Perhaps more than any other show at this Fringe, 52:15 challenges its audience to reconsider one of its core beliefs. The 100th Monkey Theatre Ensemble’s mix of traditional, surreal, and psychical performance is impressive, but the show falls miles short of justifying an empathetic take on a pedophile.

In Aphrodite’s Refugees, Monica Dionysiou finds new ways to share stories she grew up with: in this case, as show’s description puts it “the fate of four teenage refugees is merely a high-stakes card game played by the Greek goddess, Aphrodite.”  Dionysiou tells us the story of her father and aunts’ experience fleeing the 1972 […]

After nearly two centuries of begging, God allows Karl Marx a brief visit to Earth to clear his name. “I am NOT a Marxist!” he emphatically declares in historian Howard Zinn’s play. Were he alive, Marx would be 200 years old this year. He wrote Das Kapital 150 years ago. Zinn wrote Marx in Soho 19 […]

In two years, David Rodwin went out with 120 women. Evidently, that changes a man. F*ck Tinder, Rodwin’s solo show on his dating life, ranges from deep vulnerability to unrestrained boasting; it’s a wild time, good enough at least for a first date.