Dear Readers:

If you haven't yet partaken in the offerings of the Philadelphia Live Arts and Philly Fringe Festivals, this is definitely the year to do it. The two weeks of the festival, kicking off today (except for a few shows that opened last night—cheaters!), are absolutely my two favorite weeks to be in Philly. And even though I'm seeing fewer shows than usual this year (about 20, instead of my usual 30+), I thought I should take this opportunity to recommend a couple to you, in place of my normal column—and hey, it's Labor Day weekend: you don't really want to read a column, do you?

Etiquette by Rotozaza (Rotozaza): Tickets for this show, in which the audience doubles as actors, are extremely limited (performances are for only two people at time). But if you get them, it's a pretty good bet that you're in for a good show. I'm a total nerd for this sort of participatory show, so you can guarantee that I'll be there.

The Don and Julie Show!!! (Don Montrey and Juliette Pryor): You think Don is funny when he writes? Just wait till you see him act. For only ten bucks a ticket, this is one of the cheaper non-free Fringe shows you can catch—and hey, it's in a bar. Get there early, get sloshed, and heckle Don mercilessly. (Just kidding. That wouldn't be very Mannerly.)

The Maguffin (Stone Soup Theatre Arts): How could I not recommend a show being staged by the same group that staged The Barking Beauty? Srsly.

Car (Kate Watson Wallace/Anonymous Bodies): This show, the follow-up to 2006's House, which took place in a house, will, quite logically, take place in a car. Which means that three, maybe four, people can see each show. Which also means that the show is almost completely sold-out. The Festival website is showing exactly one showtime with tickets still available. If you want them, run.

Disco Descending (Karen Getz): I so enjoyed Karen Getz's Suburban Love Songs that I saw it twice: during its recent revival, and in its original incarnation during the 2006 Festival. Disco Descending promises us more of the same, but ten years later. How could I resist?

The Vampire Lesbians of Sodom (To the Wall Productions): To the Wall makes theatre fun (Debbie Does Dallas, anyone?), and I won't expect anything less than more of the same as they take on Charles Busch's infamous camp classic.

The European Lesson (Jo Strømgren Kompani): Maybe ugly Americans aren't the only ugly travelers. But then again, they probably are. What do Norwegian dramatists think? See the show, and find out.

A Priest Walks Into a Bar (Vagabond Acting Troupe): As a matter of full disclosure, I should say that I was originally supposed to work on developing this piece with Vagabond, to which I happen to belong. But because I couldn't make it to a single meeting, I can honestly say that I'll be just as surprised by the show as you. And it's another show at a bar—ain't nothing wrong with that.

Sweet By-and-By (Pig Iron Theatre Company + Teater Sláva): Joe Hill was the subject of a Fringe show a few years back that I didn't get to see, so I'm happy that I won't be missing out on his story a second time, even if it does seem like it'll be a little less than straightforward (apparently, part of the show is set on Mars). Pig Iron does fantastic, movement-based work, and I for one can't wait to see how they'll handle this one-man piece about a folk singer and union organizer.

Image: Disco Descending by Karen Getz, courtesy of the Live Arts + Fringe Festivals.