The Track Runners with friction wheel is also adding motion design to Lazarus. The 4 conductors out of the rotating shaft makes pixel mapping possible, creating a waterfall of light.Īs the mirrors turn and the light changes, the atmosphere of the songs are enhanced in different ways. Our Wahlberg Rotators with power outlet are the key product in the show, presented in an amazing number of 30 pieces, controlling 30 mirrors, each of them 8 meters tall. Rotating mirrors and flying frames made possible with technical gear from Wahlberg Motion Design The visual design is what makes the show climax…. Stiftstidende *****Ī colorful attack on all your senses – Aarhus Theatre has developed a form that works: colors, abstract scenography, strong lighting and great music…… Information A strong venture between acting, costumes, scenography that catches the heart of the musical. From the press:Īarhus Theater’s Lazarus is a strong hallucinating limbo-trip. The stage is set for Lazarus with a great amount of technical gear from Wahlberg Motion Design bringing together light, stage-design and the hallucinating universe of Bowie’s, in a way that win over both old and new fans of the musical genius. Wahlberg Motion Design work as the main sponsor for the Lazarus musical, travelling between Denmark’s two biggest cities in 2019-2020.
#PLAY LAZARUS BY DAVID BOWIE FULL#
After playing to full houses in New York, London, Vienna, Hamburg, Bowie’s farewell salute is performed in Denmark, first at Aarhus Theatre, Autumn 2019 and secondly at the Royal Danish Theatre, Spring of 2020. Just before his death, David Bowie completed his masterful, riveting musical show Lazarus. But, watching this spectacular study of a pained outsider’s search for peace, I too felt a sense of alienation.Lazarus - a musical by David Bowie with Wahlberg Motion Design playing a leading part. Of course, it’s great to hear the Bowie songs and his death lends the show a patina of melancholy. Yet, for all the show’s skill, I found myself more impressed by the visual sophistication than emotionally engaged by the story: only when Lennox sang of her divided self and when Hall gazed wistfully at the lost delights of earthly love was I moved.
#PLAY LAZARUS BY DAVID BOWIE SERIAL#
I also admired Michael C Hall, who conveys the desperation of the lonely, time-suspended Thomas and Michael Esper, who lends Valentine, a serial killer symbolising Earth’s dark forces, a saturnine vigour. The deliberate plainness of the surround is offset by the profusion of images that pour from a central screen depicting everything from the neon sickness of urban America to the Berlin background of Where Are We Now? At one point a character even emerges from the screen to become a peripatetic hologram. Van Hove, his long-term designer Jan Versweyveld and the video designer Tal Yarden have created an engrossing spectacle. But Bowie buffs will be delighted to hear so many songs very well played by an onstage band situated behind a clear acrylic screen. When Amy Lennox – the main newcomer to the cast and outstanding as Elly – sings the 1971 song Changes, it seems a logical expression of her urge to transform herself into the lost Mary-Lou.Īt other times, as when the whey-faced Sophia Anne Caruso as Girl sings Life on Mars?, I felt the number, which is surely about earthbound ennui, is less strictly relevant to the character. Of the 17 songs some are old, some new and, at best, they extend the dramatic situation. The ingredients are all there, but do they add up to a memorable show? Yes and no. Thomas quotes Hamlet’s “In that sleep of death what dreams may come”, suggesting he identifies with the Danish prince torn between two worlds, and it is no accident that the ghostly Girl is called Marley, like Scrooge’s revenant partner in A Christmas Carol. Walsh’s script is also stuffed with literary clues.
It was also shrewd of Bowie to engage Walsh to write the book because, in plays such as Ballyturk and The Walworth Farce, the Irish dramatist has shown a hypnotised fascination with characters who create fantasy worlds to allay their solitude. I took it to be an exploration of the existential angst that pervades Bowie’s music: this is the story of a man never wholly at ease in himself or his surroundings. Many New York critics, on the show’s debut last December, professed to be bewildered by the plot. An engrossing spectacle … Michael C Hall and Sophia Anne Caruso Photograph: Tristram Kenton for the Guardian
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