” (Again, even if the Cunningham story is BS, Emma Lazarus was part of the play’s conception early on—“The New Colossus” is quoted in the script book.) Emma Lazarus was a lifelong New Yorker (she’s buried in Brooklyn—to my knowledge, she was not resurrected), one of the first major Jewish-American writers.She wrote poems, polemics, translations, novels; she knew Browning and William Morris.
Something had come full circle: not sure what.) Lights dim. Newton starts to sing: in a multi-tiered offering: play, film, website, album.The alien Thomas Jerome Newton grudgingly resurrects. An old friend appears, asks him “don’t you remember the person you were? His itch to move on, to play at something new, was at odds with the time and drudgery needed to write and stage a play.An exile, a resurrected alien stranded among the living. Sermon (2) There were plenty of Bowie’s usual themes here—exile, doubles, death, resurrection, fate.And legend: the Biblical story echoes in the African-American folk song “Poor Lazarus,” an outlaw hunted by a high sheriff and his deputy (“they blowed him down with a great ol’ .44”), and who’s left to die on a commissary table after asking his mother for a glass of water (the Luke parable is overturned—now it’s Lazarus who asks for his thirst to be quenched). ““What, said David, are we to make of a poet taught in few universities, included in few anthologies, but whose work, nevertheless, is more familiar to more people than that of the most exalted and immortal writers?at the New York Theater Workshop in December 2015, the first thing you noticed was a man lying on his back on stage.
You might have recognized the play’s lead actor, Michael C.They meet a group who are planning to leave Earth in a spaceship and take their chances on an unknown planet, but the alien is old and dying, and she can’t escape her exile. He’s two different men, with no specific relation to each other.“.” Sermon For his play, Bowie was toying with the idea of using “Lazarus” in some way. In the Gospel of Luke (-31), Christ tells a parable. He desires “.” Lazarus dies, is carried up to heaven; the rich man dies, goes to hell.Cunningham’s prose style, his caginess about certain details and odd specificity about others, makes the piece read like a man recounting a long, bizarre dream, which is perhaps what collaboration with Bowie was like.(And there’s always the chance Cunningham made up the whole thing.) Bowie allegedly contacted Cunningham and the two met for lunch in New York, where Bowie “ (2005), a collection of three novellas set in the past, present, and future, with Walt Whitman as a through-line.There are no crossings between heaven, earth, and hell; there are no last-minute favors to be called in. But in the Gospel of John (11), there’s another Lazarus: Lazarus of Bethany, a friend of Christ.