The success of Lumenocity was a seminal point in a much bigger, broader shift that was taking place in the city-a ballooning social movement of people moving to and establishing a revitalized urban core starting and supporting small, independent businesses and enacting and embracing a more progressive cultural environment. The second the lights went up and the music started, everyone was transfixed in this shared moment of art.” “And all the commentary was that nobody cared. “There was every reason in the world to be pissed off-too crowded, muddy, no Port-O-Lets, nowhere to get a drink,” says Reynolds. The Cincinnati Enquirer called it a “tipping point.” For many, it marked some type of first: First time in the newly renovated Washington Park, which had reopened the previous summer. The shops and restaurants were packed: Old people, young people, black and white, families and singles. There were people sitting in the bushes and standing along Race Street. On Saturday alone, 15,000 showed up 20,000 came the next night. The lawn slowly morphed into a college green-people taking naps, throwing Frisbee, sneaking beers. “It was a weird phenomenon,” says McGowan. On Saturday afternoon of the first show, as Reynolds and McGowan were setting up, people began filing into the park, putting down chairs and blankets to save their spots. The hope was to bring in about 10,000 over both nights.
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It was a free event, no tickets-just show up and enjoy-so there was no real way to gauge the community’s interest. There was plenty of angst in the weeks leading up. “I don’t think anyone thought Cincinnati could pull something like that off,” says McGowan. Instead of the symphony welcoming Langrée, they wanted the whole city to join in. He and McGowan figured they could bring in the standard symphony crowd with a black-tie affair-plastic cups of cabernet sauvignon, trays of tomato bruschetta-but that was safe and familiar. “It was one of those jump-off-the-cliff-and-build-your-wings-on-the-way-down kind of things,” says Reynolds. And they weren’t sure anyone would show up.
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There were only two problems: They weren’t exactly sure how to create outdoor architectural animation for a 14-minute Tchaikovsky piece without doing a live rehearsal. They had the park and edifice reserved for two nights in early August. They had financial backing from the Haile Foundation.
“We did the brand identity for it, came up with the name, came up with the whole tone and feel and philosophy around it.”Īt the time, Reynolds and McGowan both worked for Landor, one of the world’s top branding companies headquartered in Cincinnati. “We were creating something new,” says Steve McGowan, who co-owns the design firm Brave Berlin with Reynolds. The result was Lumenocity: live orchestra music performed in time with projection-mapped graphic designs cast onto the front of Music Hall-a complex, highbrow laser show intended to elicit polite applause and blown minds from the Washington Park lawn. A few days later, he was sitting down with Maloney and Trey Devey, president of the Cincinnati Symphony Orchestra, to plan a special celebration welcoming conductor Louis Langrée as the new music director. “He said, ‘I heard you’re the guy in town to call about projection mapping,’ ” says Reynolds. He was driving north on I-75 in the spring of 2013 when Tim Maloney, president and CEO of the Haile Foundation, rang him with an idea. For our April 2017 issue, we examine how creatives are remaking the Queen city.ĭan Reynolds remembers getting the phone call.
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