We spoke to celebrated director Baillie Walsh about the blockbuster “virtual concert” in London, the future of live performance, plus his own amazing adventures in the worlds of pop, performance, music and film
The British film director Baillie Walsh is a man of many parts. He broke through as a director of music videos, initially with Boy George and then the Bristol trip hop collective Massive Attack, for whom he made the promo for the magnificent “Unfinished Sympathy”, from their era-defining 1991 album, Blue Lines. Later he directed memorable videos for Kylie Minogue, INXS, New Order and Oasis.
All of which could accurately be said of the 62-year-old’s latest project. It is perhaps his most high profile, and ground-breaking, to date. ABBA Voyage, which embarks seven times a week, including matinees, from the purpose-built, 3,000-capacity, spaceship-like ABBA Arena in Stratford, east London, opened in May to reviews that might reasonably be characterised as ecstatic. “Jaw-dropping,” marvelled theI saw the show in early July. It is that rare thing: an event that exceeds its hype.
ABBA Voyage benefits from the talents of thousands of technicians and creatives: among others, a huge team from Industrial Light & Magic, the Hollywood visual effects powerhouse; the brilliant British choreographer Wayne McGregor; Swedish costume designer B Akerlund, whose clever modernising of the band’s stage wardrobes gives the show its
There was a few. When I realised, first of all, they have to be life-sized, that the audience has to feel like they are there. I knew it wasn’t going to be holograms. Holograms are so limiting, in the sense that you can’t light them. So then it was, “What does that mean?” We want life-size avatars but we want to see them really big, in detail, like you have at a concert, with the big screens. So we want those iMAG screens.
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