
So, Lumiere 2013 has drawn to a close. (Yes, I know this is rather late, but since mid-November I’ve been either busy or asleep. Here is my excuse.) And it’s not a theatre event so isn’t really in the scope of this blog, but as it’s Durham’s biggest and most high-profile arts event by far, it’s getting a review anyway.
So, as I’ve already said, I’ve been quite impressed with this year’s Lumiere. The line-up I think has been the best one ever, the crowd control measures broadly went to plan, and the numbers say it’s been more popular than ever. This has also been the reaction of most people I’ve spoken to. However, there were a few things that I and other missed from earlier festivals – possibly a side-effect of the crowd control, but nonetheless something missing. Anyway, I’ll get on to the later. Let’s start with …
Pick of the festival
This is a tough one, because there were so many different installations I liked, so I’m going to have to get picky. But no pick of Lumiere 2013 would be complete without Crown of Light (pictured above). That goes without saying; I hardly need state why. But in case you’re asking, it’s outstanding because it’s an excellent yet very simple idea of projecting images on the Lindisfarne Gospels on the walls of Durham Cathedral. But far from it being an easy thing anyone could have done if they’d thought of it, it took a lot of thought and skill, some very cunning projector arrangement to miss the trees, and some excellent choices of music to create the right atmosphere. And we get something that any artist dreams of, a centrepiece to a festival, hugely popular with the people who come to see it – and, what’s more, it’s something that is clearly associated with Durham that isn’t the usual stereotypes that dominate “local” art and and theatre. Need I go on? Continue reading →