2:10PM – Arrived at the stage door of the St. Lawrence Centre for the Performing Arts (late, of course, because the TTC is run by a deranged clutch of syphilitic orang-utans). I’ve signed on to be lightwalker/stand-in for Antony and the Johnsons front-man Antony Hegarty, despite the fact that I’m about three inches shorter than his 6’5″ & about a 100lbs, lighter. It being a Robert Wilson show (Wilson being the theatrical father whom I must someday Oedipally kill), I am terrified of fucking up even in the slightest, so my lateness causes me a particularly acute degree of psychic pain. I am greeted by the assistant director, Yevgeniya Falkovich (alias Yev) who sweetly informs me that what I thought was going to be lighting levels is in fact a tech work-through, & it is in fact going almost excruciatingly slowly & so the actors are themselves doing it. She tells me that I should get into the whiteface makeup & stick around anyway, just in case.
2:45PM – A thick membranous coat of white face-paint is applied by a kindly & chipper middle-aged man who looks more like the kind of guy you’d see double-fisting bottles of Labatt at a “family diner” on the outskirts of Hornepayne, Ontario at 1:00 in the morning. I’m sent upstairs to a waiting Yev who warns me that Robert Wilson (or “Bob” as everyone & soon myself begins to call him) runs his rehearsal hall with an almost proto-fascistic seriousness & that any ambient noise or distraction is cause for immediate removal from the premises. I’m told to sit, watch, & shut the hell up, basically.
3:00PM – Brought into the theatre. On stage is a phenomenally gorgeous set comprised of three stylized coffins arrayed in a line with geishaesque women in masks reclining on them with folded hands. They are identical in almost every way except for those particular ways that seem noticeable only to Robert Wilson, who remains unseen but whose disembodied voice booms across the microphone system as he directs hapless stagehands to lift the hems of dresses up fractions of inches to conceal white-powdered neck-flesh.
3:30PM – On the floor next to the coffins are what look like weird, red dinosaur bones. Wilson has spent the past half-hour or so rearranging them, telling the aforementioned hapless stagehands to shift them single-digit degrees until he gives a kind of satisfied “That looks better.” The guy’s sheer attention to detail is sort of humbling; that these changes are noticeable to no one else in the room is clearly of no importance to him whatsoever, what matters is that his vision pleases himself. I admire this.
4:25PM – Hapless stagehands spread dog treats all over the stage. Three big, black Dobermans are released on stage & begin wending between the coffins to lick them from the floor. Yev tells me that Wilson had the dogs dyed black.
4:29PM – One of the dogs takes a shit on stage. The afternoon’s surreality is matched only by its wonder.
4:45PM – Willem Dafoe (a.k.a. the Green Goblin, a.k.a. Grace’s father in Manderlay, a.k.a. the guy from Boondock Saints) is now on stage. He is the only actor in the piece who actually speaks lines, basically, & he has an almost obscene amount of text. Yev tells me that apparently Dafoe, who did the part a year ago when The Life and Death of Marina Abramovic first premiered, has since that time rented out room & gone through the entire play every Sunday of every week until now, & comes to rehearsal fully an hour-&-a-half early to go through a pretzelish yoga routine before then doing the casts’ group warm-up & then doing a full day’s work. The guy’s devotion to his craft is almost monk-like. I admire this, also, & make a note to myself to emulate it. Dafoe is in whiteface too & sports a huge red sheaf of hair (wig) & army suit. He looks awesome.
5:00PM – Dinner. I join the rest of the cast & crew in the greenroom where I awkwardly help myself to some coffee & hummus. I look stupidly around the room for a place to sit & decide to stick near my friend Graeme, who’s “lightwalking” with me, for safety. Although I did not think I was the type of person to get star-struck, being in a room eating finger-foods with Robert Wilson, Willem Dafoe, & Marina Abramovic is really too much. I try chatting up one of the other performers about Wilson’s process. She’s a Belgian expat living in New York & has very little affect when she speaks, which makes me think that I just bore her tremendously with my amateurish questions (e.g., me: “So is your background as an actor?” She: “Performer” [which difference means what, exactly?]). She tells me that basically Wilson draws a “scene book” from which he works, & shows the cast the choreography himself, then asks that they imitate it. The room left for input from the actor is nil, which is very good for Robert Wilson & his audience, but not much fun for the actors themselves, it seems to me.
5:33PM – Now there is a man with a giant albino python in the hallway. This snake is apparently used in the show, & her name is Medusa. (This is getting very weird). The man drapes Medusa around my shoulders & suddenly I’m in love. The snake’s weight has the sensation of the hug, & the curl of the tail around my thigh is comforting in ways that are difficult to convey. I’ve never considered keeping a big-ass snake for a pet, but now I want one.
6:00PM – Back in the theatre, where we left off. One of the performers is clearly not living up to Wilson’s standards, & Wilson kind of gives him shit for it. Yev tells me that all of the music is performed live by an invisible orchestra in the pit, which is kind of incredible considering how weird & avant-garde the music in the thing is, & how sudden the cues come.
6:30PM – Willem Dafoe is the man.
6:34PM – Willem Dafoe just bit a blood capsule while doing a bit of choreography & is bleeding from the mouth. I’ve never cared for his films, but man, the guy has just become like my favourite actor ever.
(End of notes because apparently my scribbling stuff was irritating to Robert Wilson. Am I moron? Perhaps. Do I regret note-taking? Perhaps.)