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The staging of Roger Waters’s “The Wall Live’’ is a big artistic achievement. The staging of Roger Waters’s “The Wall Live’’ is a big artistic achievement.
By Sarah Rodman
Globe Staff / October 1, 2010

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Marc Brickman has worked with everyone from Paul McCartney to the Black Eyed Peas, and when he finishes a project he moves on without a backward glance. But when the opportunity arose for the award-winning lighting designer to return to one of the biggest tours on his resume, he was happy to indulge in a little nostalgia.

“All the memories flooded back,’’ says Brickman of getting the call to join the artistic team of Roger Waters’s “The Wall Live’’ tour. Along with architects, filmmakers, artists, and more, Brickman returned to reanimate the 1980 Pink Floyd classic. Waters kicked off the first of three Boston shows last night at the TD Garden with two more to follow tonight and Sunday.

“With technology the way it is, we’ve updated the show. There’s a huge amount of video content now which was never evident back in 1980,’’ says Brickman, who recalls a chaotic opening night and a tour plagued by the logistics of carting around the massive wall that is built, reconfigured, and torn down during the course of every performance. “This is really opera and storytelling in its grandest form,’’ says Brickman promising a grand spectacle in the form of explosions and giant puppets.

But for him, the show isn’t about the pyro or the projections; it’s about the personal moments that connect with a larger story about art, alienation, and communication. His favorite comes during “Nobody’s Home.’’ “It’s a very quiet moment of someone being in a hotel room all alone with their thoughts and their television. There’s just the single floorlamp. It brings it right down to that personal moment and the audience really gets it.’’