2018 in review
2018 was another busy year for the team at Iron Bloom Creative Production. We congratulated KPOP on their numerous awards and nominations, including an Outstanding Scenic Design nomination for our co-founder and partner, Gabriel Hanier Evansohn. We returned to San Francisco to lead the creative production for the 2nd annual Clusterfest—expanding the previous year’s Paddy’s Pub activation into a 360 installation, among other things. We were thrilled to kick-off our working partnership with Madison House Presents, adapting design, developing and implementing a entirely new look and feel for The Observatory at Electric Forest 2018-- who knew that the fried asparagus of NorthWestern Michigan was so delicious!
We consulted with our friend and frequent collaborator, renowned designer Andi Watson on Deluxx Fluxx Detroit (a music venue by way of an art installation arcade, conceived by Brooklyn-based artist collective FAILE); and Mirage Detroit, a rejiggering of a site-specific installation by artist Doug Aitken. In August, we returned to San Francisco’s Golden Gate park for a sixth year, once again to manage the scenic build, and live-show implementation for the Land’s End Mainstage at Outside Lands.
We said goodbye to Sweeney Todd at the Barrow Street Theatre, after a record-setting, 636 performance run. We said hello to the off-broadway transfer of Black Light, for which we contributed the Scenic Design and Production Management. We got a little taste of Grandoozy in Denver, bringing to life the mountains of South Park. Meanwhile, in NYC we managed the load-in of New York Theatre Workshop’s extension of Heidi Schreck’s What the Constitution Means to Me at the Greenwich House Theater.