Five minutes before curtain-up at the Barbican Theatre in London, is being installed Devlin in The Master and Margarita, a play with its staging, when Kanye West called. The rapper is due to perform the first of three concerts in Atlantic City in 12 days and, disappointed with his sets so far, needs the help of Devlin reinventing them. Although they are traveling abroad with her two children in a few days, and a second work that has worked in opening this week in Copenhagen, Devlin stayed late development of a set of the West in Photoshop. “Oh, I was worried that they were going to hate,” she says, speaking carefully until the actors are about to go on stage, and she has to turn his phone.
During the past seven years, Devlin has become accustomed to the taste-curious, unforgiving West, “maximum minimalist”, as she puts it-and unpredictability. Once, during a concert in Hyde Park in London, he managed to get to a set of facts gold faceted polygons in just six days. The association between an artist and a theater stage global pop star may seem unlikely, but it reflects the reality of the music business today. As online music videos stream as tap water and album sales represent a shrinking percentage of revenue, live shows and merchandise have become real money incomes.
For Atlantic City West shows, Devlin projects images of extreme weather events in six huge screens. “He wants to make an adventure of each project,” HallFor saysPhotograph by Christopher West Atlantic City shows, Devlin projects images of extreme weather events in six huge screens. “He wants to make an adventure of each project,” says
“Album sales have fallen,” says Mark Fisher, owner of Stufish, a British company that specializes in the stadium rock concert staging of artists like Elton John, Madonna and U2. “They have both iTunes as they did from the record, so it’s lucky we have the market for it will great tours to make up for it.” Neil Tennant, singer of the Pet Shop Boys, a veteran observer of the pop scene and one of Devlin’s clients, said that while the guitar rock bands can still get away with a show where the band performed simply, the public expected more theatrical pop stars, especially in large venues.
Devlin and West have worked hard to overcome that expectation. She designed the stage for his Watch the Throne tour with Jay-Z, where they meet the two artists perched on video cubes showing huge sharks and Rottweilers, West said he wanted the look of the show is “Attenborough BBC content fauna and laser.”This tour grossed $ 47 million in 2012, plus the $ 48 million he earned in 2011. Devlin also worked in 2009-2011 to Lady Gaga Monster Ball Tour, which grossed $ 227.4 million, the highest for an artist headlining their first tour.
Devlin ability to merge art with mass entertainment has made it one of the designers of the world’s most coveted set. In 2012 also created sets for the Royal Opera House in London, and helped design the backdrop for the closing ceremony of the Olympic Games in London, among other things, to Damien Hirst was commissioned to create an explosion of Union Jack covered the floor of the Olympic Stadium. Like pop music concerts, these shows successfully on at least two levels: as unique experiences, live and media as shared. “It’s great to look at the big picture,” said Gavin Kim, creative director of the closing ceremony of the London Games. “She is always looking to make the big statement. She has already thought of what the picture will be in the press.”
Devlin (her name is short for Esmeralda) grew almost never go to the theater, but once a year their sponsors take her and her brothers to an Andrew Lloyd Webber musical. As a teenager trained as a musician before obtaining a degree in English from the University of Bristol. At 23, he took a drama course design a year in London, where he finally felt at home. “I was not thinking about his career, I was so lucky,” she says. “I had a boyfriend who was much older than me, and nobody asked me any money. Just thought my role was to do good things.”
After graduating he won the Linbury for the scenery, one of the highest honors of the field. The award included his first assignment: design a scenario for Edward II. Despite early fame, Devlin had not a penny of the profits during the first 11 years of his career. In places like the Barbican and Almeida, subsidized by government funds UK artistic standards may be high, but wages are too low to pay for an office and staff.
Although unpaid, saw his reputation grow bold. And, after collaborating with the West in 2006, Devlin realized it was possible to work on last minute projects pop with his theater and opera productions, which are often scheduled years in advance. “The time frame is better, there is no turning back, but if you have built shorthand with a partner, then you can run at speed when necessary,” she says.