Word: sirlin
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...light, too, heightens the audience's sense that M has been cast adrift. Jerome Sirlin's innovative set makes use of a multitude of opaque and translucent screens upon which are projected images as diverse as primeval forests, alien spacecraft and New York City brownstones. The shifting patterns of light chase M around and dance with her in a malevolent pas de deux, whimsically trapping her and letting her go as her mood shifts from hope to despair. The light and sound join forces to overwhelm M, sometimes leaving her a helpless lump on the floor...
...with Theater Artist Robert Wilson in Einstein on the Beach, fellow Composer Robert Moran in The Juniper Tree and Choreographer Twyla Tharp in In the Upper Room. But 1000 Airplanes may be his most daring ensemble effort yet, involving Chinese- American Playwright David Henry Hwang and Scenic Designer Jerome Sirlin. The trio has produced a science-fiction music drama that is part Freud, part Kafka and part Steven Spielberg...
...Perception is the fifth dimension," he cries in this delirious monologue, and that is just about the only dimension left to him. On Designer Sirlin's trompe l'oeil stage, the first three dimensions dissolve, shift and disappear; on the spaceship, the fourth, time, is relative and thus meaningless. By the end, a half-crazed M. (the work's title comes from M.'s description of the pounding sounds in his head) has forgotten most of his ordeal, but is left to fear that the nightmare will begin again...
...task of realizing M.'s altered states fell to Sirlin, whose credits include, in addition to opera, Madonna's 1987 "Who's That Girl" tour. The Viennese venue was striking: a section of Hangar No. 3 at Schwechat International Airport. "We looked at a couple of beer halls, but we needed a bigger space," says Sirlin. "Then someone said there was plenty of space at the airport...
...turn the hangar into a giant theatrical "black box," Sirlin invented a brilliant three-dimensional dreamscape that uses holographic projections in place of sets to alter the show's physical and mental terrain. Nine projectors throw a kaleidoscope of images onto a small raked stage and side panels, creating a cinematic illusion in which the actor can dash up the steps of an apartment building and vanish inside or float high above New York. The shift is instantaneous -- like putting a live actor into a movie. Operatic design may never again be the same...