How was the process been thus far?
The process for The Pajama Game was pretty good. Each process is unique, and Jess assembled a great group of collaborators to work with. I worked for TMTC a couple years ago, also with Jess as the director, and it was a great experience. I was excited to come back.
What about the production were you most looking forward to?
Definitely the music. When I found out that we were going to take the orchestration in a different direction, I was very excited. Might have something to do with the fact that I love the sound of a banjo.
Does this production compare to any others you’ve worked on before?
Not particularly. In part because each production is unique and has its own set of constraints and potential. The exciting element about designing for TMTC is the challenge of working in an intimate space. There’s something very refreshing about the experience as there is no place to hide or skimp on the details when you have an audience member who is less than three feet from the action on stage.
Where are you from?
Originally I am from South Korea, but was adopted at a very young age and grew up in southeast Michigan. I moved to Chicago for graduate school, and now call the city my home.
Do you wear pajamas? If so, what kind?
Yes. I am a sucker for flannel pajama pants no matter what time of the year, and usually it’s paired with my Cubs t-shirt.
What do you love about working in Chicago?
Aside from the sheer quantity of creative work going on at all times in Chicago, I would have to say that there is a strong sense of community – the level of professionalism, collaboration, support and generosity of spirit is remarkable to me.
What do you love about working at TMTC?
Mostly the people. Everyone is so invested and cares very much about creating astounding musical work in an intimate space.