![]() “I guess, in a certain respect, it’s a bit of an experiment. Fogel sees the unusual set up of this production of Lazarus, where a film of the live performance is accompanied with a live band, as a version that accommodates both the audience and Bowie’s wishes. Later, they would work together on the Glass Spider tour in 1987 and several other worldwide promotions. The pair first began working together to promote the Canadian leg of Serious Moonlight, the album tour for Let’s Dance in 1983. It’s very representative, I think, of who David was, and how he approached his art and artistry.”įogel is one of the show’s team members that got to see Bowie’s artistry evolve. ![]() “I think this is a much more intellectual, challenging statement,” Arthur Fogel, Live Nation President of Global Touring and Chairman of Global Music, said. “He has a vision of this as an art piece where the story was first.”īroadway is rife with rock stars willing to lend their catalog to a showtune format, and while that style could certainly have brought in an audience, the producers didn’t see that as compliant with Bowie’s intentions. Let’s build the play around it,’” Hey says. Given the play’s unique assembly, it’s hard to lump it with other musicals. “It could’ve been easy for him, or any artist, to say, ‘Well, here’s my music. “Heroes,” “Changes,” and “Life on Mars?” all make an appearance, as well as four songs written specifically for the show: “No Plan,” “Killing a Little Time,” “When I Met You,” and “Lazarus,” which would later appear on Bowie’s final album, Black Star. Hey and Walsh had full access to Bowie’s catalog to arrange the soundtrack, as well as songs he composed for the play. He gave a lot of leeway to people, and that brought out their best.” “He was much more interested in watching artists work, and he put trust in people that he was working with. “He never, to my knowledge, ever talked in a manner that drew attention to himself,” Hey said. Remembering Bowie as “encouraging and nourishing” to his fellow artists, Hey was eager to be part of this new iteration of Lazarus if only to remind people what Bowie was like as a person. Hey began working with Bowie as a pianist on the 2013 album The Next Day. Soon after, Bowie reached out to Hey personally to ask him to assemble a band. “Then I suggested Ivo van Hove to direct it,” Fox recalls, “and he met with Ivo and loved him.” ![]() While Bowie was researching playwrights, Fox suggested Irish writer Enda Walsh, who would eventually pen the script around Bowie’s vision: a sequel that sees Newton decades years later, stranded in his Manhattan penthouse, failing to drink away his memories of outer space. We’ll do it.’”įox was instrumental in assembling the team to produce Lazarus. He said, ‘That’s all I know.’ I said, ‘Well, okay. “He told me that it was based on the character from The Man Who Fell to Earth, and it was called Lazarus. While Bowie was in London visiting the David Bowie Is exhibition at the Victoria and Albert Museum, he invited Fox to tea and told him he wanted to do a musical. ![]()
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