For those who have read his book, “Cabinet of Curiosities“, this exhibit is especially thrilling. In the book, readers get a view inside Del Toro’s suburban Los Angeles home (named “Bleak House”). The home is packed with all manner of unusual oddities, props, artwork, and collections.
In this exhibit, those collections have been placed on view for the public; and it is horribly magnificent. The show is not a retrospective of Del Toro’s work; but a look at his influences and inspirations. In keeping with that idea, the exhibit is laid out thematically. Paintings, drawings, maquettes, full size sculptures, and more bring Del Toro’s unique visions into full relief in this exhibit that surrounds and immerses you into one mans fever dream.
The work of many artists is on display, and its easy to see where Del Toro derives his inspiration.
Taking its inspiration from the tone and architecture of Bleak House, the exhibit is housed in an architectural shell, with long hallways that twist and turn, opening into room after room. The walls and other elements are in muted tones of black, gray, and blood red. The use of rafters overhead is enhanced by lighting that casts shadows onto the ceiling and surrounding walls.
One room in particular is modeled after Del Toro’s writing room, in which a perpetual rainstorm falls outside the “windows” of the room.
The exhibit is truly wondrous. It’s a through and detailed examination of artistic inspiration and process. A good example is that there are several of his notebooks on display. Since they could easily be damaged by the public, all the pages have been scanned and patrons can flip through them virtually on a touch-screen adjacent to the actual notebook. It’s a great way of revealing the artist while preserving the work.
I have only two small quibbles with the overall exhibit. The first is that it appears to have been put together quickly. The finishes on the display vitrines are somewhat slap-dash, with visible paint brush marks and drips. One would think that an exhibit with this sort of “draw” in the marketplace would have warranted a greater attention to detail. My other minor negative comment is that I would have loved to seen LACMA embrace a greater degree of theatricality through lighting and video. The black costume from “Crimson Peak” is especially poorly lit, diminishing its detail and beauty.
Every summer, thousands of high school Thespians bring their love of all things theatre to the Thespian Festival, a celebration of student achievement in the arts. Organized by the Educational Theatre Association and hosted by the University of Nebraska in Lincoln, the Festival is a one-of-a-kind, weeklong immersion experience in singing, dancing, acting, designing, directing, creating, writing, and memory-making. Festival features workshops presented by theatre professionals, individual and group performances, programs for technical theatre students, and opportunities to audition for college admission and scholarship. It’s an incredible experience for teachers and students and I’m proud to have been involved for the second year.
The week begins with a performance of “An Evening With…”. This year, the show centered around the theatrical work of 8-time Tony-winning composer Alan Menken. Alan couldn’t be with us in person, but a video crew had been dispatched to his home to capture his thoughts.
The show is unique because of how quickly it’s assembled. A cast of 20 student performers is pulled together through remote auditions along with 15 student technicians. They all converge on Lincoln and meet, for the first time, on Saturday night. While the performers attend a vocal rehearsal (conducted by Jason Yarcho, Musical Director of Wicked), the tech students meet and create a plan for each of their respective departments.
On Sunday, the performers have 9 hours of rehearsal, which includes learning the choreography and blocking, cleaning it, then running it in a rehearsal space, all while running lines and attending costume fittings. While they do that, the tech students are devising cue sheets, coordinating microphone plans, and mapping out backstage traffic and activities. In the afternoon, the techs get three hours in the venue to load in and test their respective gear. Platforms are placed, show files are loaded, and other tech elements are set.
On Monday morning, cast and crew meet in the Lied Center for the Performing Arts where they meet the 10-piece band. As they work through the show, the audio crew sets levels, the lighting crew creates cues, the projection crew runs their piece, and the dressers set up their backstage quick-change areas.
After lunch, the cast and crew have one dress rehearsal, then doors open for two back-to-back shows. It’s a somewhat unique experience in that it materializes so quickly, then vaporizes less than 24 hours later. The students run everything backstage – lights, sound, followspots, projection, costumes; under the direction of industry pros. Like last year, I had a great crew with top-notch talent.
For the remainder of the week, I conducted lighting and projection workshops for a total of about 500 students. This is a rewarding experience because it’s where you see the lightbulbs start going off; as students realize that the soft and hard skills they learn in theatre are suitable to all areas of the entertainment industry and that they can work in concerts, clubs, television, cruise ships and many other areas.
What struck me most is the level of super-engagement of these students. Their passion, dedication, and commitment are extraordinary. One wonders why that is; until you meet their teachers. These theatre teachers are deeply engaged with their art and their students; forming a bridge that carries the students from knowing about theatre to creating theatre. They inspire these students to commit, to create, to embrace, to BE their art. It’s thrilling to watch; and I’m already looking forward to next year.
If you saw Katy Perry’s half-time performance at the Super bowl, you saw a pretty good example of large-scale projection on a giant surface that covered much of the football field (similar to Madonna’s half-time performance several years ago).
This sort of large-scale 3D projection presentation has become trendy in recent years; used most often on the sides of buildings or in stadiums for large sporting events like the Olympics.
However, It’s important to distinguish between 3D projection and projection mapping.
Katy’s setup allowed for content that was created to look three-dimensional to be projected onto a flat surface.
By contrast, projection mapping uses lasers to map the specific surface being projected. The surface is often comprised of different shapes and sizes, not all of which are on the same plane. That laser map is then used to place content (still or animated) into very specific locations. Using specialized software, multiple projectors are stacked together and all of the edges are blended together to create one gigantic image. Combining the mapping software with custom created content allows for eye-popping imagery and great depth. Mapping 3D content into an actual 3D surface increases the dimensional effect and creates jaw-dropping imagery. Of course, it’s more difficult (and FAR more time consuming) than my cursory description would indicate.
I keep a long list of bookmarks in a creativity folder. These are stories or posts that I go back to every now and again for fresh inspiration. I love seeing what people create; and it inspires me to do even more.
Today’s share is from a story I bookmarked a couple years ago at My Modern Met. It’s an interactive typographic installation by NOTA BENE Visual titled “In Order To Control”. Spectators step into the installation to read the projected text content. The trippy part happens when their silhouette “covers” the words on the floor and transfers them to an adjacent wall.
What I love about this is the creative use of light and shadow, which work together to craft a different environment where the audience is encouraged to participate in shaping the art.
I had the opportunity to see Cirque du Soleil’s Totem recently. I have a fondness for the unique sort of entertainment for which Cirque is known. While I prefer their installation shows in Las Vegas, I still enjoy the touring shows as well.
Totem is currently on tour under the “Grand Chapiteau” after having opened in Montreal in 2010. Director Robert LePage weaves a tale that seems to have been inspired by various origin stories surrounding humanity and evolution.
As with all Cirque shows, the story is really only just suggested and provides a backdrop for spectacular acrobatic acts and incredibly good-looking, very fit humans doing incredible things.
One of the more remarkable visual effects in this show is a floor which is projected upon. The video interacts with the performers in real time. For example, there is a scene where the video is footage of the waters edge. Performers descend down a ramp and “enter” the water. As they do, the footage of the water “pools” where they walk. It’s a wonderfully executed effect that carries you into the next moment of the show.
The fixed trapeze act was especially good, with the performers exhibiting quite a bit of character in addition to their athletic prowess.
Also good was the Amerindian Dancer, who performed an energetic hoop act.
The five Asian girls on seven-foot-tall Unicycles juggling bowls was a huge crowd favorite, as was the foot-juggling act. These two performers juggled fabric squares in a variety of contorted positions (backwards, upside down, balancing on each other).
As usual, the music was a combination of unique instruments with a lot of “world” influences. One of the big differences for this show is that it features a number of vocalists and they are often integrated into some of the performances
I think it’s important to get out and see different forms of entertainment. I think a steady diet of just plays or just movies would be come quite stale after a while. I like changing it up; and seeing a Cirque show is a great way to do that. The shows are always well-presented, thoughtful, and definitely remind you what humans are capable of doing when they focus and train. They are also invariably full of beautiful technical moments that are intricately woven into the story.
If you have the opportunity to see Totem, I highly recommend it.
An interactive typography installation, “In Order To Control”, opened recently. The mapping technology projects text onto the floor surface. When the text is interrupted by a human form, it transfers to the wall in front of them. Trippy, right?
There’s something about breaking out of your normal surroundings that refreshes and rejuvenates your creative soul.
I had the opportunity to visit New York recently and it was remarkable how it shifted my perspective. I was there to attend a series of courses presented by Live Design magazine called the “Broadway Master Classes”. These multi-day courses consist of panel discussions, workshops, lectures, and meet-n-greets with notable, award-winning Broadway designers in the area of lighting, projection, sound, and scenic. The highlights for me included a discussion and demo of LED fixtures against conventional fixtures by lighting designer Don Holder, a workshop/demo on color presented by lighting designer Beverly Emmons, and a lecture on what projections needs from lighting presented by the incredible projection designer Wendall K. Harrington. These are three designers who I hold in very high regard. To hear them speak about their craft and demonstrate ideas was a wonderful experience.
I also had the opportunity to attend seven shows; “Lucky Guy”, “Peter and the Starcatcher”, “Fuerzabruta”, “Newsies”, “The Nance”, “Matilda” and “Kinky Boots”. All of them were quite good, with “Peter” and “Kinky” being the standouts for me personally. It was overwhelming to see so many shows in a short period of time, and to see how all of the different designers supported their respective scripts.
The set design for “The Nance” was seemingly simple but ingenious. It was a large periaktoi set upon a turntable, with numerous staircases and doors, and additional set pieces that would fly in or track on to change locations.It really captured the feel of a specific era in New York’s history.
For “Matilda”, the set nearly stole the show, with oversized children’s blocks at it’s heart. Each set piece in some way reflected this structural geometry. It was the opposite of “The Nance” in that it was intricate, massive, and complex – but served the storytelling beautifully. I was confounded a bit by the lighting. First off, it’s the easiest thing in the world to “armchair” other designers work; so instead of not liking others work, I tend to just have a lot of questions. It’s a beautiful design with some absolutely stunning looks but I had lots of questions after “Matilda”. The costumes in this show are simply incredible.
“Lucky Guy” is an intricately crafted play and all of the elements work seamlessly together. The scenic, projection, and lighting felt of one mind; though designed by three different designers. More than any other show I saw, the design felt woven into the fabric of the play. Getting to meet and speak with the lighting and projection designers afterwards was wonderful as well.
I wanted to like “Newsies” more than I did. This is likely more about me having lost my taste for conventional, big, splashy musicals than a reflection of the show itself. Again with this show, the scenic, lighting, and projection design worked incredibly well together; functioning as multiple locations in a specific period of New York’s history.
“Kinky Boots” was the unknown for me. I hadn’t seen the 2005 movie, but with a book by Harvey Fierstein and a score by Cyndi Lauper, I couldn’t resist. A fun story, warmly told, with some lively songs; this show surprised me. The costume design on this show is pretty spectacular as well. The set and lighting design both serve the show well.
I’m going to skip “Fuerzabruta” because it’s more of an experience than a show. It’s really hard to describe; but if you find yourself in New York – GO.
Which brings us to “Peter and the Starcatcher”; a “grown up prequel to Peter Pan”. The set (by Donyale Werle) is pure genius. Assembled from found objects it supports the style of story wonderfully; in which actors use every one of the props and set pieces (in a seemingly makeshift manner) to represent a variety of locations. The lighting (by Jeff Croiter) is simply magnificent; beautiful, layered, textured with little unexpected surprises peppered throughout the show.
Perhaps, though, the best thing I observed in any theater while I was there that three of the shows (“Matilda”, Newsies”, and “Peter”) all had a significant amount of young theater-goers in their respective houses. From around 8 years old (“Matilda”) to late teens (“Peter”), the crowds were rapt and responsive. It was so heartening to see hundreds of future theater-goers enjoying their experience.
I didn’t have much time but one of the benefits of traveling alone is being able to do A LOT very quickly. I managed to spend a decent amount of time in SoHo, the Village, and Little Italy all on the same day, with even a quick jaunt to Ladurree (for macarons to take home) on the upper east side and Grand Central Station. One of the many things I love about New York is how all the neighborhoods feel different. Each has it’s own vibe, it’s own voice.
I had the opportunity to visit The Cloisters, a museum near the northern tip of Manhattan built in the 30’s and housing medieval art and tapestries. The museum is a beautiful space, with an intricate design and a great use of light and texture.
Access to the museum is through Fort Tryon Park, where the flower fields were really beginning to show off their summer colors; such an interesting juxtaposition to the skyscrapers of the city and the medieval architecture of the museum.
One of the first things I did was take a walk on the High Line; an abandoned elevated railway track that has been re-purposed to include gardens, jogging paths, gathering spots, and cafe’s. It’s a stellar example of taking blight and re-imagining it into something completely different. It’s now the centerpiece of the neighborhood, used by the whole community and is a point of pride. As I sat in the sun, enjoying my bagel, I marveled at how the will of a community can change their surroundings and bring something like this into existence.
A little farther south, a much larger re-imagining is being undertaken on the site of the World Trade Center. Near the 9/11 memorial, new buildings are rising. It is an intricate, expansive story of tragedy and re-birth; and is somewhat awe-inspiring to witness. I spent some time there, thinking of that day and how much it has changed our world. The memorial, built on the footprint of the former twin towers, features two square waterfalls, each 30 feet high, which collect in a reflecting pool, then plunge into an unseen void in the center. It is a powerful piece of architecture and its amazing at how the sound of the falling water masks much of the city noise, making the space almost eerily muted.
A brief walk through Central Park led me to the Bethesda Fountain. Adjacent to the fountain is an arcade of stone and tile arches, where a small group of musicians was performing. Their voices, in this acoustically-friendly space, were magnificent.
I also stopped for a moment in Strawberry Fields, where there is a fitting tribute from Yoko Ono to John Lennon – black and white tiles, inset into the path that say, simply, “IMAGINE”.
With that, I started thinking about how every input we receive changes us. How one new thing can alter your perception. How a trip to a busy, chaotic city can seem peaceful and relaxing. And how, in this magnificent city (and many, many others), there are artists and creative people doing that they do, pushing forward, creating new work, giving us new things to see, to hear, to do, and to experience. This is the wonderful thing about travel. It forces you to re-engage all of your senses. It demands that you pay attention to the new surroundings and stimulus. And by re-opening yourself, you allow in new material, or content, or inspiration, or whatever you want to call it. All of that new inspiration is then sitting there, in your reserves, ready to come out in support of your next creative endeavor.