The production process for PAY UP is well under way. We got a receipt for $3,000 worth of lumber yesterday, which means that the set is probably being constructed as I type. Funnily enough, the PAY UP set looks quite minimalist (in the press release, I call it “stark and labyrinthine”) but is also incredibly complicated. If you’ve seen any of our social media pages, you’ve seen Anna Kiraly (the set designer)’s axonometric box drawings* that I’ve turned into banners and icons; those give a good idea of the simplicity of the set, very black, white, and geometric. However, in person the set doesn’t feel simple at all. It is incredibly complex and complicatedly immense, as is the whole production. If (when?) you see it, you’ll understand what I mean. It’s impossible to see the same show twice, even if you take the map handed out at the door.
But despite the above opinions, I really am not involved in the production process of PAY UP at all. In fact, most of my days have been spent in the office working on development and marketing. We have a number of special events for PITC donors and sponsors in the weeks leading up to PAY UP, so I’ve been writing the invites for those and updating our database of PITC supporters. I’ve been doing some graphic design work for the various mailings we’ve been sending out, which I’ve really enjoyed. My recent project has been to manage the visa application process for a New Zealand composer who is coming over to work on Pig Iron’s TWELFTH NIGHT in December. If you have never written a visa application for an alien artist, I hope you never have to. It is quite a process, though will hopefully make a big difference to the production because the composer specializes in Maori and Balkan folk music and I don’t know how many other people can say that.
Last week I found out that I got the grant I applied for from the Pennsylvania Humanities Council. I enjoyed writing the grant, so getting it was even more exciting. However, Keith Chen, the speaker for whom I wrote the grant, has dropped off the face of the earth and hasn’t responded to email or phone calls in two or three weeks, which is making everyone uneasy. I suggested Tweeting at him because we’ve tried everything else, but I think that may be our absolute last resort.
I went out to lunch yesterday with Emily Cronin and Michael Rushmore (HCAH intern at Philly Mural Arts) and was reminded that my days at Pig Iron are winding down. I only have two weeks left, which means I’ll be leaving just as the rehearsals for PAY UP really start to get off the ground. Luckily, I’ll only be down the Main Line and still plan to be involved peripherally in some publicity and social media things. I have recently struck up a Twitter friendship/flirtation (under the pseudonym @PigIronTheatre of course) with WHYY reporter Peter Crimmins and I’m not ready to let that go just yet.
Pig Iron Theatre Company
* there will be an interview with Anna and Quinn Bauriedel (PITC Co-Artistic Director) posted on our Tumblr sometime next week. payup2013.tumblr.com