The Washington Festival With the Fringe on Top

Shirley Serotsky, 29, a freelance theater director, was "completely psyched" when she heard about Capital Fringe.

"It's a long time coming for D.C.," says Serotsky, who directed a rock-driven Shakespearean update, "Titus! The Musical," at Source Theatre in 2003. She hopes Capital Fringe will encourage artists to explore more nontraditional musical theater and politically riskier themes than Washington typically supports. (The unusual Broadway hit musical "Urinetown" is noted for its New York International Fringe Festival roots.)

"The festival is a buffet," she says. "If you don't like it, there are seven other things to try. At least you got to taste it."

Improvisational dancer-choreographer Daniel Burkholder, 36, says he is excited by Capital Fringe's potential to unify local performers outside the cultural mainstream.

"A lot of times we get separated out because there is no central place for us to be like P.S. 122 or the Kitchen in Manhattan," says Burkholder. "It feels like we're a little isolated, and that's why artists leave. But if we recognize each other, maybe that won't happen. . . . Having a festival will allow us to do that really well."

Leaders of the Capital Fringe Festival's closest neighbors, the Philadelphia Fringe Festival and the New York International Fringe Festival, are happy to hear about the Washington event.

Elena K. Holy, co-founder and producing artistic director of the nine-year-old New York festival, says the timing of next year's fringe festivals -- Washington's in July, New York's in August and Philadelphia's in September -- will help draw more international artists to them.

"The more the merrier," says Nick Stuccio, co-founder and producing director of Philadelphia's eight-year-old festival. "It's only good -- it will only stimulate more interest. We need a Baltimore Fringe. Bring it on."