Through creative storytelling, contemporary dance, and clowning, Magic Trash Day tells the story of one kid’s fantastical emotional journey down into the dumps. Helen Walsh reviews.

An arresting backstory grounds this able mix of contemporary dance, acrobatics, and theater from Ben Grinberg and Hazem Header in this year’s Fringe. Eileen Fisher reviews.

James Haro joins this year’s Cannonball Festival with GO AHEAD, an interactive solo show incorporating poetry and live pop-punk on heartbreak, love, and belonging. Crystal Sparrow reviews.

Humble Materials takes on Charlotte Perkins Gilman’s classic feminist short story with theater, dance, and impressive makeup in this year’s Fringe. Jill Ivey reviews.

Solo performer Joseph Ahmed teams up with director Cat Ramirez for Half Magic, a Cannonball Festival show on grief and mixed-race identity through theater, circus, and storytelling. Krista Mar reviews.

How would you like to spend the end of the world—or maybe just your own end? This immersive Fringe experience offers big questions with a warm cup of tea. Emily Esten reviews.

Denise Stephenson invokes the specter of our former First Lady in Finding Melania, a one-woman show at the Philly Fringe that offers a surreal portrait of complicity and alienation. Kiran Pandey reviews.

The fruit juice flies in Citrus Andronicus, Philadelphia Artists’ Collective’s creative retelling of the Shakespearean revenge tragedy in this year’s Fringe Festival. Cameron Kelsall reviews.

Gunnar Montana’s immersive BLACK WOOD is a dark and bloody exploration of women’s power through sorcery and sexuality. Camille Bacon-Smith reviews.

Blending poetry and dance, Evalina Carbonell’s Fringe show Fruit of Her Lips explored the feminine triune, bringing to life archetypes of womanhood. Zara Waters reviews.