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Innovative British Theatre Projections Head to Broadway
Ground-breaking theatrical projections from London-based creative network Knifedge are to be shown on Broadway for the first time this month, when acclaimed musical “Sunday in the Park with George” opens at The Roundabout Theatre Company’s Studio 54 on 21st February 2008.
Tim Bird, director of London-based Knifedge Creative Network, has already won a string of top British theatre awards for his company’s work on the production, alongside fellow set designer David Farley. These include the London Evening Standard Theatre Award for Best Design, the Critic’s Choice Theatre Award for Best Design and a highly coveted Laurence Olivier Award for Best Set Design – theatreland’s equivalent of the BAFTAs.
Originally written by Stephen Sondheim, “Sunday in the Park with George” tells the timeless love story of painter Georges Seurat and his muse Dot. Knifedge’s animations play a key role in director Sam Buntrock’s production, allowing audiences to see Seurat’s pointillist style masterpiece “Sunday Afternoon On the Island of La Grande Jatte” forming before their eyes. Real actors interact with animation and projected moving images to tell the story in a highly original and innovative way.
This production of “Sunday in the Park with George” first opened at London’s Menier Chocolate Factory in November 2005, before transferring to Wyndham’s Theatre in London’s West End in May 2006. In 2007, the production won a total of six Olivier Awards including Most Outstanding Musical Production.
Tim Bird, director of Knifedge, comments: “Together with set designer David Farley and director Sam Buntrock, an experienced animator himself, we had this ambitious vision of bringing Seurat’s work to life before audience’s eyes using the latest projection technology. As a specialist in broadcast design and animated graphics, it’s been tremendously exciting to bring those skills into the live theatre environment. The unique way in which the actors interact with the changing backdrop adds a magical dimension to the production – one which we hope will capture the imagination of Broadway audiences and critics as much as it has done in London’s West End.”
21st February 2008
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