The Idiopathic Ridiculopathy Consortium, whose mission is to produce the works of absurdist playwrights and authors from around the globe, once again turns to The Onion, America's Finest News Source for its annual fundraiser for the 9th year running. Intimate L'Etage Cabaret will host the event, celebrating the on-line weekly satirical news source known for its outrageous and absurd humor on Sunday, May 20, 2018. Raw Onion: Comfort Food will have two performances at 6 pm and 8 pm.
Proceeds from the one-night only cabaret will support production costs for the IRC's upcoming 2018 Philadelphia Fringe Festival production of The Eccentricities of a Nightingale by Tennessee Williams.
The 70-minute cabaret-style consortium of commentary, will be performed by IRC favorites Melissa Amilani, Daniel Barland, John D'Alonzo, Tomas Dura, Sharon Geller, Michael Harrah, Jenna Kuerzi, Jane Moore, Michelle Pauls, Bill Rayhill, Dan Scully and David Stanger. The show will be comprised of new material, including Watching The Olympics Has Inspired Me To Start Trying To Jump Over Stuff; Why Are All The Good Guys Always Taken, Gay, Dead, Or Available; Without Guns, How Am I Supposed To Defend Myself From My Family; The Dark Web Sucks Now That My Mom Is On It and Honey Step Aside And Let A Real Man Show You How To Build A Bear.
Tickets to Raw Onion: Comfort Food are $25 and available at http://TheOnionComfortFood.bpt.me or www.IdiopathicRidiculopathyConsortium.org, or by calling 215 285-0472.
2018 marks The Idiopathic Ridiculopathy Consortiums twelfth season presenting rarely-produced absurdist gems from playwrights from around the globe. Known for their humorous and thoughtful interpretations of seldom produced works, the IRC's most recent seasons have included critically-acclaimed productions of Jean Anouilh's Time Remembered (Leocadia), Eugène Ionesco's The Bald Soprano and Jean Giraudoux's The Enchanted.
The IRC is a 501C3 non-profit organization, and a member of The Greater Philadelphia Cultural Alliance. The IRC's 2018 season is funded in part by generous grants from Wyncote Foundation; The Philadelphia Cultural Fund; The Charlotte Cushman Foundation; The Virginia Brown Martin Fund of The Philadelphia Foundation; The Pennsylvania Partners in the Arts program of the Pennsylvania Council on the Arts, funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, with support also provided by PECO and administered regionally by the Greater Philadelphia Cultural Alliance and Arts & Business Council of Greater Philadelphia.
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