LAPIS LAZULI // Set Design & Costume Research

Euripides Laskaridis' upcoming production, LAPIS LAZULI, unveils a central character of remarkable intensity: a ferocious yet irresistibly charming hybrid creature—a Werewolf. This enigmatic being, existing in a state between human and animal, will unleash its primal power, evoking both fear and awe, while gradually revealing its sensitive and endearingly innocent nature.

LAPIS LAZULI aims to daringly combine an array of contrasting elements to construct a mesmerizing pop-infused queer world. Defying the confines of linear storytelling, this production explores the intricate intersections of dualities. It navigates the realms of the wordly and the spiritual, fusing the sublime and the mundane. Transcending time, LAPIS LAZULI wishes to effortlessly weave together the timeless and contemporary, inviting the audience on a captivating journey into a realm where boundaries are shattered and possibilities are boundless.

Lapis Lazuli // Set Design

The research on the set design for this new project was conducted in collaboration with Loukas Bakas, a renowned architect and set designer, along with the assistance of Filanthi Bougatsou. Together, they worked diligently to ensure that the project's set design was both meticulously planned and visually compelling.

The scenographic approach of LAPIS LAZULI takes its primary inspiration from the world of early black-and-white horror films, such as The Wolf Man (Curt Siodmak, 1941) and The Undying Monster (John Brahm, 1942), with their characteristic two-dimensional studio sets.

During the formative years of Hollywood, set design predominantly embraced this two-dimensional style, heavily influenced by the aesthetics of theatrical stages. In an era where filmmaking technology was still evolving, sets were constructed using painted backdrops and minimal props, aiming to create an illusion of depth when captured on camera.

From the outset, the distinctive two-dimensional studio sets of these films, evoking the tradition of amateurish theatrical productions, held a pivotal place in the director's vision for both the Werewolf character and the peculiar world it inhabits.

The eerie, fog-infused, gothic imagery prevalent in these early but classic horror films serves as the ideal backdrop to enhance the presence of the uncanny Werewolf in LAPIS LAZULI. The set design draws directly from the visual cues of these films, incorporating elements such as two-dimensional trees mounted on wheels and stand-alone gothic windows with multiple muntins.

Another significant aspect that defines the visual identity of LAPIS LAZULI is the incorporation of lapis blue lighting. This lighting choice serves a dual purpose—it enhances the eerie ambiance that the production aims to create, and provides a striking contrast to the prevailing black-and-white tones of the set elements.

The inspiration for the blue hue in LAPIS LAZULI finds its roots in Yves Klein's renowned monochromes and his iconic "International Klein Blue" pigment. This distinct shade not only serves as a contrasting element to the amateurish-like two-dimensional set pieces, but also represents contemporary minimalism, aligning with the director's vision. The significance of this hue was also instrumental in determining the play's title.

Lapis lazuli, also known as lapis, is a highly valued metamorphic rock cherished for its deep-blue color. It has served as a semi-precious stone since ancient times, with mining operations dating back to the 7th millennium BC in present-day Afghanistan.

During the Middle Ages, it started being exported to Europe, where it was ground into a fine powder to create ultramarine, the most expensive blue pigment at the time. Esteemed artists like Masaccio, Perugino, and Titian favored ultramarine for enhancing the clothing of central figures in their paintings, particularly depictions of the Virgin Mary.

To create the desired atmosphere, the set design research team carried out tests with a scaled model, combining different set elements with blue lighting to evaluate their compatibility and overall effectiveness.

Furthermore, the team ventured into the realm of materials, exploring options that could capture the vibrant essence reminiscent of lapis lazuli. They specifically experimented with various types of glass, aiming to achieve the desired visual impact. In addition, significant effort was dedicated to comprehending the behavior of light as it interacts with and reflects off mirrored surfaces. The ultimate goal was to transform the director's artistic vision into an achievable reality.

As the process of developing the set design for LAPIS LAZULI continued, new elements were introduced to enhance the stage. These additions included interior pieces like a two-dimensional fireplace on wheels and a selection of old-fashioned furniture. Furthermore, a scaffold with various gymnastic possibilities, a yellow moon made of wrapped foam sheet, and a few studio lights on tripods were incorporated.

These elements not only aim to evoke the classic gothic atmosphere of early horror but also offer ample opportunities for unexpected and dynamic staging, aligning perfectly with director Laskaridis' renowned style.

It is worth noting that the set design was carefully considered with the touring stage in mind. Ensuring easy transportation of the set was a matter of utmost importance, not only for cost-effectiveness but also for promoting sustainable and ecological solutions. The guiding principle was to design elements that could be disassembled and mounted on EUR-pallets, enabling transportation by any truck along the tour’s route, without requiring a dedicated truck solely for the set. This approach not only minimizes expenses but also reduces CO2 emissions, aligning with the production's commitment to eco-friendly practices.

Another significant element that persists in finding its place within LAPIS LAZULI, despite its unclear origin, is the unexpected addition of an oversized dancing seahorse that takes center stage. This arrival, unfolding in the third part of the performance, dramatically alters the play's dynamic.

In stark contrast to the existing two-dimensional and black-and-white stage elements, the seahorse emerges as a vibrant, three-dimensional figure, emanating a luminous and translucent allure with its dreamlike and effervescent aesthetic.

To effectively incorporate the seahorse's imposing presence on stage, the set design research team employed a toy disco ball as a simulation. Drawing inspiration from the way a disco ball enlivens a party atmosphere, they envisioned the dancing seahorse descending onto the stage, instantly transforming the ambiance. This experiment allowed them to explore its reflective qualities and assess how it would interact with the lighting, ensuring a mesmerizing integration into the overall production.

As the research for the new project progressed, a significant aspect of the exploration focused on integrating AI tools, particularly Midjourney, to assist in concept development. Midjourney is a generative artificial intelligence program that generates images based on natural language prompts using the command /imagine. This innovative approach not only enriched the artistic vision but also provided valuable insights into the limitless possibilities of AI tools.

Below, you will find the images generated through this process, accompanied by a selection of prompts used in their creation.

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/imagine a giant seahorse made of aluminum foil, floating in still air, rays of light reflecting on foil, 90s low res film still, --ar 3:2

/imagine a giant seahorse made of pink aluminum foil, rays of light reflecting on foil, floating in the sky, 80s low res film still, --ar 3:2

/ imagine James Bidgood style, giant radiant pastel seahorse, Scottish rocky seashore background, pastel colors, diffused light, 80s aesthetic, --ar 3:2

/ imagine a giant toy seahorse emanating light from within, floating in the air, 80s style, soft light, rays of light are coming from alls directions, reflection on the seahorse like mirror, winter rocky seashore background, --ar 3:2

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The ghostly triplet showcased above was generated using the following prompt:

/imagine a lone anthropomorphic werewolf on a theatrical stage inspired by the 1941 film The Wolf Man. The werewolf should be wearing light brown clothing, adding a touch of vintage charm to the scene. The stage should feature two - dimensional set elements, such as intricately designed trees and a fireplace, alluding to a mysterious forest setting. Utilize a lapis blue lighting scheme to infuse the image with a cinematic ambiance. Pay attention to the details and strive for a captivating composition that brings out the drama and allure of this supernatural moment, --ar 3:2

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The curiously odd images above this were created using the /blend command of Midjourney, which merges different images into a single composition. For this blending process, references were selected from various sources, including a movie still from The Wolf Man, a photograph of LAPIS LAZULI's set model, and a movie still from Nanook of the North (1922).

Lapis Lazuli // Costumes

The focal point of LAPIS LAZULI revolves around its formidable yet endearing character, the Werewolf. The primary objective of the creative process for costume and makeup design was to breathe life into this figure. Euripides Laskaridis once again collaborated with Angelos Mentis, the esteemed costume designer, continuing their fruitful partnership spanning over 12 years. Throughout their collaboration, Mentis' distinct artistic vision has played an integral role in shaping the director's creations. His unique perspective has become a defining component of the production, significantly influencing the artistic outcome and contributing to its overall identity.

As is customary in their creative process, Laskaridis and Mentis began with the development of a single character, in this case, the Werewolf. From this starting point, the intention is for the entire production to gradually reveal itself through the unfolding process.

From the outset, the director's artistic vision was to craft a Werewolf that evoked the essence of early horror films, which also served as inspiration for the set design. Unlike the contemporary conventional portrayal of a ferocious, muscular beast, controlled by the full moon, this Werewolf represents a unique fusion of a gentle soul with primal instincts.

As a result, great attention was devoted to meticulously crafting the character's appearance to convey the naïveté and charm of a creature entrapped in a black-and-white world, much in the likeness of a werewolf counterpart to the iconic Fred Astaire. For this reason, during the early stages of costume development, the decision was made for the Werewolf to wear an intentionally mundane light brown suit that would reveal only its hairy face, hands, and potentially exposed feet (for example, if wearing flip-flops).

Importantly, the Werewolf would not undergo any transformation throughout the performance; it would present itself from the outset in its hairy form, eliminating the need to address the logistics of an on-stage transformation.

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A number of tests were conducted, primarily focusing on experimenting with the combined effect of wigs and glued hair on the performer’s face, in order to achieve the distinctive characteristics associated with the visual portrayal of a werewolf.

Apart from the hair, it became evident that certain elements of the character's appearance were crucial in capturing the essence of a werewolf. One such element was the incorporation of pointy or grotesque teeth, which instantly enhanced the portrayal and added a distinctive wolfman-like quality to the overall image.

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During this process, the creative exploration gave rise to various versions of Euripides Laskaridis' original vision for the Werewolf. Each iteration showcased its own distinct characteristics and mood. Some versions captured a cute and charming quality, while others exuded a more menacing and fierce demeanor.

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In order to determine the most suitable method for applying the facial hair, considering the long-term feasibility, various attempts were made. These included attaching hairy masses onto prosthetic pieces as well as sewing hair onto a nude-colored elastic mesh intended to be worn over the face. These experiments aimed to explore alternative approaches to achieve the desired hairy appearance while ensuring practicality and comfort for the performer.

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Due to the difficulties faced in hand-sewing hair onto stretch fabric and the budget constraints involved, the option of purchasing a pre-made product with integrated hair was considered. As a result, a sample of performance fur fabric was obtained from the American company National Fiber Technology. Although initially showing promise, upon its arrival and subsequent testing, it was discovered that the fabric did not conform well to the performer's face, thus imposing limitations on achieving the desired effect.

During a process of try-and-error, it was found that the most aesthetically pleasing results were achieved through a combination of various wigs. At times, these wigs were worn on the face instead of the head, and different techniques were employed to create openings for the eyes and mouth, ensuring proper incorporation of the teeth.

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Within these explorations, new elements began to emerge from the wild tangle of hair that composed the Werewolf's head and face. The incorporation of a bulbous nose or a dinosaur-like snout, which was also seen in Laskaridis' previous work, held the promise of unlocking additional potential for the Werewolf's appearance.

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Although the final look of LAPIS LAZULI is still a work in progress, one particular image has emerged as a frontrunner during the costume research. The photograph of Euripides Laskaridis, depicted below, with a wig on his head and glued hair on his face, successfully captures the essence of the playful Werewolf he initially envisioned. This depiction effectively underlines the character of the Werewolf, showcasing the fusion of innocence and primal instincts that it personifies.

The ongoing search is focused on finding a practical and cost-effective method to achieve the desired appearance of a face covered in hair. The goal is to discover a solution that can be easily applied for every performance, while remaining in alignment with the director's artistic vision.

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Once again, in the process of exploring the character of the Werewolf, Laskaridis enlisted the assistance of Midjourney. This collaboration resulted in a collection of images that aimed to capture the essence of the hybrid creature central to LAPIS LAZULI. Ranging from playful to uncanny, these images offered alternative interpretations for the character's visual representation.

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Merging (through the /blend command) the photograph of Euripides Laskaridis as a werewolf with the image of his counterpart in the film The Wolf Man, resulted in the triptych above.

The images that follow were generated using both the /blend and /imagine commands, always referencing Laskaridis's photograph as a visual source.

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/imagine [Euripides’ photo] with elements of a werewolf on the human face, smiling in an eerie foggy forest, --ar 16:9

/imagine [Euripides’ photo] as an inugami, --ar 16:9

/imagine [Euripides’ photo] in the film An American Werewolf in London (1981), --ar 16:9

Inspired by Laskaridis's recent trip to Japan, some of the trials conducted in Midjourney incorporated references to the “inugami”, a mythical creature in Japanese folklore that is often depicted as a dog-like spirit or deity.

These diverse elements were incorporated and explored to discover various interpretations and variations of the character, ultimately seeking to achieve a multidimensional portrayal of the Werewolf. This approach aimed to create a character of rich depth and complexity, that will captivate the audience with its multifaceted nature.

For the time being, the characters that will be embodied by the remaining four performers in the cast of LAPIS LAZULI have yet to be determined. Following Laskaridis' usual process, these characters, along with their unique attributes, will gradually take shape and evolve during the rehearsal process.

During this period of extensive research, Euripides Laskaridis gathered valuable new material and gained important insights that expanded his vision and fueled his imagination. Through this process, the director was able to delve deeper into the development of his central character, the Werewolf, and meticulously craft the universe in which it resides—a world both grey and bubbly at the same time. Equipped with newfound knowledge and rekindled inspiration, Laskaridis eagerly continues his research while preparing to plunge into rehearsals, scheduled for December, aiming to further solidify and explore the shape of his upcoming work.