Join us at the Fringe Festival Bookstore at Cherry Street Pier where Hidden City Philadelphia’s Peter Woodall will talk with Dan Rothenberg and Tony Torn from Pig Iron Theatre Company in a live podcast recording of Happy Hour on the Fringe, exploring the secret underground systems of the city in the new Fringe Festival performance Superterranean.
Free, RSVP Suggested
About Dan Rothenberg
Dan Rothenberg is a Philadelphia-based director and creator of experimental performance. As co-founder and co-artistic director of Pig Iron Theatre Company, Dan has directed and co-created almost all of Pig Iron’s original performance works. Together with Quinn Bauriedel and Dito van Reigersberg, he received a Pew Fellowship in Performance Art (2002) and a USA Artists Knight Fellowship (2010). With Pig Iron, Rothenberg has directed and co-created more than 30 original works, including the OBIE-winning productions Hell Meets Henry Halfway (2005) and Chekhov Lizardbrain (2010).
At Pig Iron, Rothenberg engages in collaborations with visionary artists who push the ensemble in new directions. Collaborators have included: director Joseph Chaikin; playwright Toshiki Okada; designers Mimi Lien and Machine Dazzle; songwriter and performance artist Cynthia Hopkins; Daniel Rudholm of Stockholm’s Teater Slava; and choreographers Sam Pinkleton and David Brick.
Rothenberg’s work with Pig Iron has toured to 15 countries on four continents. Pig Iron has performed across Philadelphia and the company has been seen at the Public Theater, Abrons Art Center, Woolly Mammoth, La Jolla Playhouse, and the Humana Festival, among others. Pig Iron has been selected for creative residencies at Yale University, Temple University, Brown University, Drexel University, Swarthmore, Montclair State University, Dance Theater Workshop, the Public Theater, Baryshnikov Arts Center, Playmakers’ Rep, EMPAC, About Face Theater, the Orchard Project, and as part of the Atelier program at Princeton University.
Outside of Pig Iron, Dan has directed three critically-acclaimed English-language premieres of plays by Toshiki Okada for the Play Company in NYC, as well as a national tour for the Acting Company, with stops at the Guthrie, New Victory, and Lincoln Center. He designed sound for painter Alexandra Grant’s solo show at MOCA in LA, and directed the Berserker Residents’ Annihilation Point (Phila. Fringe & Abrons Arts Center).
About Pig Iron Theatre Company
The mission of Pig Iron Theatre Company is to expand what is possible in performance by creating rigorous, unusual, ensemble-devised works.
Founded in 1995 as an interdisciplinary ensemble, Pig Iron has created over 30 original works and has toured to festivals and theatres in England, Scotland, Poland, Brazil, Ireland, Japan, Italy, Romania, Sweden and Germany, among others, with stops at the Under the Radar Festival, the Humana Festival, TR Warszawa, Woolly Mammoth, Dance Theater Workshop, and the Tokyo Performing Arts Market. The many creative residencies that have incubated the company’s work include Baryshnikov Arts Center, the Public, La Jolla Playhouse, the Orchard Project, EMPAC, and the Penn Program in Environmental Humanities.
Pig Iron has no “house style,” and the company has made a name for itself with creations that range from site-specific works to hybrid cabarets to works of clown-theater and of visual spectacle. Notable collaborators include legendary director Joseph Chaikin; composers Troy Herion and Cynthia Hopkins; playwrights Toshiki Okada and Will Eno; and ensembles such as the Crossing, Contemporaneous, Sweden’s Teater Slava, and the indie rock band Dr. Dog. Pig Iron’s current core company is Mimi Lien, Jenn Kidwell, Mel Krodman, Dan Rothenberg, Dito van Reigersberg.
The company has won two OBIE Awards, and has been nominated for 2 Helen Hayes awards and 39 Barrymore Awards, winning 10. Pig Iron’s staging of Shakespeare’s Twelfth Night (2011) was nominated for ten Barrymore Awards for Excellence in Theatre, winning four, and enjoyed sold-out performances at Philadelphia Theater Company and later at Abrons Art Center in NYC (2013). Pig Iron has been named Theatre Company of the Year by Philadelphia Weekly and Philadelphia City Paper.
In 2011, Pig Iron launched a 2-year graduate program in physical and devised theater at a new home in North Philadelphia. In 2015, the company partnered with University of the Arts to offer both a Graduate Certificate and an MFA in Devised Performance.
About the Fringe Festival Bookstore
FringeArts partners with much-loved local bookseller Head House Books to present a pop-up emporium on Cherry Street Pier. Head down to Philadelphia’s newest, most arts-friendly waterfront park (just across Columbus Boulevard from the Festival Bar at FringeArts) to browse books and publications by and about the artists in the 2019 Fringe Festival. Delve deeper into the Curated Fringe Festival shows at a series of intimate conversations and live podcasts with the artists and community partners behind the shows. Learn more here.
September 10–20, 2019 Section, Void is no longer on view at Cherry Street Pier
A public artwork and installation that serves as a companion work of visual art to Superterranean, Section, Void creates a primal architectural experience of seeing and sensing, and a way for viewers to contemplate the human body’s peculiar vibrations amid large constructions.
While at the installation, enjoy a custom Section, Void ice cream from Little Baby’s Ice Cream at Cherry Street Pier.
Refineries, dams, and wastewater treatment plants tower over us and sprawl beneath us. These massive works of infrastructure seem almost anti-human in their complexity and scale—like machines that run themselves—but they are the beating hearts that allow a city to function.
On the outskirts of an unknown city, massive structures emerge from the murk. Nine performers embody our hunger for permanence and our dreams of utopia in a melancholy contemplation of our skin, our organs, and our deepest urges
A world premiere by acclaimed Fringe veterans Pig Iron Theatre Company (A Period of Animate Existence, Pay Up, Welcome to Yuba City) and award-winning designer Mimi Lien, Superterranean is a new work of visual theater driven by Lien’s fascinations with urban infrastructure and the human body’s place within it.
Food and beverages are available for purchase at 2300 Arena before and after the show. There is no late seating or reentry once the performance begins.
Visit the companion work Section, Void at Cherry Street Pier.
“When I see a huge refinery, with its vast and intricate system of metal pipes, tanks, catwalks, I feel inexplicably emotional. Why do these structures evoke in my body such a deep-seated feeling of pleasure and despair?” Mimi Lien
“One of the few companies taking theatre in new directions.” TheNew York Times
$39–$45 general
$15 students/25-and-under
$2 FringeACCESS
Member discounts available Buy Tickets
80 minutes
Concept, Scenario and Set Design Mimi Lien Scenario & Direction Dan Rothenberg Performers Rolls André, Isaac Calvin, Evelyn Chen, Jenn Kidwell*, Mel Krodman, Chelsea Murphy, Dito van Reigersberg, Tony Torn*, and Saori Tsukada Original Music Lea Bertucci Lighting Designer Barbara Samuels Costume Designer Olivera Gajic Sound Designer Lea Bertucci Sound Production Engineer Toby Pettit Stage Manager Lisa Iacucci* Dramaturg Geoff Manaugh Choreographic Consultant Rosie Herrera Puppetry Consultant Shayna Strype Movement Consultant Chelsea Murphy Props Artisan Noah Mease Associate Scenic Designer Colin McIlvaine Assistant Director Francesca Montanile Assistant Lighting Designer Catherine Girardi Assistant Costume Designer Scott McMaster Assistant Sound Designer Justin Smith Assistant Stage Manager Adam Swez Technical Directors Lauren Tracy and Joe Daniels, Flannel & Hammer Venue Manager/Master Electrician Sydney Justice Audio Engineer Amanda Hanna Master Carpenter Scott Halstead Wardrobe Supervisor Seana Benz Dresser Kate Tenen Run Crew Sam Wall and Eli Marsh Production Assistants Gary Bowman, Emma Gordon, Kelly Hayes, and Nancy Merlin Pig Iron Company Members Jenn Kidwell, Mel Krodman, Mimi Lien, Dan Rothenberg, Dito van Reigersberg
*Appears through the courtesy of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Photos by Jauhien Sasnou / Picturebox Creative
Support for Superterranean has been provided to Pig Iron Theatre Company by The Pew Center for Arts & Heritage.
Festival Star Producers Al & Nancy Hirsig Festival Co-Producers Libby Harwitz & Burton Blender
Contextual Programming
Intimate Immensity: A Superterranean Conversation Sept 7 at 5:30pm at 2300 Arena (in advance of the 7:30pm performance)
Moderated by Geoff Manaugh, lauded author of A Burglar’s Guide to the City. Dive into the terrifying and awe-inspiring world of Superterranean by participating in this panel conversation with writers, artists, and architects. See the world around you in a whole new way as they discuss the invisible structures that dictate our daily behavior. Featuring Conrad Benner (founder and editor of the Streets Dept blog), Annette Fierro (Associate Chair of Architecture at the University of Pennsylvania), and Superterranean lead artist Mimi Lien.
Section, Void September 10–22 at Cherry Street Pier A public artwork and installation that serves as a companion work of visual art to Superterranean, Section, Void creates a primal architectural experience of seeing and sensing, and a way for viewers to contemplate the human body’s peculiar vibrations amid large constructions.
While at the installation, enjoy a custom Section, Void ice cream from Little Baby’s Ice Cream at Cherry Street Pier.
Happy Hour on the Fringe
On this episode of Happy Hour on the Fringe, Mimi Lien shares her inspirations for Superterranean, from seeing a rat disappear into the darkness of a subway to the immense structures, tunnels, and systems working all around us, as well as the human body’s place within it all. Listen to episode below or read the transcript on the FringeArts Blog!
About Mimi Lien
Mimi Lien is a designer of sets and environments for theater, dance, and opera.
Arriving at set design from a background in architecture, her work often focuses on the interaction between audience/environment and object/performer. She is a company member at Pig Iron Theatre Company, an artistic associate at the Civilians, resident designer at BalletTech, and co-founder of JACK, a performance/art space in Brooklyn. She was named a 2015 MacArthur Fellow, and is the first set designer ever to achieve this distinction.
Selected theater designs include Natasha, Pierre, & The Great Comet of 1812 (Tony Award, Lortel Award, Hewes Design Award), An Octoroon (Drama Desk and Lortel nominations, Soho Rep/TFANA), Appropriate (LA Drama Critics Circle Award, Mark Taper Forum), John (Hewes Design Award, Signature Theatre), Preludes and The Oldest Boy (Lincoln Center), Stop Hitting Yourself (Rude Mechs/LCT3), Black Mountain Songs (BAM Next Wave), and Taylor Mac’s 24-Decade History of Popular Music (St. Ann’s Warehouse) and A Period of Animate Existence (Pig Iron/FringeArts). Mimi’s designs for dance have been presented in the Netherlands, Russia, and Taiwan. Her installation/public art work includes Model Home, a commission for La Jolla Playhouse’s 2017 Without Walls Festival (WoW); 2×4 Tree, a kinetic sculpture created for the 2016 Philadelphia International Festival of the Arts (PIFA), and Memory Palace, a participatory walk created for Elastic City inside the Pennsylvania Hotel.
Lien is a recipient of the Joan and Joseph F. Cullman Award for Extraordinary Creativity at Lincoln Center Theater, Lucille Lortel Award, American Theatre Wing Hewes Design Award, LA Drama Critics Circle Award, Barrymore Award, four Barrymore nominations, two Drama Desk nominations, Audelco Award nomination, Bay Area Critics Circle nomination, and a 2012 OBIE Award for sustained excellence. Mimi is the 2017 Tony recipient in scenic design.
About Dan Rothenberg
Dan Rothenberg is a Philadelphia-based director and creator of experimental performance. As co-founder and co-artistic director of Pig Iron Theatre Company, Dan has directed and co-created almost all of Pig Iron’s original performance works. Together with Quinn Bauriedel and Dito van Reigersberg, he received a Pew Fellowship in Performance Art (2002) and a USA Artists Knight Fellowship (2010). With Pig Iron, Rothenberg has directed and co-created more than 30 original works, including the OBIE-winning productions Hell Meets Henry Halfway (2005) and Chekhov Lizardbrain (2010).
At Pig Iron, Rothenberg engages in collaborations with visionary artists who push the ensemble in new directions. Collaborators have included: director Joseph Chaikin; playwright Toshiki Okada; designers Mimi Lien and Machine Dazzle; songwriter and performance artist Cynthia Hopkins; Daniel Rudholm of Stockholm’s Teater Slava; and choreographers Sam Pinkleton and David Brick.
Rothenberg’s work with Pig Iron has toured to 15 countries on four continents. Pig Iron has performed across Philadelphia and the company has been seen at the Public Theater, Abrons Art Center, Woolly Mammoth, La Jolla Playhouse, and the Humana Festival, among others. Pig Iron has been selected for creative residencies at Yale University, Temple University, Brown University, Drexel University, Swarthmore, Montclair State University, Dance Theater Workshop, the Public Theater, Baryshnikov Arts Center, Playmakers’ Rep, EMPAC, About Face Theater, the Orchard Project, and as part of the Atelier program at Princeton University.
Outside of Pig Iron, Dan has directed three critically-acclaimed English-language premieres of plays by Toshiki Okada for the Play Company in NYC, as well as a national tour for the Acting Company, with stops at the Guthrie, New Victory, and Lincoln Center. He designed sound for painter Alexandra Grant’s solo show at MOCA in LA, and directed the Berserker Residents’ Annihilation Point (Phila. Fringe & Abrons Arts Center).
About Pig Iron Theatre Company
The mission of Pig Iron Theatre Company is to expand what is possible in performance by creating rigorous, unusual, ensemble-devised works.
Founded in 1995 as an interdisciplinary ensemble, Pig Iron has created over 30 original works and has toured to festivals and theatres in England, Scotland, Poland, Brazil, Ireland, Japan, Italy, Romania, Sweden and Germany, among others, with stops at the Under the Radar Festival, the Humana Festival, TR Warszawa, Woolly Mammoth, Dance Theater Workshop, and the Tokyo Performing Arts Market. The many creative residencies that have incubated the company’s work include Baryshnikov Arts Center, the Public, La Jolla Playhouse, the Orchard Project, EMPAC, and the Penn Program in Environmental Humanities.
Pig Iron has no “house style,” and the company has made a name for itself with creations that range from site-specific works to hybrid cabarets to works of clown-theater and of visual spectacle. Notable collaborators include legendary director Joseph Chaikin; composers Troy Herion and Cynthia Hopkins; playwrights Toshiki Okada and Will Eno; and ensembles such as the Crossing, Contemporaneous, Sweden’s Teater Slava, and the indie rock band Dr. Dog. Pig Iron’s current core company is Mimi Lien, Jenn Kidwell, Mel Krodman, Dan Rothenberg, Dito van Reigersberg.
The company has won two OBIE Awards, and has been nominated for 2 Helen Hayes awards and 39 Barrymore Awards, winning 10. Pig Iron’s staging of Shakespeare’s Twelfth Night (2011) was nominated for ten Barrymore Awards for Excellence in Theatre, winning four, and enjoyed sold-out performances at Philadelphia Theater Company and later at Abrons Art Center in NYC (2013). Pig Iron has been named Theatre Company of the Year by Philadelphia Weekly and Philadelphia City Paper.
In 2011, Pig Iron launched a 2-year graduate program in physical and devised theater at a new home in North Philadelphia. In 2015, the company partnered with University of the Arts to offer both a Graduate Certificate and an MFA in Devised Performance.
Love the Fringe Festival and FringeArts? We’re always looking for volunteers, during the Fringe Festival and throughout the year. Usher a dance performance, collect tokens at a circus festival, or distribute programs at a play. The opportunities are endless; the art is spectacular! There is no minimum commitment and we welcome arts lovers ages 14-and-up. We spoke to longtime volunteer Dennis Hallda about his experiences.
FringeArts: How long have you been volunteering for FringeArts?
Dennis Hallda: Twelve years. I have T-shirts from every year in every color of the rainbow. My favorite was 2013!
FringeArts: What do you like about the Fringe Festival?
Dennis Hallda: Everything. The originality, the talent, the great venues, the staff. There are so many wonderful shows and venues throughout the city … if only we could see them all.
“I was thinking about what happens in domestic spaces that is often hidden from plain sight but could benefit from being brought into the open”
Pig Iron Theatre Company is well established as Fringe Festival favorite, with Pay Up (2005, 2013) Welcome to Yuba City (2009), Cankerblossum (2010) and A Period of Animate Existence (2017) among its many memorable offerings. The company’s interim associate artistic director, Nell Bang-Jensen is a prominent figure in the Philadelphia theater world committed to expanding the boundaries of theater production and consumption. She uses models of community engagement and social practice to reimagine the way theater can include and represent the diverse community it serves.
Bang-Jensen has brought her interest in community involvement to Pig Iron Theatre’s new show The Caregivers, a play created by and starring caregivers from the neighborhood surrounding Pig Iron’s headquarters in Old Kensington, where it is on show this weekend (shows are FREE but “sold out” and waiting list–only). The involvement of real caregivers in every step of the process allows authentic, lived experiences to be revealed, and shines a spotlight on underpaid, often invisible members of the community. We spoke with Bang-Jensen to learn more about the inspiration for the show as well as the joys and challenges of putting caregivers, creators, and actors together in one room.
Nell Bang-Jensen
FringeArts: What inspired The Caregivers?
Nell Bang-Jensen: I’m serving as interim associate artistic director of Pig Iron through a grant from the Theatre Communications Group . One of my focal points of the last eighteen months was observing and working with theaters around the country (and abroad) that have radical approaches to community engagement. I think sometimes theaters use the term “community engagement” as a blanket term that really just means trying to diversify their audiences. I’m more interested by models of civic and social practice, which go beyond questions of how to make specific productions more inclusive and accessible, and ask more broadly: how is a theater actually serving its community? How could it be? It requires us in the theater industry to step back and think more deeply about what the form of theater specifically is primed to do.
I knew I wanted the culmination of this grant period to be making a piece with citizen artists who were both driving the content and also performing. Pig Iron’s neighborhood [what’s known as Old Kensington] is largely residential and I was thinking about what happens in domestic spaces that is often hidden from plain sight but could benefit from being brought into the open. I also took stock of what organizations were around and noticed that almost all of them had to do with giving care: there is a Visiting Nurse Group, Hospice Center, and Children’s Crisis Treatment Center all within a few blocks of Pig Iron.
Next weekend the beloved Philadelphia institution Pig Iron Theatre Company returns to the Fringe Festival with their first major work in two years, and it’s clear they put that time to good use. A Period of Animate Existence may be their most ambitious work to date, an awe inspiring large-scale piece of symphonic theater that examines the most universal, urgent issue of our time: climate change.
In an era called the “Sixth Extinction,” when up to 50 percent of all living species might die off, rather than grappling with the issue in a lecturing, damning manner, the creative team hopes to achieve something more nuanced and universally relatable. “We’ve tried hard to avoid an activist voice with this piece—we want to avoid haranguing or scolding as we investigate the landscape of emotions around climate change,” director Dan Rothenberg told the FringeArts Blog. “As we contemplate extinctions, I keep talking about emotions that I don’t have a name for. I know what grief is, having experienced the deaths of people close to me. And I know what terror is. I think finding ourselves in the middle of extinction creates feelings like grief and terror, but it’s some other emotion that doesn’t have a name.” In taking this lofty approach to the issue, the artists have most certainly done their homework, and then some.
The company has been gracious enough to share with us a list of texts that helped inform the piece. These works may help deepen audiences’ understanding of the show, but, perhaps more importantly, they will help deepen their understanding of the serious crisis we are currently living with. If confronting this harrowing information sounds daunting or terrifying or a surefire way to send yourself into fear-induced catatonia, believe me, I understand. Yet, in reading from these works, I’ve found being informed in my dread has been far more comforting than being ignorant in it. And thankfully, despite the dire nature of the situation, many of these writers chart concrete courses of action for how we might curb the most catastrophic effects of climate change.
Taking in this full picture, perhaps you’ll find yourself not quite feeling grief, not quite feeling terror, but feeling that liminal emotion A Period of Animate Existence strives to articulate.
Renowned political theorist Jane Bennet—known for her focus on nature, ethics, and affect— examines the active participation of nonhuman forces in natural events. Exploring just how political analyses of public events might change were we to acknowledge that agency is not strictly human, she suggests that such a change in perspective might provide impetus for more responsible, ecologically sound politics.
French philosopher Henri Bergson was an influential thinker of the early 20th century, one who recognized his time as a distinctly new and modern age, and in turn helped shape its intellectual discourse. At the core of his philosophy is his concept of Duration, a theory of time and consciousness, but most pertinent to the show is his concept of élan vital, his explanation for evolution (a relatively new concept at the time) and the development of organisms which essentializes life into “mobility itself.” This collection assembles Bergson’s most essential writings, including excerpts from Creative Evolution.
Acclaimed Indian novelist Amitav Ghosh takes to task our inability to grasp the scale and violence of climate change, particularly in terms of what he sees as an imaginative failure of literary writers. Arguing that the extreme nature of climate events make them resistant to contemporary modes of thinking and imagining, he sees this as connected to the fact that politics and literature have become matters of personal moral reckoning rather than a platform for collective action. They are therefore, at the moment, unequipped to deal with what is truly the greatest threat humanity has ever faced. It’s not all doom and gloom though, as Ghosh sees the climate crisis as an opportunity for us to imagine other forms of human existence. He sees no better realm to address this task than in the world of fiction.
Troy Herion is a composer and filmmaker whose works unite contemporary music with visual arts through film, theater, dance, and concert music. His compositions range from classical and avant-garde orchestral music to intricate and melodic electronic scores. He has teamed up with Dan Rothenberg (director) and Mimi Lien (design) for Pig Iron Theatre Company‘sA Period of Animate Existence, which has been dubbed “a work of symphonic theater” and premieres at the 2017 Fringe Festival. Period is structured as five moments and tackles questions about the future of life in such turbulent times. It also features more than 80 performers including children and elders, as well as The Crossing, Contemporaneous, and members of the Philadelphia Boys Choir & Chorale and Philadelphia Girls Choir, and Philomusica. Troy shared some of his thoughts with us on the creation of A Period of Animate Existence earlier this year.
FringeArts:What does the title A Period of Animate Existence mean to you? And how did you first respond to it?
Troy Herion: When you look up the word “life” in the dictionary, one of the definitions you will find is: “a period of animate existence.” Our piece looks at the concept of life from a zoomed out perspective—one that tries to consider where life came from and where it is going. When I think of the dictionary definition of life—a “period” of animate existence—the word period implies something with a beginning and an end. The period of my own life is barely conceivable—to think I have a beginning and an end. But when I zoom out and think about the period of life on earth, or life in the universe, the origins and the future trajectory of this continuum of life are entirely beyond my imagination. When we consider the idea that life is a continuum, that all living things on Earth are part of an unbroken chain going back to the first emergence, and continuing into the future from generation to generation, then the period of animate existence is really on a timescale beyond comprehension.
FringeArts:How do you incorporate or consider the other artistic processes happening on this show when composing?
Troy Herion: I’m sort of obsessed with the ways music combines with things like images, environments, and story. I tend to work holistically by imagining music in some sort of context, which has led me to some more interdisciplinary projects like my visual music films. I’m interested in synesthesia, and I experience music as a very tactile thing. Sounds have color and weight, they can travel like objects in space with momentum and friction. So my music is definitely inspired by colors, textures, brightness, and movement. A Period of Animate Existence is a unique project in that we are writing (and revising) the music, story, choreography, and visual design simultaneously. I tend to be inspired by a concept or an image from Dan or Mimi, and then will write an unfinished demo of music. We then try to combine the music and design sketches, so that each can be influenced by the other.
In these turbulent times, artists in the Fringe Festival are using their mediums to present worst case scenarios for our unpredictable future. Check out the horrifying projections of reality coming to our city at this year’s Fringe!
AMERICANA PSYCHOBABBLE @ Berks Warehouse Alexandra Tatarsky
A delirious anti-narrative of American emptiness, violence, and nonsense—part exorcism and part enema! With styrofoam wings, Xmas lights, and ketchup. “Phyllis Diller meets Artaud!” “Like Kellyanne Conway woke up from a coma after overdosing on sleeping pills and reading too much Gertrude Stein.” AMERICANA PSYCHOBABBLE exists somewhere between irrational healing ceremony, sad clown song, dance in the abyss, and desperate diatribe to take back ecstatic nonsense as an act of resistance. More info and tickets here.
Every Day APOCALYPSE! @ The Collective Lone Brick Theatre Company
The death rays and nukes of outrageous fortune are aimed squarely at a struggling theater group when an irate son of God condemns the company to face a new apocalyptic scenario every day, for eternity. Can they learn to get along in order to save the world, not to mention the world’s worst production of Hamlet? More info and tickets here.
GATZ @ Philadelphia Shakespeare Theatre Harrison Stengle
Philadelphia, year 2025, the tempo of the city had changed sharply. The buildings were higher, the parties were bigger, the morals were looser and the kush was cheaper, the restlessness approached hysteria. From the makers of the off-off Broadway show Sword of the Unicorn comes GATZ a Great Gatsby modernist parody. More info and tickets here.
Just because it’s at the Fringe doesn’t mean you have to leave the kids at home. Check out some of the Festival’s productions appropriate for all ages. Bring the whole family! Check out Part 1 here.
A Period of Animate Existence @ Annenberg Center for the Performing Arts
Pig Iron Theatre Company
Children, elders, and machines contemplate the future in a time of dire predictions and rapid technological change in this work of symphonic theater. How do we contemplate the future in such a perilous time, an era called the “Sixth Extinction,” when up to 50 percent of all living species might die off? An inspired, large-scale melding of music, design, and theater, A Period of Animate Existence investigates the intense, unnamable emotions that arise in a time of extinction. More info and tickets here.
Photo by Michael Bach.
Lost in the Woods @ German Society of Pennsylvania
A Moment for Music
Lost in the Woods is the journey of two starving children who must find their way in a world that threatens to both empower and devour them. This family-friendly romp through Hansel and Gretel’s forest is a multimedia adventure featuring classical, jazz, and pop singing, lip-sync, and dance. More tickets and info here.
Photo by Michael Ermilio.
Life Lines @ Christ Church Neighborhood House
Tangle Movement Arts
Seven women collide and are changed forever. In this dynamic circus-theater show, strangers meet their match, empty rooms listen in, and women find their power in flight. Tangle’s acrobats climb trapezes and aerial silks as they face sudden changes, spark chain reactions, and test the hidden threads that bind us.
Worktable @ BOK
Kate McIntosh
We provide the hammer, you do the rest. Worktable is a live installation that takes place in a series of rooms, which visitors engage with one at a time. Having signed up beforehand for a specific time slot, you enter and can stay as long as you like. Once inside there are instructions, equipment, and safety goggles so you can get to work—it’s up to you to decide how things come apart, and how they fall back together. More info and tickets here.
“I think the question ‘Does a machine have a perspective?’ is another way of asking the question ‘What is alive and not alive?'”
Brilliant in their innovation and shining in their craft, the Pig Iron Theater Company has earned its accolades for its artistic excellence. The recipient of several Obie awards, the company never fails to amaze in its fresh, interdisciplinary takes on current events and social themes of the human experience. Dan Rothenberg is one of the founders and artistic directors of Pig Iron, producing their newest work, A Period of Animate Existence. This production has amounted to a huge collaboration between actors, musicians, and a number of choirs, culminating in a show about the human experience of climate change, in the form of a symphony. We caught up with Dan to find out about how the idea for this show came about, and what it’s been like to put it all together.
FringeArts: How did the title A Period of Animate Existence come into being?
Dan Rothenberg: Troy Herion proposed this title. He looked up the word “life” in the dictionary. It is a textbook definition. We were working with a few different sources of inspiration: Alan Watts, who talks about “the rocks peopling” as a way of imagining the beginnings of life on Earth, and understanding that we organic creatures are made out of exactly the same stuff as inorganic rocks. We looked at Richard Dawkins and “the Selfish Gene,” which talks about humans as big lumbering robots “operated” by genes within us. This grade-school question: “what’s the difference between alive and not-alive?” remains elusive for both scientists and philosophers, even today.
FringeArts: How did you go about gathering your key collaborators, what were the artistic conversations you were hoping to foster between not just them and Pig Iron, but between each other?
Dan Rothenberg: Some of the collaborators are folks I’ve worked with before for years, like Tyler Micoleau (lights) and Nick Kourtides (sound). These are people I trust who have contributed to some of the Pig Iron work I am most proud of. I am working with the librettists Kate Tarker and Will Eno, and with choreographer Beth Gill, for the first time. We were looking for artists who take on big ideas and who care about form. People who make work in which the form is front and center. Especially with choreographer Beth Gill, I wanted somebody with a deeply mathematical mind. Someone who sees the poetry in mathematics, since I feel that this piece is about seeing the world in terms of fundamental forces rather than as a set of relationships between people.
FringeArts: What prompted the five movements structure?
Dan Rothenberg: Gustav Mahler said that a symphony must be like the world, containing everything. So the five-movement structure is a symphonic structure. It’s our own “13 ways of looking at a blackbird.” A deliberate effort to get at something that’s too large to get your head around, by coming at it from five very different angles.
This is a partial list of Fringe shows I’ve participated in: Cafeteria, Pig Iron, 1997 (First Fringe!) – Charlotte the cafeteria lady The Lorca Cycle, Pig Iron, 1999 – Federico Shut Eye, Pig Iron, 2001 – Clark Hell Meets Henry Halfway, Pig Iron, 2004 – Henry Isabella, Pig Iron, 2007 – Angelo Welcome to Yuba City, Pig Iron, 2009 – Tom White/Joaquin Takes, Nichole Canuso Dance Company, 2010 Oedipus at FDR Park, 2010, – Messenger Twelfth Night or What You Will, Pig Iron, 2011 – Orsino Zero Cost House, Pig Iron, 2012 – Present Okada Pay Up, Pig Iron, 2013 – Scene 21
Fringe show I’m participating in for 2016: I’m mostly watching this year but then closing the festival with a Martha Graham Cracker show at FringeArts on the 24th of September, with some special guests I’m very excited about. I’ll also be doing sprints to prepare for scaling the steep seating risers of the FringeArts theatre. I have lovingly dubbed those FringeArts stairs “the K2 of alternative theatre.”
First Fringe I attended and highlight: I moved to Philly just in time for the first Festival in 1997. During that first Fringe I remember meeting the incredible members of Headlong Dance Theater and New Paradise Labs, who by now have become lifelong friends (I think Whit McLaughlin let us Pig Ironers watch a dress rehearsal of Gold Russian Finger Love, a sort of James Bond fantasia which was deliciously odd and unforgettably beautiful); I guess that was the moment I realized that, as the Talking Heads might say, “this must be the place.”
from Cafeteria (photo by JJ Tiziou)
First Fringe I participated in: So when we arrived in Philly in 1997, we had rehearsed all summer at Swarthmore College to make a wordless piece about the American life-cycle called Cafeteria. The piece is set in junior high, a corporate and then a retirement home cafeteria, and all the dramatic action in the show is told in movement. We had no audience in Philly, no sense of what kind of reach the Fringe might have, and also we had this new, weird, hard-to-categorize piece to try to sell. Thankfully we were veterans of the Edinburgh Fringe, so we shamelessly flyered for the show all over town like mad people and hoped for the best.
Companies: I make and perform work with various ensembles including the Philadelphia-based companies Pig Iron Theatre Company, Team Sunshine Performance Corporation, and No Face Performance Group. And since 2010 I’ve worked in collaborative partnership with New Orleans-based choreographer Kelly Bond.
Fringe shows I’ve participated in: Elephant, 2010, with Kelly Bond – performer, creator Colony, 2012, with Kelly Bond – performer, co-choreogrpaher Swamp Is On, 2015, with Pig Iron Theatre Company and Dr. Dog – performer, creator
2016 Fringe show I’m participating in: Sincerity Project with Team Sunshine Performance Corporation (performer, creator).
Also in November my show JEAN & TERRY: Your Guides Through Dark, Light, and Nebulous will premiere at FringeArts.
First Fringe I attended: The first time I came to the Philadelphia Fringe Festival was with Kelly Bond when we were producing Elephant in 2010. We were both still living in DC and drove into town in pouring down rain, rushing to make it to the Kimmel on time to see Jérôme Bel’s piece Cédric Andrieux. I was absolutely blown away by this work—instantly impacted, forever changed. As soon as the show was over we jumped back into the car and were rushing (possibly even more than before) to make it to Brian Sanders’ JUNK. It was a truly jam packed evening of dance work at two ends of a spectrum: Bell’s stripped down and Brian’s spectacle. From then on I was in love with Philly and totally hooked on the festival.
First Fringe I participated in: I was a co-creator and performer, along with Lillian Cho, in Kelly’s piece Elephant. Kelly had found a venue that was an artists’ collective—FLUX space—in North Kensington up near Allegheny and Front streets. Our piece was performed entirely in the nude, which was kind of hilarious in this raw space with fine sawdust everywhere. And it was hot out and we were sweating. So you can imagine. But that kind of artists’ space was so inspiring to see. It was my introduction to the badass DIY Philly art scene that I love. It was during this run of Elephant that we met the magnificent Megan Bridge of <fidget> space. She invited us to come back and perform Elephant at <fidget> the following spring. In 2014-15 Kelly and I were yearlong artists in residence with <fidget>, so we have Fringe to thank for launching a significant creative relationship and friendship.
Fringe shows I’ve participated in: Wow. A lot.
A series of short plays produced by the now-defunct Brick Playhouse performed at the now-defunct Old Original Bookbinders, 1996 Bartleby the Scrivener, the Madmen, 1998 – actor, creator The Trial, 1999 – adaptor, director Live at the Apollo Diner, Theatre Exile, 1999 – performer Live Girls, 2000 – co-creator, performer Brinksmanship!, Termite TV, Bad Penny Productions, 2001 – co-creator, performer Little/Yma, Weak Chin Productions, 2004 – actor Pay Up!, Pig Iron Theatre Company, 2005 – performer, creator Isabella, Pig Iron Theatre Company, 2005 and 2013 – performer, creator Oedipus, Emanuelle Delpeche at FDR, 2008 – actor Purr Pull Reign, Johnny Showcase, 2009 – Lady Dancer Raw Stitch, Jackie Goldfinger, 2012 – actor The End of Hope,the End of Desire, [ad hoc theatre project], 2013 – actor 99 Breakups, Pig Iron Theatre Company, 2014 – performer, creator
2016 Fringe show I’m participating in: I’m not signed up for anything (so far) this year! But that just means I can go see more stuff!
First Fringe I attended: I’ve been Fringe-ing since the beginning. I remember doing these little plays at Bookbinders while people ate their three-course lunches and thinking how exciting it was that Philadelphia now had this special time of the year when people could think about performance in new ways. Even though in that year, that particular project wasn’t super boundary-pushing, we were still performing new plays for an audience of people that would otherwise never have been exposed to them. And in the early years, the Fringe office was on Vine Street and the Fringe Bar was at what I think was a Turkish restaurant across the street, and everything was performed in Old City, so there was a closeness to everything. You’d run from show to show to show because you really could. And everyone would gather at the bar to dance and talk at the end of every night.
First show I produced/created at the Fringe: The first show I produced entirely on my own was an adaptation of Kafka’s The Trial, performed by three actors at the Museum of Jewish American History in their old space. What is most memorable to me about that experience: the number of people who are willing to help you for free! I think the museum gave me the space for free, and the actors basically donated their time, although we split the profits at the end. And that people who don’t know you will come to see your show!!! I’ve never not had audiences for any of my Fringe shows, even the ones that I thought were a disaster and I didn’t want anyone to see (Live Girls)!!
The Fringiest show, venue, action, or moment I ever experienced: I think I’ve been blessed to be in some of the Fringiest of the Fringe, but I’d have to say that the experience of performing Oedipus at FDR down at FDR Skate Park would top the list. Pure magic. Walking the edge of the bowl in a red satin dress with Pearce Bunting as the blind Oedipus holding on to my yards-long train, audience seated in the other end of the bowl, the chorus of skaters swooping through the space like bats, and the intimacy of all the sound happening through headphones because the atmospheric noise of being under I-95 made it otherwise impossible to hear anything—being so far from the audience but able to whisper in their ears. I feel so blessed to have been a part of that show.
Fringe shows I’ve participated in: Echo (2007), Armageddon at the Mushroom Village (2009), Dracula (2010), Heavy Metal Dance Fag (2011), Antihero (2013), Two Street (2014), Zombies . . . with Guns (2015).
2016 Fringe show I’m participating in: Antihero (remount), director
First Fringe I attended: 2004. The highlight was Pig Iron’s Hell Meets Henry Halfway.
First Fringe I participated in: 2007. The Metro didn’t review our show (Echo) because we only ran one week, but they later called us one of the “best surprises of 2007.” That was a really big deal for us at the time.
A Fringe show that influenced me as an artist: Berserker Residents—The Jersey Devil. Before I saw The Jersey Devil I was always trying to “make art” or “do what a good artist would do,” and these guys made a show that had all the kind of stuff that I loved—AND IT WAS ART. It made me realize that I was my own artist and I had the ability and permission to make the type of work that—at the time—wasn’t being made as much and that’s not only okay, that is art.
Artists I have met or was exposed to in the Fringe who I went on to collaborate with: The Berserker Residents. After seeing The Jersey Devil I was up in their face as often as possible about possibly helping them, working together, whatever. They needed someone to play a small role that originally was supposed to only be a mentioned character. As the process went on they realized this character was going to need to make a cameo appearance at the end of the play. Because of my intense love of The Jersey Devil and my less than subtle offers to work with them, they asked me to play the role.
I learned about this through Adrienne Mackey‘s Facebook. Adrienne recently ran off to Edinburgh and Zagreb, and found the Museum of Broken Relationships. Wish I could see it, because somehow this has been a year of stresses upon and dissolutions of long-term relationships among my friends. Instead, I’ll probably go see the Pig Iron/Kirk Lynn/Dayna Hanson collab 99 Breakups, taking place over 75 minutes at PAFA, because I’m a glutton for punishment.
99 Breakups
Pennsylvania Academy of Fine Arts
118 N. Broad Street
$15 to $29
Dates and times vary. Click here for tickets.
“The most I’ve ever made in a year is $23,000, and that year was filled with 60-hour weeks of overlapping work, which I was thrilled to have.”
Charlotte Ford. Photo by JJ Tiziou.
Philadelphia’s theater scene is better than ever—haven’t you heard? With so many shows, exciting performers, original work, and new theater arts grads flooding the city each year you might mistake it for being healthy. But when so few of its practitioners, on the artistic side of things especially, can eke out a living wage from it, and when even its most successful artists live a tenuous economic existence, it is time to take a serious look at how poor the health of the theater industry is in this city.
Theater artist Charlotte Ford is well known in Philadelphia thanks to her creations like BANG (Live Arts Festival, 2012), a huge audience and critical success, which she also produced and performed in. She has also been a widely seen performer with Pig Iron, the Arden, and Theater Exile, among many others, including some of the areas most innovative “art-maker” types. Over the past five or six years, she has made her living as a theater artist—meaning she stitched together income from grants that support the work she creates herself (also including Flesh and Blood & Fish and Fowl and Chicken), acting gigs, and teaching. Recently, however, she took a look into the future and did not like the view. She has decided to put her theater career on hold, go back to school to get a masters degree in a field that would allow her to earn a decent wage, and pursue a different future.
Recently, we caught up with Charlotte, who shared with us both how she came to make this decision, and how the economics of being a theater artist in Philadelphia just don’t hold up.
FringeArts: Recently you made a big career decision—can you explain what that was and how it came about?
Charlotte Ford: I decided to return to school to get a second masters degree in speech language pathology. The catalyst was the Philadelphia Theatre Initiative [PTI, which now exists under the more general banner of The Pew Center for Arts and Heritage] changing its funding guidelines. I didn’t receive funding for my new project. It seemed likely, given the other artists who had also relied on PTI funding for years and were denied funding, that I may never receive funding from them again. PTI has been the main funding source behind each play I’ve made. I lost the majority of my income for the year, and was scrambling to make enough money to pay rent and eat, and needed a new long term plan. I’ve been able to make a living as an artist without a “day job” for the past five years. Suddenly, I needed a day job. I love teaching, and have an MFA [in theater], which allows me to teach at the college level, but tenure track teaching gigs are about as scarce as foundation funding these days.
FringeArts: What got you interested in speech language therapy?
Charlotte Ford: I started by researching jobs that were in demand. I didn’t want to accrue more student loan debt and then graduate without any job prospects. Most speech language pathology [SLP] programs boast a one-hundred percent hire rate. Every pathologist that I spoke with loved their job. I’m excited to research how theater exercises, which can foster huge personal growth, could help clients who stutter, have selective mutism, or autism. SLP work also seems like a lucrative freelance gig where I could still make theater. If I had to get a day job, I wanted it to be meaningful work.
Charlotte (left) with Sarah Sanford and Lee Etzold in BANG. Photo by Kevin Monko.
FringeArts: Looking over the few years, can you roughly breakdown where your income came from?
Charlotte Ford: It really depends on the year, but usually, about a third of my work is made of one or two “straight” acting gigs a year at a local regional theater. Half of my year is devoted to creating my own work, and the remainder is filled by teaching gigs—I teach for Pig Iron, at the Arden Theatre, as well as lots of workshops at local high schools and colleges. I had a great experience directing and teaching at Bryn Mawr College.
It can be a tricky juggling act of taking on too may jobs because nothing pays super well, and you need to make up for the weeks of the year when you may have no employment at all, which is difficult financially and emotionally. The most I’ve ever made in a year is $23,000, and that year was filled with sixty-hour weeks of overlapping work, which I was thrilled to have.
With Matt Pfeiffer in Red Light Winter at Theatre Exile.
FringeArts: How did you go about organizing your life so as to put this all together?
Charlotte Ford: The busy year—the year I made that miraculous $23,000—all my projects overlapped. So first I was in a show at Theatre Exile while teaching, and then I was creating BANG while teaching and creating a show at Bryn Mawr College, and then rehearsing at the Arden while also creating the show at Bryn Mawr, then simultaneously teaching for Pig Iron and the Arden while performing at the Arden and prepping for BANG, then creating BANG again. So those are mostly sixty-plus-hour weeks. But then I didn’t get any acting gigs for the fall, so I needed to live off of the money I’d made in the winter and spring. That’s part of the problem: weeks of unemployment, while a necessary break after no days off for months, eat into your meager reserve. There’s no paid vacation.
FringeArts: What made you finally see this path as unsustainable?
Charlotte Ford: I was initially excited when I had enough theater work to fill out a year and quit my day job, and I naively believed that if I kept improving and having more success, that I would make more money. I was up for the Pew [grant] in 2013, and made it through four rounds of feedback before not getting it. They read you some of the feedback. One person on the panel said, “She actually thinks she can make a living doing this?” When I didn’t get the funding, after having years of increasingly successful work and still scraping by, I was like, yeah, maybe she’s right. I can’t afford to do this anymore. Maybe I could have worked smarter, and not harder—maybe I could have done a better job of diversifying my funding, or teamed up with universities, or if I was willing to relocate . . .
Do you have your mind on your money and your money on your mind? Or perhaps money ain’t a thang? Regardless, visit Pig Iron’s handy tumblr on their 2013 FringeArts remount of Pay Up, where you can find discourse about dollars, a photo of Justin Bieber‘s monkey in quarantine, among other things.
Pig Iron’s Pay Up runs nearly every day September 4 through 22 at Asian Arts Initiative, 1219 Vine Street, Chinatown. $25, times vary.
Julius Ferraro is a freelance writer in Philadelphia, a former Festival Guide intern, and regular blog contributor.
Kyohei Sakaguchi. Photo via Pig Iron.
One of the 2012 Live Arts Festival highlights is Toshiki Okada and Pig Iron Theatreʼs Zero Cost House. The show is about, among other things, Kyohei Sakaguchi. Though Sakaguchi is relatively unheard-of in the United States, his Zero Yen House project has traveled as close as Canada, and with the sustainability movement in full force here, heʼs a figure who bears extensive discussion.
Sakaguchi is an artist, a documentarian, the author of two books, a musician and illustrator, and an avid blogger and tweeter. He is Bear Grylls crossed with John Lennon. He is an architect who does not build houses, a Tokyo-based artist, a performance architect, and a revolutionary. But it was not until March of 2011 that he became the Prime Minister of Japan.
After the jump: Running the new government, living in a water tank, and questions of freedom.
Spooky spooktacular! Not really. But after the jump, coverage of Fringe in cemeteries, my friend Cherri interviews Jumatatu Poe for KYW, some top picks from our media posse, and more. Rounding up the roundups again, here we go:
About Dan Rothenberg
