Lazarus is a musical with music and lyrics composed by David Bowie, and a book written by Enda Walsh. First performed at the end of 2015, it was one of the last works Bowie completed before his death on 10 January 2016. The musical is inspired by the 1963 novel The Man Who Fell to Earth by Walter Tevis. Bowie previously starred in the 1976 film adaptation of the same name, directed by Nicolas Roeg.
Look up here, I'm in heaven
I've got scars that can't be seen
I've got drama, can't be stolen
Everybody knows me now
Look up here, man, I'm in danger
I've got nothing left to lose
I'm so high it makes my brain whirl
Dropped my cell phone down below
Ain't that just like me?
By the time I got to New York
I was living like a king
There I'd used up all my money
I was looking for your ass
This way or no way
You know, I'll be free
Just like that bluebird
Now, ain't that just like me?
Oh, I'll be free
Just like that bluebird
Oh, I'll be free
Ain't that just like me?
The otherworldly stage musical Lazarus, built around the songs of David Bowie, began previews at the East Village's New York Theatre Workshop in November 2015, and officially opened on December 7. Just over a month later, on January 10, the world learned that Bowie had died: Lazarus and the album Blackstar (released on Bowie's birthday, January 8) would be the rock icon's final artistic offerings. But whereas anyone could listen to the album, Lazarus was seen by very few; NYTW seats only 199 people, and the production's entire two-month run had sold out within hours of tickets going on sale.
This week, to mark the fifth anniversary of Bowie's death, Lazarus is rising again. From Friday, January 8, through Sunday, January 10, a filmed version of the show will be available for streaming online. The recording captures the musical's 2016 mounting at London's King's Cross Theatre. As in New York, the central role of Newton—an older version of the alien played by Bowie in the 1976 film The Man Who Fell to Earth—is portrayed by Michael C. Hall (Dexter), who is joined by his NYC costars Sophia Anne Caruso (Beetlejuice) and Michael Esper (American Idiot).
A detailed look at Bowie's last albums, `The Next Day' and `Blackstar', and his play `Lazarus'. In his final five years, Bowie not only began producing music again, but returned to the core and defining themes of his career.
David Bowie (born David Robert Jones; January 8, 1947 – January 10, 2016) was an English singer, songwriter, and actor, widely regarded as one of the most influential musicians of the 20th century. Known for his constant reinvention and visual innovation, he is frequently referred to as the "chameleon of rock."
Musical Career Highlights
Early Years: After fronting various bands in the 1960s, he achieved his first major success with the 1969 single "Space Oddity."
The Glam Era: He broke through internationally in 1972 with the Ziggy Stardust persona and the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars.
Genre-Hopping: Throughout the 1970s and beyond, Bowie explored diverse musical styles, including "plastic soul," art rock, electronic, ambient, industrial, and jungle. Notable phases include:
The Berlin Trilogy: Collaborations with Brian Eno on the albums Low (1977), "Heroes" (1977), and Lodger (1979).
Commercial Success: Achieved massive 80s success with Let’s Dance (1983).
Later Work: After a long hiatus, he returned with The Next Day (2013). His final studio album, Blackstar, was released on his 69th birthday, just two days before his death.
Acting and Artistic Impact
Bowie's influence extended far beyond music:
Film: He starred in iconic roles in The Man Who Fell to Earth (1976), Merry Christmas, Mr. Lawrence (1983), Labyrinth (1986), and The Prestige (2006).
Innovation: He was an early adopter of digital technology, launching his own ISP, "BowieNet," in 1998, and pioneered the concept of "Bowie Bonds," financial securities backed by his future royalties.
Art: He was an accomplished painter and art collector, frequently integrating visual arts into his stage presence and promotional materials.
Personal Life
Family: He was married to Angela Barnett from 1970 to 1980, with whom he had a son, Duncan Jones. In 1992, he married the supermodel Iman, with whom he had a daughter, Alexandria Zahra Jones.
Legacy: Inducted into the Rock and Roll Hall of Fame in 1996, he received numerous accolades, including six Grammy Awards and four Brit Awards. His death in 2016 prompted a global outpouring of tributes honoring his role as a transformative, genre-defying visionary.
Ziggy Stardust
The Ziggy Stardust persona was a watershed moment in popular culture, functioning as a high-concept, theatrical performance that blurred the lines between the artist and his creation. Introduced in 1972, it transformed David Bowie from an aspiring singer into a global rock icon.
The Concept
Ziggy Stardust was an androgynous, alien rock star sent to Earth as a messiah figure to deliver a message of hope during the planet's final five years of existence. The narrative was articulated through the 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars.
Visual Identity: Influenced by Japanese Kabuki theater, sci-fi literature, and the burgeoning London underground fashion scene, Bowie adopted flaming orange hair, intricate makeup, and skintight, kaleidoscopic bodysuits.
Theatricality: The character was the centerpiece of a meticulously crafted stage show. Bowie famously stayed in character offstage, leading many to believe he was genuinely becoming the extraterrestrial rock god he portrayed.
Cultural Impact
Androgyny: By challenging traditional gender norms, Ziggy Stardust provided a sense of liberation for fans and redefined what a rock star could look and behave like. It became a cornerstone of the glam rock movement.
The "Spiders from Mars": The backing band—Mick Ronson (guitar), Trevor Bolder (bass), and Mick Woodmansey (drums)—provided a muscular, hard-rock edge to the futuristic concept, anchoring the extraterrestrial narrative in genuine rock-and-roll credibility.
The "Suicide" of Ziggy: In a dramatic act of artistic control, Bowie famously "retired" the character in July 1973 at the Hammersmith Odeon in London. He announced to the crowd, "Of all the shows on this tour, this particular show will remain with us the longest, because not only is it the last show of the tour, but it's the last show that we'll ever do."
Philosophical Roots
Beyond the spectacle, the persona was a vessel for exploring fame, the fragility of the human experience, and the alienation of the artist.
Fame and Obsession: The songs explore the destructive nature of celebrity—how the audience builds up an idol and eventually consumes them.
Inspiration: The persona drew from a variety of sources, including the music of Vince Taylor (an obscure British rocker who had a nervous breakdown and claimed to be an alien) and the character of Iggy Pop (whose chaotic stage presence influenced Bowie’s performance style).
Berlin Trilogy
The "Berlin Trilogy" marks one of the most significant artistic shifts in David Bowie's career. Spanning from 1977 to 1979, these three albums—Low, "Heroes", and Lodger—represent his departure from the cocaine-fueled excess of Los Angeles into a period of recovery, anonymity, and intense experimentation in Europe.
The Context and "The Myth"
While colloquially known as the "Berlin Trilogy," the term is more of a thematic description than a literal record of geography.
Recording Locations: Only "Heroes" was recorded entirely in Berlin (at the legendary Hansa Studios by the Wall). Low was largely recorded in France, and Lodger was produced in Switzerland and New York.
Motivation: Bowie moved to West Berlin with Iggy Pop to escape the cycle of addiction that had consumed him in Los Angeles. The city—split by the Cold War and characterized by a dark, resilient atmosphere—provided the perfect backdrop for his reinvention.
The Musical Pillars
Bowie collaborated primarily with producer Tony Visconti and sonic architect Brian Eno to create a new musical language that moved away from the guitar-based rock he was known for.
Low (1977): Often cited as the most revolutionary of the three. It abandoned traditional song structures in favor of "side-split" formatting: side one featured short, angular art-pop tracks, while side two focused on expansive, melancholic, and atmospheric instrumentals. It became a blueprint for the burgeoning post-punk and electronic movements.
*"Heroes" (1977): Built upon the sonic foundations of Low but with more emotional weight and a grittier, industrial feel. The title track, inspired by a couple Bowie witnessed kissing by the Berlin Wall, remains a defining anthem of the era. This album also featured the unmistakable guitar work of King Crimson’s Robert Fripp.
Lodger (1979): The most experimental and eclectic of the three. It abandoned the "instrumental side" format entirely, instead exploring global influences—incorporating world music, reggae, and new wave. It was more melodic than its predecessors but arguably the most challenging to define.
Key Collaborators and Influence
Brian Eno: His role went beyond traditional production; he acted as a conceptual catalyst, introducing Bowie to the "Oblique Strategies" deck (a set of cards designed to encourage lateral thinking) and pushing him toward ambient and electronic textures.
The "Krautrock" Connection: Both Bowie and Eno were deeply influenced by the German electronic scene of the time, specifically acts like Kraftwerk, Neu!, Tangerine Dream, and Harmonia.
Iggy Pop: During this time, Bowie also co-wrote and produced Iggy Pop’s seminal solo albums The Idiot and Lust for Life, which share the same DNA as the Berlin Trilogy and are often viewed as unofficial extensions of the period.
Later Work
Bowie’s "later work"—specifically the period from the early 2000s until his passing in 2016—is characterized by a shift from the relentless, high-concept reinvention of his youth toward a more mature, introspective, and at times hauntingly self-aware artistry.
Following his health scare in 2004, which led to a decade-long retreat from the public eye, his final artistic phase serves as a profound coda to his career.
The "Neoclassicist" Resurgence (2002–2003)
Before his hiatus, Bowie reunited with producer Tony Visconti, who had worked with him during the Berlin period. This partnership sparked a return to a "classic" Bowie sound—layered, adventurous, and melodic—without feeling like mere nostalgia.
Heathen (2002): Often cited as the album that signaled a true creative resurgence. It balanced commercial sensibilities with darker, atmospheric textures.
Reality (2003): A sharper, more direct rock album. It captured a "band-in-the-room" energy and spawned his final world tour, A Reality Tour, which was cut short in 2004 due to the emergency heart procedure that sidelined him for years.
The Silent Years and the Grand Return (2013)
For nearly a decade, the music world wondered if Bowie had retired permanently. His return was managed with the same penchant for mystery and surprise that had defined his best work.
The Next Day (2013): Released on his 66th birthday, the album was a complete surprise, appearing online with no prior press. It was a dense, rock-heavy record that revisited his own history—both musically and lyrically—referencing his time in Berlin and his earlier glam and funk eras. It was seen as an artist engaging with his own legacy while still having something vital to say.
The Final Masterpiece: Blackstar (2016)
Bowie’s final studio album, released just two days before his death on January 8, 2016, is widely regarded as one of the most remarkable parting statements in music history.
Jazz Impressionism: Moving away from rock, Bowie leaned into experimental, free-form jazz, collaborating with saxophonist Donny McCaslin and his quartet. The sound is disjointed, urgent, and deeply atmospheric.
A Coded Farewell: The album is inseparable from his terminal illness. Songs like "Lazarus" and the title track, "Blackstar," are now understood as deliberate, cryptic explorations of mortality, legacy, and the finality of existence.
The Final Act: By releasing the album precisely on his birthday and passing just 48 hours later, Bowie exerted complete control over the narrative of his own end, transforming his death into a final, deliberate piece of performance art.
David Bowie's last days: an 18-month burst of creativity >>>
