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This year’s crop of Fringeworthy writers is bigger and better than ever. How big? We’ve got more than 30 contributors! (Yes, I may have gone a little overboard.) Many have seen their fair share of Fringe shows; others are new to Fringetown, but damned eager to see what the scene has to offer. They’ll be sharing reviews, previews, music coverage, and a video or two.
Whatever your reason is for dropping by Fringe, we’ll be sure to meet it. That’s the Fringeworthy guarantee. Follow this blog or find us on Twitter for the latest news.
Brett Abelman is a local playwright whose work has been seen at Rorschach Klecksography, Kennedy Center Page-to-Stage, eXtreme eXchange, in self-productions at Capital Fringe, and more. He co-moderates the DC-Area Playwrights Group.
Marshall Bradshaw is a D.C.-based writer and actor, returning for a second year of Fringeworthy. You can usually find him writing for the Science press package, so theater criticism is a refreshing change of pace. If you see him, give him advice on how to properly use Twitter.
Sophia Bushong has done almost every job in theater at some point, but she has a soft spot for acting and the prop shop. At 18, she was cast as the shortest Helena in the history of Shakespearean rom-coms. Since then, she’s played everything from the Bard’s queens, to the Angel in America, to a stray Labradoodle named Sylvia. On the rare occasions that her twenty-month-old child allows, she contributes blog posts to Washington City Paper about theatrical goings-on around town. She has previously written for nytheatre.com. This is her sixth year writing for Fringeworthy.
Joshua Buursma is a writer and teacher living in Alexandria. He’s a member of Baltimore’s EMP Collective and holds an MFA from the University of Michigan. As penance for twenty years’ worth of sins as a student writer, he teaches writing at the University of Maryland. He tried his best not to write a twee, predictably self-deprecating/self-aggrandizing bio here, with mixed results. This is his second year writing for Fringeworthy.
Christina Cauterucci is Washington City Paper’s arts editor. She interned at NPR Arts Desk before that; she’s also been a digital media fellow for the Association of Alternative Newsweeklies and wrote for the Georgetown Independent while an undergrad there. She’s also the D.C. editor for Where the Girls Go, a local blog about queer culture. She earned a master’s in journalism at Georgetown while working as an editor for the university’s website and magazine.
Phoebe Doan is a writer, student at the University of Maryland, and band manager. She has worked with local art and music collectives and National Geographic. She likes live music, cooking shows, anti-humor, and corgi butts. This is her first year writing for Fringeworthy.
Camila Domonoske was born with a name for public radio, so, following her destiny, she works at NPR. She’s into poetry, bikes, beer and baby animal videos — and offbeat theater, of course.
Gabi Dunkley is a writer, editor, and critic based in Washington, D.C. Her writing has appeared in the Huffington Post and national advertisements. She practices archery, paints her nightmares, and brings hot sauce from every country she visits. Learn more about her at www.gabwork.com.
Caroline Jones is Fringeworthy’s resident scheduler and blogger-herder, and the City Lights editor at Washington City Paper. In addition to experimental theater, she also reviews sandwiches for the paper.
Amrita Khalid is a D.C.-freelance writer based in Washington, D.C. She previously covered Congress as a reporter at CQ and has also written for Slate, Government Executive, and Washington City Paper.
Chris Klimek has been attending the Capital Fringe Festival since 2006 and writing about it since 2007. He edited Fringeworthy (née Fringe & Purge) from 2010 through 2014, created The FringeCasting Couch (née the Fringe & Purgecast) in 2012, and wrote Washington City Paper cover stories about Capital Fringe in 2010 and 2015. He was a 2009 NEA Institute Fellow, a 2012 AltWeekly Awards Finalist in the Arts Criticism category, and a 2015 O’Neill Theatre Center National Critics Institute Fellow. His writing appears in City Paper, the Washington Post, The Village Voice, and NPR, where he’s an occasional panelist on the Pop Culture Happy Hour podcast. He was a proud contributor to the best film criticism site on the web, The Dissolve, until its premature demise earlier this week. By day, he’s an editor with Air & Space / Smithsonian.
John Krizel is a high school social studies teacher and occasional playwright whose works have been produced at Capital Fringe for the past three years. He writes the poorly titled movie recommendation blog Taste My Queue and is often free for dinner on short notice. This is his first year writing for Fringeworthy.
Andrew Lapin is this year’s Fringeworthy editor. He has been reviewing theater for City Paper since 2013, and for DC Theatre Scene before that. He also writes film criticism for NPR.org and The Dissolve, and eagle-eyed readers have spotted his other reportings and musings in the Washington Post, The Atlantic, Tablet, Forward, DCist, WAMU, and beyond. He was a 2014 Tent Creative Writing Fellow and a 2014 Young Critics Fellow at Film Fest Ghent in Belgium. For two years, he covered public media at Current. This year’s Fringeworthy will be his last hurrah in the District before he moves to Chicago.
Sala Levin is a writer and editor at Moment magazine. She often tweets about what’s happening on the Glover Park listserv, which is more entertaining than it sounds.
Margot Manburg is a freelance dramaturg and director specializing in new works and theater for young audiences. A California native and recent D.C. transplant, she’s ecstatic to return to D.C. after the city’s new play culture captivated her in 2011 when she was named the National L.M.D.A./K.C.A.C.T.F. Runner-Up in Dramaturgy Fellow. Margot has collaborated on new works with Alliance Theatre, Marin Theatre Company, and Bay Area Playwrights Festival. She was formerly the literary manager at Playwrights Foundation and a contributor to BayStages Magazine.
Rachel Manteuffel works and writes for the Washington Post, except for right now when she’s writing for Fringeworthy.
Joseph Marks covers cybersecurity for Politico and previously covered government technology issues for Nextgov, part of Atlantic Media Company. He’s also worked in local newspapers across the Midwest and was a theater geek way back in high school.
Sean Meehan is a first-time contributor to Fringeworthy and new resident of the real world, having just graduated from American University. He double-majored in journalism and literature and did the whole D.C. intern thing while in school. Now he spends most of his time listening to podcasts on buses, getting weird tanlines from reading outside, and trying to convince people to pay him to write things. He and several friends self-published a collection of short poems called shortpoems; he tweets about Cher, coffee and general nonsense.
Dawn Michelle Morgan is a former print and radio journalist from Tampa, Fla., and has reported for Creative Loafing, the Tampa Bay Times, and more. Now she writes mostly fiction while channeling Nora Ephron and is finishing up an MFA in film at American University.
Amanda Palleschi lives in D.C. and has written for The Atlantic, The New Republic, and the Washington Post. She covers environmental policy by day and once read her 13-year-old diaries in front of a bunch of people as part of “Mortified DC.” This is her first Fringe Festival experience.
Joseph Price has filled just about every Capital Fringe role possible: performer, writer, director, producer, critic, and barfly. His artistic credits in the festival include The Sin Show, e-Geaux (beta), and his one-man show, Operating System. He also produced 2009’s Hopelessly Devoted, a little-seen Catholic comedy that, combined with Baldacchino bar tabs, put him thousands of dollars in the red for all things Capital Fringe.
Erica Sanchez is the communications assistant at the Carlos Rosario School, where she gets to share stories about its adult immigrant students. She’s also written for Current, the Ward 5 Heartbeat, and various Puerto Rican media outlets. She likes all things media, a passion that evolved from the first time she watched American sitcoms on an airplane.
Molly Pinson Simoneau is an aspiring operatic soprano and a social media nerd. She served as the social media marketing guru for Silver Finch Arts Collective’s Capital Fringe 2014 production A Fire in Water. Molly can be seen performing with D.C.’s chapter of Opera on Tap.
Stephanie Steinberg is an assistant editor at U.S. News & World Report. She once spent a summer covering Living/Arts for the Boston Globe, which sent her on a duck boat tour with Will Ferrell and Zach Galifianakis. She also got to write about cannoli—no assignment will ever top that. Steinberg edited a book coming out this September about the University of Michigan’s college newspaper, the Michigan Daily (Go Blue!).
Devon Thorsby is a lifelong audience member with training in classical ballet, to boot. Current projects include teaching her dog to walk on two legs to scare her roommate, which is nothing short of art. This is her first time writing for Fringeworthy.
Mandy Toomey has been taking in Fringe Festival shows for almost a decade and is looking forward to writing about it. Her writing has appeared in the San Jose Metroactive and the Minneapolis City Pages. She now lives and works in Columbia Heights where she writes about adult learners.
Emily Walz is a mild-mannered Midwesterner, ex-China expat, retired college radio DJ, grad school newspaper editor, policy researcher, and Washington City Paper contributor who spends her time wondering why the District’s fancy office buildings are so goshdarn cold.
Photo by Katherine Strickland via Flickr Creative Commons