The return of Mr. Moto style casting!

What follows is an interesting dialogue not just about the frustrations about having to justify the presence of non-white characters on stage (because, after all, if there’s no “reason” for a character to be of color, shouldn’t we all default to white? Because white is normal, you see), but also the many creative opportunities by telling the stories of characters of color–and not just stories of immigration, hardship, and drug cartels–as well as being able to work with all the great actors of color, who are itching for meaty parts and the opportunity to contribute to their art.

One of the most astonishing recent developments that both playwrights are baffled by is white actors playing Asian and Latino characters in yellow/brown-face. And I thought this was only still happening at the Metropolitan Opera, where they still paint the extras in blackface/brownface/yellowface, depending on the opera (as if the audience will otherwise be able to tell they’re not actually Egyptian slaves, which perhaps at one time they were). But no, this face-painting is back in fashion as evidenced in a hilarious but infuriating blog by “a disgruntled Asian actor” titled “Why I’m Tired of Being an (Asian) Actor,” which I came across on the same day, detailing a long audition process with multiple callbacks, only to lose out to a white actor (who will play the part of a South Pacific chieftain who disrupts the white world–in other words the whole play is predicated on one part being white and the other not-white, but now they’re both white, except one white person will be in South-Pacific-Island-face, which is probably not a first, but maybe hasn’t been since since the days of Melville).

However, the HowlRound interview mostly concentrates on the many and varied experiences of Americans, the complex communities we grew up with, and the varied cultures beyond our households’ that were integral to our lives. The stage must be opened up to these experiences, or it will just continue down a road to stale lameness and irrelevancy.

In any case, READ THE WHOLE HOWLROUND INTERVIEW HERE.

–Said Johnson

The Gambling Room opens this weekend at the Papermill Theater, 2825 Ormes Street (in Kensington). Starring Dan Tobin, Calvin Atkinson, and Sebastian Cummings. Written and directed by John Rosenberg. May 18th through June 9th, all shows are Saturday and Sunday at 2pm. Tickets are $10. Read the Metro Article and the FringeArts Blog interview. Reeling from the death of their father, two young Americans attempt a coup d’état from a rooftop in Saigon.  John and Jack, rising stars in the US diplomatic corps carry out their father’s final command: meet the embattled President of South Vietnam, Ngo Dinh Diem, and furnish him with a list of American journalists to be silenced.

This is the last weekend to catch  Philly Improv Theater’s (PHIT)  The Bat, an improv show that takes place entirely in the dark. We are happy to report that this show first appeared at the 2011 Philly Fringe, great to see that it continues! At the Shubin (407 Bainbridge Street), May 16-18 at 7pm, with a midnight show on Saturday as well. Tickets at www.phillyimprovtheater.com.

Photo: Michael Ermilio.

Tangle Movement Arts has been creating a distinctive brand of circus-dance-theater for the past few years now, and May 16–18 at 8.30pm, they take over The Sanctuary at the Rotunda (4014 Walnut Street, Philadelphia) with their new show Invert! (TICKETS!) Invert combines vertical flirtation, glittery sequins, feminist history, and a cordless power drill. Tangle’s seven-woman cast travels through simmering duets, a torch-song trapeze solo, a celebration of campy drag traditions, and a tribute to Rosie the Riveter complete with on-stage power tools.

Dance Theatre of Harlem has returned! After an eight-year break, the company is back on its feet and they will be performing at the Annenberg Center for Performing Arts May 16-19 (with 2 shows on Saturday), 3680 Walnut Street. This is their first tour since coming back. Here’s an article all about the company’s return. Program includes work by Donald Byrd, Balanchine, Robert Garland, and Helen Pickett.

And let’s not forget the Kensington Kinetic Sculpture Derby and Trenton Avenue Arts Festival. Both start around noon on Saturday, with the heart of the action at Trenton Ave and E. Susquehanna (in Philly, not Trenton as in that place in Jersey), just off Frankford Ave in East Kensington. It’s a great fair and the derby is fantastic because you get to see things like this:

And the other crazy thing is that this guy was the commander of the Space Station while he was there. Fantastic!*

*unless this is all a hoax by the Canadian Government.

Photo: SP Photography.

A Denzel Theory by Ms. Wise

Alyesha Wise: A Denzel Theory is named after my kid brother, Denzel. Growing up in my hometown didn’t necessarily pave an easy road to success. Denzel made it look quite the opposite, remaining focused, engaging in sports and academics, then getting a full scholarship to college. This piece is about how our old city eventually swayed him in the opposite direction. This piece is about how this happens to many youth in environments like ours. This poem is a cry. And it’s a theory. Not sure when it came to me; but it’s one of the fastest poems I’ve ever written. READ THE WHOLE INTERVIEW

Higher Art by Seth Lapore

Seth Lapore: I started [doing one-man shows] in college. I like being all the characters in a play that I’ve developed, being able to just switch it up all of a sudden and be someone else fully. I enjoy being in a studio and just talking something out, getting to know a character and letting them lead the lines and then furiously writing them down. READ THE WHOLE INTERVIEW

Mounting, Etna by Jenna Horton

Jenna Horton: The title is intentionally multivalent, as is a lot of the poetry in the show. For starters, there’s the physical action of mounting, as in mounting Etna as if she were a horse—your horse—or a person—your person [as in belonging to you]. Or you could be mounting her on your wall like you would a painting. Or maybe she’s doing that to you. Mind you, I’m also mounting the show of Etna. Not to mention, there’s a volcano on the east coast of Sicily named Mount Etna that’s very active and provides for the fertile soils surrounding the area. My parents also live in Etna, New Hampshire; but that’s more of a coincidence. READ THE WHOLE INTERVIEW

The Living History Project by the Groundswell Players

Scott Sheppard: On one level, the piece is a story about a failed pedagogy that glorifies reenactment as a way of understanding historical events more intimately. On another level the piece is about two performers trying to process their relationship to history, to race, to acting, and to each other. One question I’ve been asking myself is, “aren’t we engaged in the very same project of re-living history that our piece seeks to critique?” I think so, and that puts us in the driver’s seat to say something powerful. READ THE WHOLE INTERVIEW

Photo: Joshua Simpson.

The Supervisors by Marina Libel

Marina Libel: In The Supervisors, we had to embody the machine we’re in—the helicopter—and actually be in it. And express who the characters are and how they function as people. We needed both movement and text to do that, there is no other way. It often goes like that for me. I don’t necessarily start out saying I have to have gesture, dialogue, and choreography but I usually end up with some combination of the three. If you think of a gesture as a word or of a dialogue as a movement phrase, the performance can open up new possibilities and very often reveal something very real about human beings that would never be revealed in an ordinary interaction. READ THE WHOLE INTERVIEW

Photo by David Brick.

Rooster and Snowball by Chelsea Murphy and Magda San Millan

Chelsea Murphy: It’s a great collage of many forms that we’ve both been exposed to. There’s modern dance in there, and the critique of modern dance. We both went to the American Dance Festival this past summer and HATED it. But that’s another conversation. There is clowning and more performance presence stuff, which is important to us—the level of awareness we bring to the performance of each moment, and playing with that level of energy.READ THE WHOLE INTERVIEW

JUMPSTART
Monday May 13 + Tuesday May 14 at 7pm
Painted Bride Art Center, 230 Vine Street, Philadelphia, PA 19106
$18 / $12 Students + 25 and under
BUY NOW

Nick Stuccio, president and producing director of FringeArts, surveying the good work.

A view from a bridge.

Lauren Rile
Smith and Sarah Nicolazzo rehearsing Invert! at The Sanctuary at the Rotunda. Photo by Michael Ermilio.

Tangle Movement Arts has been creating a distinctive brand of circus-dance-theater for the past few years now, and from May 16 to 18, they will be taking over The Sanctuary at the Rotunda with their new show Invert! (TICKETS!) We caught up with Tangle’s founder Lauren Rile Smith to learn about the show, the company, the burgeoning circus scene, and what it takes to put a show like Invert! together

FringeArts: How did Tangle Movement Arts come about?

Lauren: I formed Tangle in 2010 with the goal of making circus-dance-theater with feminist values. I discovered a radical potential in circus arts to challenge our assumptions about relationships, gender, and what bodies can do. Aerial dance is a context in which women can build muscle, men can move gracefully, and everybody can defy gravity. This inspired me to found Tangle—I wanted to make collaborative performance in that radical spirit!

So I gathered a group of seven collaborators with similar visions to embark on the project of making our very first show for the 2011 Philly Fringe. We collaboratively devised Ampersand, which was a sold-out hit, and since then we’ve continued to make aerial dance theater. Our work includes both full-length shows created by company members, and our popular, free outdoor showcase series, tinycircus. We’ve been so honored by the reception we’ve gotten—there’s been an explosion of interest in circus arts in the past few years, and Tangle’s interdisciplinary mix of circus, dance, theater, and live music has connected us to diverse communities in a way that fuels us.

FringeArts: Tell us about the new show Invert!

Lauren Rile
Smith and Sarah Nicolazzo still rehearsing Invert! at the Rotunda. Photo by Michael Ermilio.

Lauren: Invert! is an evening of all-new aerial dance theater. With a nod to queer history, “invert” being a 19th-century term for gender nonconformists, as well as the basic image of circus arts—a body upside-down, Invert! aims to upend viewer expectations. Using trapeze, aerial hoop and rope, and acrobatic partner balancing, Invert! features vertical flirtation, glittery sequins, eerie reflections of inner strife, a spoken-word monologue performed on trapeze, a celebration of campy drag traditions, and a tribute to Rosie the Riveter complete with on-stage power tools.

We have found that in mainstream storytelling, relationships between women are often erased or turned into stereotypes. Invert! counters that by projecting intimate and dynamic relationships between women who perform alongside each other and literally lift each other’s bodies. The dynamic aerial and partner acrobatics of Invert! will be interspersed with tango solos by Juilliard violinist Caeli Smith—we’re excited to bring this show to the majestic and rarely seen Sanctuary at the Rotunda.

FringeArts: How do you determine what pieces fit into a Tangle show?

Lauren: All of Tangle’s work is collaboratively devised by the members of our company, through a long-term cooperative effort. Without a central director or choreographer, Tangle makes creative decisions as a group, sharing input on all aspects of the rehearsal and performance process. Our creative process is based in group and solo improvisation, a continual dynamic of group feedback, and planning sessions in which we develop the structure, written and musical accompaniments, and conceptual framework behind a show. In planning for Invert!, we brought together inspirations as diverse as female WWII engineers, Greek statuary, the tango music of Astor Piazzolla, and a Marilyn Hacker poem.

Across our work, a consistent theme has been gender and embodiment—our aerial acrobatics require so much muscle-building that the topic is never far from my mind, but it’s also a feminist commitment that has been foundational to our work. It’s always really important to us to reflect diverse images of female strength in Tangle’s shows. Our performers have a range of shapes, gender presentations, and relationships to disability. In our last Fringe show, You Don’t Say, one woman performed a dazzling trapeze solo while eight months pregnant! This exploration of what female strength can mean or look like is always a central part of our process.

From Tangle’s 2012 Philly Fringe show You Don’t Say. Photo: Michael Ermilio

FringeArts: What are some of the most common traits of people who are circus artists performers?

Lauren: The trait all circus performers have in common is a stubborn commitment to an art form that bruises and burns you! Circus transforms your body, and not just in that you build muscles—I leave rehearsal with rope burns from my trapeze and bruises from my duo rope partner’s hands.

Beyond that, one of the things I love about making group work in this context is how diverse my collaborators are. Several Tangle company members do have backgrounds in dance or gymnastics, which, of course, is valuable to us—but so are the skills brought by other members, including as a comp-lit grad student, a nurse, a poet, a textile designer, a professor, a craftsperson, a singer-songwriter, and a law student. Tangle’s work is so interdisciplinary that the multitude of perspectives is essential to us.

FringeArts: There seems to be a burgeoning circus scene here in Philly. What’s responsible for this?

Lauren: There’s certainly a sea change happening in the world of circus arts—Philly’s growing interest in circus is really reflective of a national and international trend. In terms of performance, the contemporary circus movement has brought circus out of the traditional big-top and into conversation with other performance disciplines like dance and theater. This fertile cross-pollination is exemplified by Montreal’s Seven Fingers, which brought hugely popular shows to the 2011 and 2012 Live Arts festivals.

As the visibility of circus rises, access to training has also shifted—now, performers tend to be trained in circus schools rather than by traditional circus families. In the U.S., more regional schools like PSCA [Philadelphia School of Circus Arts] are established each year, which has led to an explosion of interest in circus training—whether it’s for recreation—certainly, trapeze is the most fun workout you can imagine—or performance. Philadelphia has an increasingly strong and diverse circus community, from jugglers to sideshow artists to aerial dancers. It’s exciting to be part of that energy—and for Tangle’s interdisciplinary work to help shape Philly’s growing circus scene.

Thank Lauren, can’t wait to see the show!

And  here’s a time-lapse video of Tangle installing their portable aerial rig at the Rotunda in preparation for Invert!

Invert!
Tangle Movement Arts
May 16–18 at 8:30pm
The Sanctuary at The Rotunda
4014 Walnut Street, Philadelphia, PA 19104
Tickets: $10–$15 with discounts for artists, students, seniors, and groups. Purchase at the door or online.
More info: www.tangle-arts.com

–Josh McIlvain

Well, let’s find out more!

The Snowball and the Rooster. Photo by David Brick.

FringeArts: Why is your show title Rooster & Snowball?

Magda: The title is the names of our characters and the names came from the hats: I found this hipster looking hat with a mohawk made of yarn and Chelsea’s is a round white thing. We wore our hats during tech and afterwards I was talking to David Brick [of Headlong Dance Theater] about the characters and the names came from the shapes of the hats. But in a great way the hats influenced the characters, crystallized their essence into this direction they were already going. The hats made the men, so to speak.

Chelsea: You keep saying “characters” but when people have called them “characters” in the past we’ve corrected them. I don’t think they are characters what we are doing. They’re more like . . . what’s that word?

Magda: Personas? Personalities? Essences?

Chelsea: I just think there isn’t any acting involved in this situation. These are the goofy, exhausted, angry-about-stuff versions of ourselves that come out when we are in rehearsal together.

Magda: Right, but to differentiate between the two: Rooster is more aggressive, explosive and Snowball has this icy exterior and weapon metaphor going on. Rooster throws the Snowball.

Chelsea: Why didn’t we think that??

Magda: I just did, I just did think of it.

Chelsea: Okay, but we also wanted to talk about the shared character trait between them: the “failed Rebel” we call it. Both of our performances are about this failed rebel.

Magda: Someone who projects rebel but follows all the rules on a daily basis.

Chelsea: Or not even that they project the rebel image, but other people perceive them that way.

Magda: But they still get nervous about jaywalking.

Chelsea: They listen to all their teachers, they don’t steal ever, they don’t cut lines . . .

Magda: They don’t cross off limits boundaries. They’re polite, meek . . . then they make art like this.

Chelsea: BOOM! Next question.

FringeArts: Where did you grow up and what was growing up there like?

Magda: I’d like to ask a different question if that’s ok with you Josh?

FringeArts: Sure.

Without hats. Photo by David Brick.

Magda: I’d like to ask us if the anger that is bubbling over in Rooster and Snowball had sources in our childhoods? I think anger is a long living underground emotion and I bet it started way back then and is manifesting from those early years in this current dance/theater piece. I think I have an indignant anger at the world in general. The world disappoints me. Why should I suffer when I feel so special? Why am I lonely? Why don’t I have health insurance? Why do I scrub toilets? Why are so many people I meet unhappy and satisfied with it?

Chelsea: I think mine is towards authority. Sometimes it feels like whoever is in charge shouldn’t be, and is doing the WORST job. Just a real frustration with seeing things not getting done or getting done poorly and feeling like I have to be the responsible one and take care of everyone else. That’s what I think drives Snowball’s anger. Which is funny because it makes me sound like such an angsty teen or rebel, which I wasn’t. I was the most well behaved child.

Magda: Yeah me too.

Magda and Chelsea: FAILED REBELS!

FringeArts: What kind of performance is Rooster & Snowball?

Chelsea: It’s the best kind! It’s a great collage of many forms that we’ve both been exposed to. There’s modern dance in there, and the critique of modern dance. We both went to the American Dance Festival this past summer and HATED it. But that’s another conversation. There is clowning and more performance presence stuff, which is important to us—the level of awareness we bring to the performance of each moment, and playing with that level of energy.

Magda: I’d say it’s an in-between piece. In between dance and theater, in between character and real life, in between funny and sad. It’s a Gemini piece. It’s a tight rope walking piece. You don’t know what will happen next, if the performers (us) if we are going to fall flat on our faces.

Chelsea: And sometimes we don’t even know!

FringeArts: How did you go about creating this piece?

Magda: This piece was incubated during our time at the Headlong Performance Institute (HPI). And really, it was the perfect structure for us to make the piece. In dramaturgy class we mapped and investigated all of the concepts popping up in our rehearsals. In clown class we worked on comedic timing, in movement class we practiced dancing in unison improvisationally, in creative process we were exposed to a plethora of ways to get the piece from infancy to teen angst to performance. We really used every single class to the benefit of the piece.

FringeArts: What do you like about creating work together?

Chelsea: The honesty. Sometimes it is time consuming because we have to talk about how we feel about everything. But it’s so necessary. Like if Magda says my voice sounds nasal and that hurts my feelings we have to make it okay before we figure out the music transition we were working on.

Magda: Because this piece was the beginning of a friendship—an in depth relationship. So when we rehearse we have to talk about friend things too. And all of the personal friend stuff finds its way into performance. Nothing is wasted, that’s what I like. Also, Chelsea will try any idea I come in with. Except for “lying babies at a party.” That was a skit idea I loved and she won’t try it to this day.

FringeArts: You credit this show to your time at the Headlong Performance Institute, how has the institute influenced your work since?

Magda: We were afraid it would all be over when HPI ended. That was a horrifying thought because both Chelsea and I felt we had found our “people” in our HPI teachers. So much of their ideas and philosophies resonated so strongly with our own. Their vigorous thinking around performance and then their goodness as people just blew us away. We wanted to move into the womb of their hearts. And we are still trying. Right now we are working on a collaborative piece with David Brick. It’s great. Rehearsals are so much fun.

Chelsea: And deep too—not just fun. We talk about sad shit and laugh. Which is exactly how I want my rehearsals to be always, forever.

FringeArts: How do you spend your last 15 minutes before showtime?

Chelsea: Freaking out! I mean, does anyone really have control over how they spend that time? 1. We make HUGE last minute changes, 2. I take a nervous shit, 3. I list all of the big changes to Magda and try to get her to practice them with me.

Magda: Then I’m like, no we don’t need to practice. We’ll just PERFORM it really well. Then I start doubting the whole thing. I have a huge sense of responsibility to the world through the art I make. In those last minutes I can’t remember if what I’m putting out there is good. I want to take it all back.

Chelsea: And so I have to be like: it’s good Magda, it’s good, this is a wonderful thing we’re doing.

Magda: And when we get onstage I remember.

Thanks Magda and Chelsea, looking forward to the show!

JUMPSTART
Monday May 13 + Tuesday May 14 at 7pm
Painted Bride Art Center, 230 Vine Street, Philadelphia, PA 19106
$18 / $12 Students + 25 and under
BUY NOW

Ben Gansky and Eric Powell Holm of The Wild Plan  recently posted a second in a series of articles about their and other companys’ novel approaches with engaging audiences and alternate performance structure. What begins with the idea of bringing the performance to the audience (a mantra being heard more and more), also includes some compelling ideas about shaping and creating shows, as well as some other insights. Let’s just say, like the previous sentence, the article meanders a bit, but always down paths that have good ideas for picking.

A Wild Plan show.

When setting out to plan their projects, The Wild Plan cohorts look to find that sweet spot where “freedom of artists” overlap with “access for audiences” can lead to innovative programming. For the summer of 2011, they went on a “backyard tour” of “ South Dakota, Minnesota, Illinois, Ohio, and Massachusetts, presenting three original pieces of theater in repertory. Our backyard audiences were families, friends, and neighbors. Each performance was an event where food was gathered from neighborhood kitchens, deluxe libations flowed, and conversations went on into the night.”

While mounting backyard performances may not be for everyone, I think what’s important is to be willing to make such leaps, as well as to ask, as Wild Pan does, what does a certain venue–backyard, rooftop, or otherwise–”want” from a performance. And all Wild Plan shows are free, with some inspired ideas on funding. “Apart from our Kickstarter campaign that first year, we crowdfunded by other, more low-tech means. The majority of communities that we visited appeared on our touring itinerary in the first place because of some personal connection from within our ensemble. If this noble individual was interested in the idea of backyard hosting The Wild Plan, we would send them a packet including information about the shows (and the cocktails) we would bring, the ensemble members, The Wild Plan’s mission, etc., along with the proposal: if the community could raise $500, The Wild Plan would come to town, with the stipulation that the performance would be open to the public and free to all comers.”

The company is big on free and point to how some much larger and more established theaters and companies are succeeding by using free and pay what you will models, which have increased audiences, profits, and individual giving.

One of the best insights they have, and certainly adaptable to organizations of all sizes, is too look at the entire process of a show–from initial announcement to post-performance party–as part of the show. “the audience’s experience begins when they first hear about the performance. It extends through their experiences finding out more, including logistical details about timing, location, and pricing. It continues between the point when they commit to attending and the point when they arrive. On arrival, the space they encounter is a part of their experience; the seating arrangement, the aesthetics of the environment, their welcome—all important parts of their encounter.”

READ THE WHOLE ARTICLE HERE for these and more inspiring insights.

–Said Johnson

What a view from the front door of the new home of FringeArts. All we need to is get some of those bricks out of the way and we’re about ready to party!

Ben Grinberg and Mascher Space Co-op have put together their own performing arts showcase of performers and creators who were not chosen for the official Jumpstart here at FringeArts (Monday May 13 and Tuesday May 14 at 7pm at the Painted Bride).  What a fantastic idea! As FringeArts LAB director Craig Peterson, who heads the Jumpstart program, observed, “This is a great idea–having sat on the panel, I can tell you there was a lot of great work that was auditioned that didn’t make it into the showcase. Only in philly could “rejection” be reframed as a programming opportunity. Thanks for giving this work a home!”

Turning “reject” into a positive. Christina Gesualdi to perform at Jumpstart Rejects.

They have aptly named their showcase Jumpstart Rejects and the current line-up includes Christina Gesualdi, Dan Stern and the If Man is 5 ensemble, Katie Gould, Alice Yorke, Sarah Mittledorf and Kaleid Theatre, Darcy Lyons, and Ben Grinberg and Nick Gillette. The event is free, and happens this Sunday May 12 at 7pm (a day before the FringeArts Jumpstart—enabling you to compare and contrast). Jumpstart Rejects will be at Mascher (155 Cecil B. Moore Avenue). There is a chance that some slots will open up—interested performers (and Jumpstart rejects) can email Ben Grinberg at bgringerg [at] gmail [dot] com

We caught up with Ben to get the skinny.

FringeArts: What is your role in this? And Mascher’s?

Ben: I’m co-producing this show with Mascher, specifically with a whole lot of help from Annie Wilson and Christina Gesauldi, who are both Mascher members. Mascher is generously providing space, marketing, and hopefully even hotdogs. I’m also going to be performing with Nick Gillette.

FringeArts: How did the idea come about?

Ben: I started having conversations about wanting to do something like “Jumpstart Rejects” with other members of the theater and dance community as soon as I applied for a Jumpstart audition. Jumpstart is incredibly competitive—not only do they audition 50 artists and chose 6, but there’s a waiting list at least 20 deep for those audition slots. Personally, I ended up losing out on the lottery and was 17th on the waiting list, though I was able to audition a different piece with my collaborator Nick Gillette. That means that there’s a lot of work worth seeing that can’t be presented as a part of Jumpstart. It would be such a shame for those short pieces to die without ever seeing an audience. So I got the idea to program a low-key night of art for art’s sake out of pieces that for whatever reason couldn’t make it into Jumpstart. When I spoke to Annie Wilson, she was thinking along the same lines—and deserves all the credit for the name “Jumpstart Rejects”—and it became an easy co-production with Mascher.

Samantha Schwab, Rachel O’Hanlon-Rodriguez, and Nina Giacobbe of Kaleid Theater. Photo: Valerie Giacobbe

FringeArts: Can you tell us about some of the performers?

Ben: Absolutely, Dan Stern and the If Man is 5 ensemble are presenting an excerpt from a longer work. It’s an all-male acrobatic exploration of masculinity and what it means to be an acrobat. They’re all very gifted performers so this promises to be exciting.

Sarah Mittledorf has been working with her physical theater company, Kaleid Theater, since last Fall. Their work is at the intersection of dance and theater. In developing the piece, they are guided by these questions: “Things that bounce: rubber balls, plastic cups, lamplight, puppies, echos, opinions. What happens when people bounce? Or stories? Or bits of music? What else?”

Thanks Ben, sounds like a great show and a lot of fun.

For more info, check out the facebook event.

Jumpstart Rejects

Sunday May 12 at 7pm
FREE!
Mascher Space Co-op
155 Cecil B. Moore Ave (2B), 19122
(bet. North Hancock and North Mascher Streets)
–Josh McIlvain