Art Attack Philly on Kensington's Performance Spaces

You’re Probably Missing Out

A tour of Kensington’s Performance Spaces.


Hella Fresh Theater
The Papermill Theatre / Hella Fresh, 2825 Ormes Street
Mascher Space, 155 Cecil B. Moore Ave.
Walking Fish Theater, 2509 Frankford Ave.
The defining moment of my travels to and from Kensington’s remote theater district thus far has been right outside of the Berks station on the Market-Frankford line. I had just left Walking Fish Theater’s American Fairy Tales. I hustled down the five blocks which separated stage and station, down dark and deserted streets, past empty lots and triple-locked houses. At the foot of the stairs to the station, I heard the train approaching, and dashed up a few stairs.
A man I hadn’t noticed, a few steps above me, spun around. His eyes were wide and his body squared, and I realized: “He thinks I’m going to jump him.” I stopped, nodded, and then brushed past while he ranted that, in this particular Kensington neighborhood, it isn’t a good idea to run at anybody.
I have rarely felt so much like a tourist in my own city.
The empty streets; the long, vacant lots; the securely locked houses and suspicious glances don’t scream “theater district,” not in the classic sense.
The performance spaces which have made Kensington their home (Walking Fish Theatre, Hella Fresh, Mascher Space, and fidgetspace) are remote, both financially and physically, from the city, yet still close enough to converse artistically with downtown venues and even to attract funding. But slouched in Walking Fish’s comfy seats watching bandits burst out of a crate to terrorize a drag queen, or crammed into a hallway in Mascher holding a bag of melting peas, I feel like an insider. I feel like I know something no one else does.
People from Center City, South Philly, and West Philly don’t venture out here.
So, theater companies: why Kensington?
John Rosenberg was basically given the building at 2825 Ormes Street by his real estate agent father-in-law. In 2010, the two of them put their backs and their funds into what is now the Papermill, home to Hella Fresh Theater, where Rosenberg’s gritty invention has free reign.
Rosenberg has produced seven plays since he opened his doors two years ago, addressing subject matter like drug-addled Berkeley students, Lance Armstrong, and revolution in Saigon. His style is brutal hilarity, his characters have sunk themselves into hideous situations — watch them try to get out. Isn’t that the making of great theater?
“I think it can be a challenge getting an audience sometimes,” says Rosenberg, addressing the topic of his theater’s location. “One critic,” he tells me, “was stopped [after a show] by the police because they thought she was a prostitute.”
“But how often do you get a chance to own a theater?” he asks me. Probably not often, I reply. Renting a place like Plays and Players for a short run can amount to over a thousand dollars, money John’s one-man operation couldn’t comfortably afford. And anyway, at the Papermill, he runs the show. He can chain-smoke cigarettes.
When Rosenberg et al were building the Papermill, Mascher Space, a dancers’ co-operative five blocks away at 155 Cecil B Moore, had been hosting new dance works for five years.
Member Annie Wilson says she isn’t sure how Mascher ended up in Kensington (all of the founding members have since moved on, some for lively careers in LA and NYC, others to West Philly).
She is sure that the low cost of the space creates freedom for members. “The thing that’s really amazing is that you’re paying $100 to $150 a month, whether or not you’re using the space,” she says. Unlike a rehearsal space you rent hourly, which you can only afford for the weeks leading up to a performance, Mascher is there for members every day. “That has been really critical to my growth as an artist.” For members, Mascher’s spacious, warm premises have become a home and an inspiration; Christina Gesualdi’s production of our nebulous motor was inspired by, and then performed in, the narrow hallway between the studio and the roof access.
The result is a culture radical experimentation, allowing for performances like Marcel Williams Foster’s recent gorilla-burlesque, #JaneGoodallDrama.
Right next door to Mascher is fidgetspace, a performance venue privately curated by Megan Bridge and Peter Price. They have hosted over 183 events since it opened in 2009, focusing mainly on local artists but ranging in theme from dance parties by King Britt to ThingNY’s This Takes Place Close By, an experimental opera about natural disasters, complete with umbrellas. They also give lectures, hold discourses and reading groups, and host their original work and well-known choreographers like Susan Rethorst.
Fidget was an accident, says Bridge. She and Price moved to Kensington out of Old City — again, for the price, and for the amount of space it provided — and once people found out that they had a dance floor and room for 45 seats, they couldn’t help renting it out.
Walking Fish co-founder Michelle Pauls tells a similar story, except that she and her husband Stan Heleva moved from Northern Liberties.
“I remember when we moved here [to Frankford Ave] there wasn’t even a coffee shop,” says Pauls. “People said we were crazy.” Since then, Frankford’s gallery scene has boomed and Walking Fish has become a neighborhood staple. Their broad range of programming, from children’s theater (often featuring amateur neighborhood performers) to titles like Blood Kegger on Monster Island and George F Walker’s Suburban Motel series, with Wednesdays pay-what-you-can night, have proven an accessible model, rarely failing to fill in their cozy proscenium space.
Across the board, when I’ve asked if these artists consider leaving Kensington, they’ve said no. Annie Wilson points out that just four years ago it wasn’t rare to see people nodding off in the streets, and even Girard was a sleepy avenue.
“It has changed so much, and that’s just in four years,” she says. “In five years, it won’t seem so remote.”

Let it Snowden

a new short play coming this December as part of the Nice and Fresh Series in Mt. Airy, produced by Smokey Scout Productions.

Final weekend

Both shows are at 1714 Sansom Street in Center City.  Show starts at 2pm.  If you want to see the show, email 

Now playing- Hannah

Hella Fresh Theater presents


A new play written and directed by John Rosenberg

1995.  San Francisco.  Part-time Berkeley students/full-time ravers, Christina, Hannah and Anders live by the covenant of Goa Dance Trance---a party scene devoted to collective consciousness, sensitivity, awareness, compassion, and mind-altering synthetic drugs.  In the middle of the night, in filthy San Francisco warehouses, in the fleeting trance dance moment, they arrive at the door of their spiritual quest to the ethereal essence of Goa Dance Trance. 

Fueled by crystal meth ecstacy, DMT, liquid acid and whatever they just snorted, Anders, Christina and Hannah totter through life and school, waiting for the next party/the next gathering/the next trance dance.  In the pursuit of the ethereal essence of Goa Dance Trance, Anders, Christina and Hannah find the reality they seek in the mind-altered state of dance parties.  After the gatherings, when the sun comes up and the drugs wear off, the trio argues who loves the dj most, use glitter as a weapon and fall out of love.  They must wait for the life affirming next party to rediscover joy and love.  Except each next gathering seems just a little less truthful, more synthetic.  Soon, Anders, Christina and Hannah find themselves collectively---consciously---doing their best to destroy one another.  

Starring Francesca Piccioni, Laura Sukonick and Ben Grinberg.

Hannah runs October 12th through November 3rd.

All shows are Saturday and Sunday at 2pm. All tickets are $10.

First three weekends at the Papermill Proving Ground, 2825 Ormes Street in Kensington, USA.

Final weekend at the Papermill Theater Center City, 1714 Sansom Street.

Press comps available for any show requested.

John Rosenberg has written and directed The Gambling RoomAlp’D HuezAutomatic Fault IsolationQueen of All WeaponsCalifornia Redemption Value, Jericho Road Improvement Association and Use Both Hands.

“An impetuous playwright who takes a radical approach to independent Philly theater.” -City Paper.

A playwright with a ferocious amount of talent.” -Philadelphia Weekly

For more information and tickets, visit or call 510-292-6403.