Behind The Wall


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Gerald Scarfe

'Roger's ideas appealed to me at once. I've worked quite a bit in opera and the theater, so the sheer scale of that theatrical device immediately engaged me.'

'In many ways I regarded Roger as a kindred spirit. We seemed to share the same healthy, amused cynicism. He was also extremely respectful of my work. He remarked to me once that when you employ and artistto work for you you don't tell him what to do. You employ him precisely because you approve of his vision and because you have faith in it.'

Jonathan Park

'By the time I came on board Roger's ideas for staging the show and Gerlad Scarfe's designs were essentially complete. My job along with Mark Fisher's, was to turn the ideas into practical realities: to work out how we could successfully re-create them onstage. I think what struck us both was that it was a great opportunity to do something new and bold and wonderful. Something on a grand theatrical scale.'

'The thing about touring with a show is that you have to be able to move relatively easily. I can't recall how many bricks we eventually needed for the construction, but let's say four or five hundred.'

'The solution finally came to us in a pub. Someone suddenly remembers that cardboard boxes are delivered in flat packs., then unfolded into shape. Mark went off to work out the details (how to key the boxes together for the actual building process), then did a great deal of research to find cardboard that was which was both durable and fireproof.'

'There were only 29 performances of The Wall and I never saw one of them out front. I always felt the electricity, though. Being involved gave you a sense that you were helping to establish a kind of legend. Even then it had that epic and epoch making quality.'


Mark Fisher

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