Fifty Nine has previously designed sets, video and film projection for a variety of theatrical and operatic production companies including the National Theatre, ENO, Royal Opera House and Metropolitan Opera New York. The company is now making its first foray into the world of rock music.
Jónsi's live show has been conceived of as a collision of two worlds - the immediacy and energy of rock and roll with the sophisticated production values of a theatrical spectacle.
Director of Fifty Nine, Leo Warner explains: "For some time we've been exploring ways to bring the ideas and technology that we've developed, working in theatre and opera, into the music and rock world. Sigur Rós had always been at the top of our list of ideal collaborators."
Co-director Mark Grimmer adds: "There's a cinematic quality to Jónsi's music, and something fantastical about his imagination. It made the idea of creating an epic visual stage show totally appropriate."
Jónsi was looking for a different kind of show for his latest musical departure, he explains: "I always wanted to take it out of the rock'n'roll genre - the smoke machine and the Las Vegas lights. There's so much magic in theatres, more than bands. My idea was to bring some more magic and imagination into the concert experience."
To help bring that magic to life, Fifty Nine asked renowned theatrical lighting designer, Bruno Poet, and long-term collaborator Phil Eddolls to join the team. Fifty Nine's Peter Stenhouse, who created the animated centrepiece for the Met's 125th Gala Anniversary last year, was appointed as the project's Director of Animation. He was responsible for conceiving the distinctive hand-drawn style, which exemplifies much of the show's animated content.
Following a visit to Iceland, to hear early demos of Jónsi's new album, Fifty Nine set to work on developing an aesthetic inspired by the record. "Jónsi knew animals were going to be involved in some way from the beginning - a lot of the music and songs were inspired by animals. He had a pretty clear idea for the 'feel' of the album and we all wanted the live show to be in the same vein. Once we established that we were all on the same wavelength, we were able to turn those feelings into practical design suggestions," continues Grimmer.
Almost every element within the set doubles as a projection surface where film and animation - all created specifically to accompany the album - take the audience on a journey into Jónsi's world. Set in a derelict, burnt down building, the set resembles a Victorian glasshouse or an old museum. Glass display cases litter the stage and a dramatic backdrop is provided by a huge floor to ceiling window array that spans the entire stage. The design was inspired in part by the famous 'Le Deyrolle' taxidermy shop in Paris, which burnt down in 2008.
(Lee Baldock)
