform solos to live recordings of classical soul songs. Audience members roam freely and get up close and personal.

THE EXTRA PEOPLE: You’re one of only 15 in the audience. Other audience members perform onstage; they’re being told what to do through headphones, in the dark, with a flashlight. Then you switch places. “You’re cast as an extra, but for what?” (mikala@citypaper.net, @notjameson)

C I T Y PA P E R . N ET

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OCT 1-3

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Urgent Care services include: Injury & Illness Treatment • Sports Physicals & Exams Vaccinations • Lab & Radiology On-Site

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MOVIESHORTS

FILMS ARE GRADED BY CI T Y PAP ER CRI T ICS A-F.

REPERTORY FILM

BY DREW LAZOR

BRYN MAWR FILM INSTITUTE

824 W. Lancaster Ave., Bryn Mawr, 610-527-9898, brynmawrfilm.org. Hitler on Trial (2011, U.K., 90 min.): Attorney Hans Litten (Ed Stoppard) crossexamines a petulant Hitler (Ian Hart) in this BBC production based on a 1931 court case. Tickets are free, available on a first-come, first-serve basis.

Sat., Sept. 5, 11 a.m., free.

COMEDY

Film events and special screenings.

CLARK PARK

A WALK IN THE WOODS

/ C- / The quickest way to destroy the majesty of nature is not logging, poaching or razing the redwoods to erect high-rise housing. Nope: All you’ve got to do is drop two arrogant, bloated old farts in the forest, mic them up and let them blab. That’s all that happens in A Walk in the Woods, a lazy, unfunny and weirdly misogynistic turd of a geriatric bromance film that could ruin hiking for you if you watch too closely.

Adapted from Bill Bryson’s 1998 book, which chronicles his attempt at completing the nearly 2,200-mile Appalachian Trail, Ken Kwapis’ movie seems like the type of thing you watch with your parents over the holidays, an exercise in maudlin exposition with a few pretty vistas breaking up the mistiness. In actuality, it’s a study of obnoxious, self-absorbed men who trudge through life believing that everyone owes them everything.

Robert Redford, as Bryson, is a successful but world-weary travel scribe who’s seen so much of the planet that putting down roots in small-town New Hampshire seems like settling.

He expresses his disdain by acting

like a total prick, whether he’s rolling his eyes at the mundanity of a wake (death, how gauche!), ignoring his out-of-his-league wife (Emma Thompson) or treating well-intentioned strangers like shit.

When Bryson makes the decision to hike the entire trail in search of some late-in-life epiphany, it’s not surprising that nobody wants to join him. Well, nobody except Stephen Katz (Nick Nolte), a friend and travel buddy with whom he’s lost touch. A slovenly alcoholic with more sloppy stories than there are stars in the sky, Katz is an obvious Oscar-style foil to Bryson’s uptight Felix. But the differences between them end when the locker-room talk begins. Their near-constant shaming of women extends far beyond benign guy talk to an altogether unnecessary place.

Females in the film — Kristen Schaal as a know-it-all solo trekker, Mary Steenburgen as a motel owner who takes to Bryson — are treated not as fleshed-out characters but as tools for the geezers to justify their own flailing virility. —Drew Lazor (wide release)

OLD FOGEYS: Robert Redford and Nick Nolte hike the Appalachian Trail in A Walk in the Woods.

4398 Chester Ave., universitycity.org. Little Shop of Horrors (1986, U.S., 94 min.): Just a mean green mother from outer space. Fri., Sept. 4, 8 p.m., free.

THE COLONIAL THEATRE

227 Bridge St., Phoenixville, 610-917-1228, thecolonialtheatre.com. Invasion of the Body Snatchers (1978, U.S., 115 min.): Aliens slowly replace unsuspecting human victims with unblinking carbon copies devoid of all emotion. So basically like hanging out in Manhattan.

Fri., Sept. 4, 9:45 p.m., $9. Italian All Night Splatterfest: Five fan-fave Italian horror films, including Hell of the Living Dead and A Bay of Blood. This 35mm screening series will be preceded by an Italian-style buffet for VIP ticket holders. Sat., Sept. 5, 7 p.m., $24-$49. Casino Royale (1967, U.K., 131 min.): Actors such as Orson Welles, Peter Sellers and William Holden spoof 007 and the entire suave spy genre. Sun., Sept. 6, 2 p.m., $9.

The Young Kieslowski COUNTY THEATER

20 E. State St., Doylestown, 215-345-6789, countytheater.org. Gun Crazy (1950, U.S., 86 min.): A firearm-obsessed couple goes on a wild crime spree across the United States. Thu., Sept. 3, 7 p.m., $10.50. The Audience (2013, U.K., 155 min.): Yas kween — Helen Mirren is Elizabeth II in this West End production, which imagines the monarch’s private meetings with various British prime ministers. Sun., Sept. 6, 12:30 p.m., $18.

The Young Kieslowski (2014, U.S., 94 min.): Two socially awkward college students unexpectedly conceive twins in this unorthodox romantic comedy, produced by Doylestown’s Ross Putman.

Tue., Sept. 8, 7:30 p.m., $10.50.

continued on p.22

C I T Y PA P E R . N ET

WEDNESDAYS THROUGH SEPTEMBER 16 5PM - 7PM

HOSTED BY

$3 BEERS, $4 WINE AND $5 COCKTAILS

21 // SEP T EMBER 3 - SEP T EMBER 9, 2015 // PHIL ADELPHIA CI T Y PAPER

LIVE DJ PLAYS FROM 6-8PM Every Wednesday, Rosa Blanca Café at Dilworth Park will participate in this Center City summertime tradition featuring Two Gingers Whiskey to sip at the PNC Terrace.

AT CITY HALL

DILWORTHPARK.ORG

22

PHILADELPHIA CIT Y PAPER // SEPT. 3 - SEPT. 9, 2015 // CIT YPAPER.NET

the

COME TO THE

CABARET

WORLD CLASS CABARET RETURNS TO PHILADELPHIA THIS SEPTEMBER!

THE RRAZZ ROOM AT THE PRINCE OPENS ON SEPTEMBER 18!

NEXT TO NORMA (Desmond, that is!)

From Beatles To Broadway

OCTOBER 9 & 10

TONY AWARD LIFETIME ACHIEVEMENT RECIPIENT

TOMMY TUNE

SEPTEMBER 19

A DIVINE EVENING WITH

CHARLES BUSCH

LINDA LAVIN “STARTING OVER” with

BILLY STRITCH,

OCTOBER 11

NOVEMBER 14

“BIG BLACK HOLE”

OCTOBER 16

AMANDA McBROOM

NELLIE McKAY

NOVEMBER 6 & 7

NOVEMBER 13

“LET’S FALL IN LOVE”

WELL-STRUNG “POPssical” CD Release Concerts

Musical Director and Special Guest Violinist Aaron Weinstein

VARLA JEAN MERMAN’S

PAUL MOONEY & DICK GREGORY

with Tom Judson at the piano

“TAPS, TUNES AND TALL TALES”

OCTOBER 17

OCTOBER 2 & 3

AN INTIMATE EVENING WITH COMEDY LEGENDS

NOVEMBER 15

ANDREA

MARCOVICCI “LET’S GET LOST” with SHELLY MARKHAM, Musical Director

Part cabaret, part sparkly pop mixed with a cutting wit and a sharply tuned social conscience.

An Intimate Evening With

RHONDA ROSS DECEMBER 18 & 19

Film events and special screenings.

SEPTEMBER 18

KAREN MASON

REPERTORY FILM

continued f rom p.20 INTERNATIONAL HOUSE

3701 Chestnut St., 215-387-5125, ihousephilly.org. The Best of Asian Action: Two beat’em-up/shoot-’em-up Asian cinematic classics — John Woo’s The Killer and Lo Lieh’s Fist of the White Lotus. Both films will be screened in 35mm. Fri., Sept. 4, 8 p.m., $15.

KENSINGTON CAPA HIGH SCHOOL

1901 N. Front St., filmadelphia.org/mob. Girlhood (2014, France, 113 min.): Introverted French teenager Marieme finds herself torn between two worlds after joining an allgirl gang. The screening, part of the PFS “Movies on the Block” series, will be preceded by a football scrimmage, musical performances, arts and crafts and more. Thu., Sept. 3, 6 p.m., free.

PFS THEATER AT THE ROXY

2023 Sansom St., 267-639-9508, filmadelphia.org/roxy.

Watch Me (2015, U.S., 78 min.): Buxco native Ben Samuels’ horror film follows five friends as they explore an abandoned insane asylum. Tickets are free, available on a first-come, first-serve basis. Tue., Sept. 8, 7:30 p.m., free.

PHILAMOCA

MAUREEN McGOVERN

531 N. 12th St., 267-519-9651, philamoca.org. The Mend (2014, U.S., 111 min.): Fest-favorite indie dramedy examining the complicated dynamic between two brothers (Josh Lucas and Stephen Plunkett). Sat., Sept. 5, 4:30, 7:30 and 10 p.m., $10.

“HOME FOR THE HOLIDAYS” with JEFF HARRIS, Musical Director

PrinceTheater.org/TheRRazzroom t 215-422-4580

RITZ AT THE BOURSE

400 Ranstead St., 215-440-1181, landmarktheatres.com.

Pulp Fiction (1994, U.S., 154 min.): “Hey, sewer rat may taste like pumpkin pie, but I’d never know ‘cause I wouldn’t eat the filthy motherfucker.” Fri., Sept. 4, midnight, $10.

WIN FREE TICKETS to movies, concerts, comedy shows, theaters, festivals & more!

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1003 Arch St., 215-922-6888, thetroc.com. Mad Max: Fury Road (2015, U.S., 120 min.): The best action movie of 2015! Thu., Sept. 3, 8 p.m., $3. Goodfellas (1990, U.S., 146 min.): “Now go home and get your fuckin’ shinebox.”

Tue., Sept. 8, 8 p.m., $3.

C I T Y PA P E R . N ET

COMING

OCTOBER 22 To Advertise, call 215-717-2695 or email adsphilly@metro.us

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C I T Y PA P E R ’ S INSIDER’S GUIDE TO PHILADELPHIA 2015 - 2016

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PHIL ADELPHIA CI T Y PAPER // SEP T EMBER 3 - SEP T EMBER 9, 2015 // CI T YPAPER .NET

EXPERIMENTAL/ART-POP

EVENTS

: SEPTEMBER 2 - SEPTEMBER :

GET OU T T HERE

JENNY HVAL

This year’s Fringe Festival delivers several opportunities to experience challenging, high-concept Norwegians, and Jenny Hval should fit right in. Even more than her previous work, notably 2013’s mini-breakthrough Innocence Is Kinky, the recent Apocalypse, Girl (Sacred Bones) offers an exquisite juxtaposition of pleasure and discomfort. Hval’s airy voice is as likely to whisper discomforting semi-absurdities — poetic pokes at political, gender-troubled and/or bodily squirminess — as it is to soar sirenically atop serene, transporting art-pop shimmer. —K. Ross Hoffman

thursday

9.3

BULLSHOT CRUMMOND $15-$34 // Sept. 3-Oct. 11, Hedgerow Theatre, 64 W. Rose Valley Rd., Rose Valley, 610-565-4211, hedgerowtheatre.org.

THEATER Hedgerow

Theatre’s year-round schedule of plays continues with this farcical parody of 1930s detective films. Five writers collaborated on Bullshot Crummond in 1974, long before the popular film-to-stage parody The 39 Steps — which Hedgerow produced last summer featuring Matt Tallman, who directs this one. The title character, played by resident actor Brock Vickers, is an ingenious World War I vet with the skills of Sherlock Holmes and James Bond. The play features a plane crash, a manic car chase and sword-fighting, as well as the requisite super villain, femme fatale and damsel in distress, all performed by a small ensemble frantically playing multiple roles.

—Mark Cofta

TAMARYN

$12 // Thu., Sept. 3, 9 p.m., with Gambles and Ghost Gum, Johnny Brenda’s, 1201 N. Frankford

Ave., 215-739-9684, johnnybrendas.com.

ROCK/POP Once so

lo-fi and ethereal you’d sometimes have to strain to spot the melodies, Tamaryn’s music is now drifting popward and earthward. Her voice is warmer and her melodies are stronger on her latest release, Cranekiss (Mexican Summer). All this clarity can be a bit disconcerting — the title track may bring to mind Madder Rose or The Sundays — but generally, the new direction leads to some gorgeously moments.

—Patrick Rapa

DAVE ATTELL

$32-$40 // Thu.-Sun., Sept. 3-6, Helium Comedy, 2031 Sansom St., 215-496-9001, heliumcomedy.com.

COMEDY Relentlessly dirty and self-aware, Dave Attell’s comedy comes from the gut. Not brainy, but not silly either. He tends to treat his audience like drinking buddies, seeing how many of them will back his bad ideas and for how long.

“Fuck the show, let’s go down to Victoria’s Secret and scream ‘whore’ as the women walk out.” When they’re on board, it’s funny. But it’s also funny when they’re not on board. After a joke didn’t land at a gig in Buffalo

last month, he put the crowd in its place: “Groan louder, God hears you.”

—Patrick Rapa

f riday

9.4

50 SHADES: BLACK TO WHITE

Free // Reception Fri., Sept. 4, 5:30-8:30 p.m.; exhibit through Sept.

26, Snyderman-Works Gallery, 303 Cherry St., 215-238-9576, snyderman-works.com.

FIRST FRIDAY Fourteen artists play with (the lack of) color in this exhibit, which “invites the viewer to enter a world of tonalities.” Media include everything from photographs and drawings to ceramic and fiber sculptures, with black, white and gray tones carrying the weight as much as the medium. Shadows add depth to Carolyn Chester’s boxed sculptures, extending the tonal theme. —Katie Krzaczek

PHILADELPHIA PODCAST FESTIVAL 2015 WEEK 2

Free-$7 // Fri.-Sun., Sept.

4-6, phillypodfest.com.

PODCASTING Podfest

continues with live recordings all weekend.

Friday features Chris Fabulous’ Weekend Quality at Kung Fu Necktie (1250 N. Front St.), $7 to enter. The rest of the weekend is free. Saturday at BridgeSet Sound (710 South St.) features recording sessions every hour or so by Sex With Timaree, Never Forget Radio, Lesbe Real and more. On Sunday the fest wraps up at its home base, Tattooed Mom (530 South St.), for one final day of recording, with Black Tribbles, Technical.ly Philly and Broad Street Line, among others.

—Patrick Rapa

5 SECONDS OF SUMMER

$25-$687.88 // Fri., Sept.

4, 7:30 p.m., with Hey Violet, Susquehanna Bank Center, 1 Harbour Blvd., Camden, N.J., 856-3651300, livenation.com.

ROCK/POP The crowd at Susquehanna Bank Center on Friday might resemble your old MySpace friends list: Converse-and-plaidclad girls (and some boys) screaming their devotion to 5 Seconds of Summer. 5SOS have cultivated a following based on an endorsement from fellow foreign boy band One Direction, but these

STILL KINKY: $10-$12 // Tue., Sept. 8, 8 p.m., with Briana Marela, Boot & Saddle, 1131 S. Broad St., 267639-4528, bootandsaddlephilly.com.

JENNY BERGER MYHRE

Aussies relate more to Blink-182 than the Backstreet Boys. Grab some cutoffs and tie a flannel around your waist and scream/cry your head off.

—Katie Krzaczek

TYONDAI BRAXTON

$15 // Fri., Sept. 4, 8 p.m., with Charles Cohen, Johnny Brenda’s, 1201 N. Frankford Ave., 215-739-9684, arsnovaworkshop.com.

JAZZ The son of saxophonist and composer Anthony Braxton, Tyondai Braxton is a second generation iconoclast. As opposed to his father, who continues to invent arcane new theories of jazz composition, Braxton has carried his eccentricities into the rock and electronica worlds, first as a cofounder of Battles and now solo. He’ll perform synth pieces from his new album HIVE1,

originally conceived as an installation/performance piece that premiered at the Guggenheim. —Shaun Brady

KIN

Free // Fri., Sept. 4, 5-9 p.m., Indy Hall, 22 N. Third St., 844-6874639, indyhall.org.

FIRST FRIDAY In its first art show of the fall season, Indy Hall brings together more than 20 community artists in what the space calls its “most ambitious show to date.” Each piece will “[reflect] its creator’s connection to a greater body of work,” exploring how individuals draw relationships to those around them. —Katie Krzaczek

BRUCE GARRITY / KATHERINE KURTZ Free // Fri., Sept. 4, 5-9 p.m., runs through Sept.

27, 3rd Street Gallery, 45

continued on p.26

C I T Y PA P E R . N ET

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GERALD ALBRIGHT

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GLENSIDE (PHILA)

9.5

C I T Y PA P E R . N ET

traditional Shabbat dinner. â&#x20AC;&#x201D;Katie Krzaczek

THE SPACE MERCHANTS

$10 // Sat., Sept. 5, 8:30 p.m., The Silence Kit and Jackie Thousand, Boot & Saddle, 1131 S. Broad St., 267-639-4528, bootandsaddlephilly.com.

BE INSPIRED, BE CREATIVE, JOIN THE FUN

Fall classes start Sept. 30 137-139 n. 2nd st theclaystudio.org

4&15 r 1.

EVENTS

4"5 4&15 r 1.

46/ 4&15 r 1.

5)634 0$5 r 1.

5)634 0$5 r 1.

Tickets & info: KeswickTheatre.com & AXS.com 215-572-7650 Convenient to SEPTA rail & bus

Ernest communicates with writer Alli Katz via Ouija board. Send her your questions for Papa.

'3* 4&15 r 1.

ASK PAPA

BY ERNEST HEMINGWAY

OLD WOUNDS DEAR PAPA: An old friend had a difficult breakup last year. I discovered this week, via social media, that the ex-girlfriend is engaged.

The old friend doesnâ&#x20AC;&#x2122;t do social media, and based on a conversation last week, does not know about the engagement. Should I be the bearer of this probably unwelcome news? â&#x20AC;&#x201D;Pal on Pine DEAR PAL: If it is possible for your friend to never find out what has happened, then you donâ&#x20AC;&#x2122;t have to say anything. So that in 10 years, your friend sees her in a cafĂŠ and they share a wistful moment where they are both happy after being unhappy with one another.

But that will not happen because secrets do not stay secret. So you should sit your friend down with a drink and say, â&#x20AC;&#x153;She is marrying someone else.â&#x20AC;? â&#x20AC;&#x201D;Papa DEAR PAPA: Iâ&#x20AC;&#x2122;m roommates with my ex (we live in a pretty big house with a ton of people).

We ended things in May and then he left town for a bit. Anyway he just got back and he and one of my best friends told me that theyâ&#x20AC;&#x2122;re dating, and itâ&#x20AC;&#x2122;s why he ended things with me.

Now Iâ&#x20AC;&#x2122;m stuck living with them. How am I supposed to deal with being reasonably sad about this situation and having to see them all the time? â&#x20AC;&#x201D;Down in Darby DEAR DOWN: You have to live every day like this, but so do they. You can be righteous in your hurt and let them know that they have hurt you. â&#x20AC;&#x153;Hello,â&#x20AC;? they say, and then you say, â&#x20AC;&#x153;You have hurt me and you are horrible.â&#x20AC;? Or you can look at them once with stony eyes then never look at them again. They will wonder if you are still hurt or not, and it will grind away at them and they will think, â&#x20AC;&#x153;We are horrible.â&#x20AC;? â&#x20AC;&#x201D;Papa

askpapa@citypaper.net

N. Second St., 215-6250993, 3rdstreetgallery.com.

FIRST FRIDAY These two artistsâ&#x20AC;&#x2122; works are very different in content but similar in their use of vibrant hues. Garrity draws from artists like CĂŠzanne and Matisse, often depicting intimate scenes from within the artistâ&#x20AC;&#x2122;s studio.

Kurtzâ&#x20AC;&#x2122;s â&#x20AC;&#x153;In the Garden: New Figuresâ&#x20AC;? exhibit grew out of the artistâ&#x20AC;&#x2122;s desire to â&#x20AC;&#x153;[paint] the figure larger and more loosely than ever.â&#x20AC;? Her broad strokes and bright colors set a bold tone. â&#x20AC;&#x201D;Katie Krzaczek

COLOR SYNOPSIS Free // Fri., Sept. 4, 5-9 p.m.; runs through Sept. 30, Old City Jewish Arts Center, 119 N. Third St., 215-9231222, ocjac.net.

FIRST FRIDAY Inspired by his personal experiences in his native Spain, as well as those in America, Fernando Poyatos created a twopart exhibit, examining the effect and the application of color. Part one (â&#x20AC;&#x153;the effectâ&#x20AC;?) is in watercolor and ink; part two (â&#x20AC;&#x153;the applicationâ&#x20AC;?) is a series of â&#x20AC;&#x153;chromatic images to show how abstract, theoretical physics can be used to develop figurative image.â&#x20AC;? Making it a truly multicultural night, the reception with Poyatos will be followed by a

ROCK/POP The Space Merchants are a Brooklyn band with Philly roots. Thatâ&#x20AC;&#x2122;s Mike Guggino singing and playing guitar, just like he did with the fatally underrated This Radiant Boy back in the day. The Space Merchants revel in that sweet spot between rubbery psychedelic rock and cowboy country soul. A little twang, a little reverb â&#x20AC;&#x201D; kind of a Firefly/ Serenity vibe. And hey, they do have a spooky little number called â&#x20AC;&#x153;Reavers.â&#x20AC;? â&#x20AC;&#x201D;Patrick Rapa

sunday

9.6

+HIRS+

$5-$7 // Sun., Sept. 6, 9 p.m., with Heavy Medical, Advaeta and Harsh Vibes, Everybody Hits Philadelphia, 529 W. Girard Ave., 215-769-7500.

PUNK/ROCK Iâ&#x20AC;&#x2122;m working with a small sample size here, but can we all agree that every show at this batting cages punk venue is at least a little bit weird? Maybe itâ&#x20AC;&#x2122;s Win Butler dropping by in a gleaming white cowboy suit to take some practice swings. Or perhaps itâ&#x20AC;&#x2122;s some drunk d-bag trying duet with Marissa Paternoster without an invitation.

Will this show â&#x20AC;&#x201D; featuring beloved Philly skull-pounders +HIRS+ and four other loud-ashell bands from here and NYC â&#x20AC;&#x201D; create/bear witness to more weirdness? Who knows? I do.

It will. â&#x20AC;&#x201D;Patrick Rapa

citypaper.net/events

26 // SEP T EMBER 3 - SEP T EMBER 9, 2015 // PHIL ADELPHIA CI T Y PAPER

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FOOD&DRINK

C I T Y PA P E R . N ET // SEP T EMBER 3 - SEP T EMBER 9, 2015 // PHIL ADELPHIA CI T Y PAPER

REVIEWS // OPENIN GS // LIST IN GS // RECIPES

APPROVABLE FEAST: Southgate’s Korean fried chicken and bibimbap.

MARIA S. YOUNG

SOUTHGATE // 1801 Lombard St., 215-560-8443, southgatephilly.com. Tue.-Wed., 5-11 p.m.; Thu.-Sat., 5 p.m.-midnight; Sun., 5-10 p.m.

REVIEW

BY ADAM ERACE

WINNER, WINNER

Double-fried chicken leads a Korean-inspired menu that’s riddled with hits at Southgate.

BACK IN THE DAY, in an obscure Center City storefront, you could find a young Peter Hwang hiding out in the back of his parents’ fried chicken shack.

“Some of my first memories were there,” says the 37-year-old Korean-American restaurateur, who, 30-some years later, is serving fried chicken at his own place, a Korean-inspired pub called Southgate.

It’s a different bird, so to speak, double-fried in the style that sends acolytes to worship at the altar of Café Soho on Cheltenham Avenue. I haven’t had Soho’s chicken — take away my Philadelphia food-geek card — but I can’t imagine it being better than Southgate’s.

First, the size: Each wing in Southgate’s plate of six is as big as a small child’s fist. It makes diners in the cozy, moody restaurant look at each other with ohshit, cancel-the-entrees expressions. I know that’s how I felt anyway.

Second, the glazes: Spicy or sweet, as are typical, except here they’re much more complex than those two adjectives convey. Chef Clara Park, a Main Liner who worked at New York City’s Momofuku Ko before moving back to Philly, brews these saucy alchemies with what she estimates are “a million ingredients.” Among them are gochujang, brown sugar, garlic, sriracha, ginger, honey, sesame and soy in different calibrations that manage to be assertive but also harmonious. The spicy purrs instead of roars; the sweet walks a tightrope between sugar and salt.

27

Third, the texture: Puffed-up sheaths of thick, jagged crust surround each wing.You don’t eat these babies so much as indiscriminately excavate them, pulling apart the satisfying crackly exteriors of frizzled batter with your fingers and teeth. If you catch a ferocious reflection in the mirror-shiny glazes, do not be alarmed.

I killed five of the six wings, leaving their white dish a crime scene of bones and crimson splotches that stood out against the dining room’s monochromatic backdrop. It took about a year for the Hwang family to transform the long-lived Tangier into Southgate, a project that began as cosmetic and rapidly metastasized into a gut job. Now, newspaper-hued tiles run up the walls in Escher patterns, and filaments glow in test-tube bulbs like twin-tailed bioluminescent dragonflies.

While the chicken is des tin ationmaking, it’s not the only dish to eat here. Pork bao, a special, featured a paste of braised belly and steamed sweet potato snuggled inside buns so light they seem capable of levitation. Southgate’s burger’s thick, juicy patty benefits from a soy, sesame and Asian pear marinade worked right into the ground chuck.

Your eyes say burger, but your taste buds say bulgogi.

Park, who is also Korean-American, found out about the Southgate gig through Hwang’s wife, Mindy, who is best friends with Park’s cousin. “I took a meeting, said no and was haunted by it,” the chef explains. “I reached out to them and told them I was in.” Give thanks; her bibimbap is the city’s new paragon. Most of the pearly grains packed in a smoking granite dolsot are steamy, soft and warm, while the ones in contact with the bowl become crispy and caramelized bullets, not unlike the bottom of paella.

Park adds in tender batons of zucchini, chewy shiitakes, crunchy bean sprouts, supple shaved beef — “I hand-butcher sirloin every day”— and a gooey fried egg, creating a textural juggernaut that’s deeply satisfying.

You can get the bibimbap with tofu instead of beef or just with veggies. The dolsot is optional, too, and commands a $2 surcharge that feels a little silly/greedy.

Fortunately, Southgate’s menu maxes out at an affordable $18, well priced for

a clientele that appears to be in the midst of paying off its med school loans.

Other things to like: chipper servers in black-on-black uniforms; cocktails involving persimmons, rye and Lillet; a red sangria I wouldn’t be embarrassed to be seen with.

But there’s room for small improvements, like stronger seasoning on the pork inside those bao buns and the addition of a crunchy ingredient (peanuts? sesame seeds?) in the hearty kale salad. The burger, while delicious, can be a little wet and messy; dialing back the ssamjang mayo and scallion salad would ensure the bun doesn’t disintegrate halfway through.

Southgate’s single dessert, misugaru shortcake, fades those gripes to black.

“When we were kids we all had to drink it,” Park says of misugaru, a multigrain powder commonly blended into protein shakes in Korean households. Here, she makes biscuits with the misugaru, then stacks them with macerated berries and fresh whipped cream. Crusty outside and gooey inside, the cakes taste like toasted brown rice and have the texture of soft-baked sugar cookies.

‘Peter Hwang’s goal for Southgate pub: To serve food that’s ‘Korean-inspired, but stuff that secondgeneration Koreans would be into, too.’

The shortcake, with its wink-wink marquee ingredient, fulfills Hwang’s goal for Southgate: to serve food that’s “Korean-inspired, but stuff that secondgeneration Koreans would be into, too.”

Some will smile knowingly at the inside joke. Others will ask the server what misugaru is. Whichever camp you fall into doesn’t matter. Hwang and Park have placed this little bit of their shared identity into a delicious package everybody can enjoy. (aerace.citypaper@gmail.com, @AdamErace)

citypaper.net/mealticket

28

SEPT. 3 - SEPT. 9, 2015 // CIT YPAPER.NET

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WHERE THERE’S SMOKE MARILYN C ANDELORO

A recurring column on Philadelphia’s beverages.

PICK YOUR POISON

BY JENN LADD

VICIO // Dock Street Spirits, dockstreetspirits.com. For Marilyn Candeloro’s cocktail recipe for Salt & Smoke (pictured), see citypaper.com/vicio.

ROSEMARIE CERTO AND MARILYN Candeloro, both of Dock Street Brewing, first ventured down to Mexico to learn about mezcal about three years ago. A friend sent a bulletproof car to pick them up at the airport; when one of them rolled down a window, the driver admonished them.

“Sometimes Marilyn and I look back on it and say, ‘How the hell did we do that?’” Certo says.

That unsettling first step didn’t deter Certo and Candeloro. Last summer, they debuted Vicio mezcal, the first product from Dock Street Spirits. The ultra-smooth, smoky spirit is made in Mexico — mezcal is a terroir product, like Champagne — but you can only buy it in Pennsylvania and New Jersey.

Dock Street had been contemplating distilling for 10 years before the West Philly brewery committed to making mezcal. Certo, who eschews liquor for the most part but likes margaritas, considered making tequila or rum. Candeloro wasn’t sold on those spirits.Then Certo read about Martha Stewart and Bill Clinton promoting a mezcal brand in NewYork. She texted Candeloro.

“I remember when the message came through,” Candeloro says. “She wrote ‘Mezcal?,’ and I wrote back ‘Genius.’ We booked a flight right after she said that.” In Mexico, the spunky pair traveled to Oaxaca.They saw the timeintensive process firsthand: Workers chop raw agave, lay it over a stone tepee heated by a three-day-old fire; they cover the chopped agave with whatever brush is available — agave strands, twigs, etc. — and allow it to cook and smolder covered for three days. Then the plants are crushed by a horse-drawn stone wheel, the juices funneled into a vessel to ferment for five to seven days with whatever wild yeast develops in the mash, after which it’s distilled. Vicio is twice distilled, and a secret ingredient is added during the second distillation.

An Oaxacan family distills Vicio for Certo and Candeloro, both of whom recommend sipping it straight. Candeloro also likes to use it in cocktails with slightly sour beer or citrus plus a spicy ginger syrup. Certo stresses that, unlike its cousin tequila, mezcal will not make you a sloppy, wild drunk. “It’s a very cerebral drink.

It brings out the profound,” she says. (jenn@citypaper.net, @jrladd)

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29 // SEP T EMBER 3 - SEP T EMBER 9, 2015 // PHIL ADELPHIA CI T Y PAPER

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30

PHIL ADELPHIA CI T Y PAPER // SEP T EMBER 3 - SEP T EMBER 9, 2015 // CI T YPAPER .NET

BY MATT JONES

BY RACHEL KRAMER BUSSEL

‘ UNFINISHED BUSINESS’ or f inished, somehow.

ACROSS

1 4 9 14 15 16 17 20 21 22

23 25 27 30 34 37 39 41 42 44 45 47 49 50 52 53 54 56 59 63 67 70 71 72

Homespun home?

Got together (with) MRIs, e.g.

Royal flush card Love, Neapolitan-style “Specifically ...”

Story of an extravagant electronics brand?

Absolute I Love Lucy co-star Arnaz Michael’s Family Ties role Janitorial tool ___ Moines Register Happy hour spot Shower cloth Bill giver “Assembling furniture is definitely for me”?

Macabre illustrator Edward Take the plunge First Blood hero Long arm of the lark?

One ain’t part of this crowd Toy brick near the placemat?

Badminton need Less readable, perhaps Landscaper’s cover Hulu bumpers Miracle-___ (garden brand) “So long,” in shorthand John of Good Times Largest artery Inept car salesman’s query to his boss?

Like argon and krypton CSI city Well below average

73 Abstains from eating 74 Battlefield doc 75 JPEG alternative

DOWN

1 2 3 4 5 6 7 8

9 10 11 12 13 18 19 24 26 27 28 29 31 32 33 34 35 36 38

“W” on a lightbulb Letter after delta Salad bar veggie The Big Sleep detective Guitar-heavy alt-rock genre Singer Rundgren Actor Michael of Ugly Betty Mastermind game pieces Card’s insignia Things, in Spanish Way off-base?

Sudoku digit “Mr. Roboto” band Jackie Brown actress Grier Fortune Favors the Brave musical Unit of pants Faberge collectible Cheney’s follower Full of energy Rosie’s bolt Make like Tony Hawk “I have the power!” yeller Shul leader First sign of the zodiac Indie rock band Yo La ___ “___, what have I done?” (Talking Heads lyric) Jeopardy! megachamp Jennings

Rachel Kramer Bussel is the author of the essay collection Sex & Cupcakes and editor of over 50 erotica anthologies, most recently Come Again: Sex Toy Erotica.

©2015 Jonesin’ Crosswords (editor@jonesincrosswords.com)

40 Pussycat’s poetic partner 43 Couturier Cassini 46 Love bug?

48 All over the place 51 La Bamba co-star Morales 53 “Incoming!”, e.g.

55 Batman sound effect 56 Out-of-office message?

57 Magazine editor Brown 58 Designer Saint Laurent 60 Part of a Campbell’s Soup jingle 61 Minor injury?

62 Food fish known for its roe 64 Judge’s cover 65 “The Parent ___” 66 Makes a contribution 68 Shaker ___, O. 69 “___ seeing things?”

LAST WEEK’S SOLUTION

It took me a long time to feel OK about my kinks.

SUB PLAYGROUND HAVE YOU DREAMT about being tied up or ordered around by a dominant partner, but don’t kn ow how to turn your fantasy into real ity? Or may be you’re already in a dom/ sub relationship but have felt yourself getting bored with the same old routines that used to turn you on.

Sinclair Sexsmith You may be the perfect candidate for Sinclair Sexsmith’s online course, Submissive Playground, at submissiveplayground.com, which is broken down over eight weeks into four topics: bondage, discipline, service and masochism. (Complementary courses for dominants are also in the works.)

Sexsmith is quick to point out that this isn’t school — all assignments are optional. But when you’re given porn to watch, erotica to read and guest videos to learn about things like how to make yourself more attractive to a dominant, you’ll probably want to take part.

Yes, there’s homework, in the form of experiments. While they differ with each class, bondage might entail tying your own hands and feet together and meditating — or having your partner tie you up and then trying something you’ve never done before. You’ll also get worksheets asking things like “Have you ever been in a bondage or kink scene that was too much for you?”

Based on previous class demographics, about half the students are partnered, making it dually useful. “When subs go through the course who are playing with a dominant already, really the dominant is going through the course, too, and doing all the experiments with the sub, and perhaps having some of their own reflections about it,” Sexsmith said.

But solo subs are actively encouraged to pursue their kinks, too. “There are so many things to explore on your own, and to be proactive about, when it comes to the d/s dynamic,” explains Sexsmith. “You don’t have to wait for a dominant to come around and tell you to do things.”

The class is something Sexsmith, 36, wishes they’d had 15 years ago. “It took me a long time to feel OK about my kinks.” That’s a message the writer and teacher wants to pass on to students: essentially, that there’s no right or wrong way to be a sub. Instead, the key is figuring out what aspects you enjoy, then incorporating them into your life.

Other students know what turns them on but don’t always know how to go about getting it when kink mixes with real life. For instance, maybe your dream is to crawl naked on your hands and knees every day to greet your master, but taking care of your kids or aging parents gets in the way. As Sexsmith puts it, “How do we access service in a way that makes it sexy again?”

Part of what Sexsmith aims to do is give submissives the support they need to stand up for themselves. If that sounds counterintuitive, think again. “Submissive” does not mean someone who’ll say yes to anything that’s asked — or demanded. In fact, the biggest myth about submissives, according to Sexsmith, are “that they’re weak, not-strong-willed pushovers who don’t know what they want. Those are dangerous stereotypes. It can be really harmful to people who end up behaving that way because they think that’s the only way they’ll get the kind of sex they want. I think we can have boundaries and have our own self-worth and get the things we crave and that we are wired for.” (rachelcitypaper@gmail.com) PHOTO BY MEG ALLEN

LET’S GET IT ON

JONESIN ’

@RAQUELITA

32 // SEP T EMBER 3 - SEP T EMBER 9, 2015 // PHIL ADELPHIA CI T Y PAPER

C I T Y PA P E R . N E T