“That’s my contribution, visually” says Niluka, the lighting designer. We laugh. The floor plan she designed was just accidentally projected on the wide green wall. The wall with the painting of a woman. Now, on top of that painting of that woman and the projected floor plan, one can also see the red door. The red door is part of Niluka’s design for ‘Agamemnon’. Orly tells me somebody told her that this is not the painting of a woman but an image of baby Jesus. Correction. Young Jesus. But it looks like the painting of a woman to us. It will therefore be used as if it was the painting of a woman.
“Just been thinking. If you think of something better…” Liz, the stage manager, talks to one of the friends who are here to help. Liz is now asking two directors their opinion on where this extra row of chairs for ‘Breakfast’ must be placed. They agree with her decision to place them in a way that will enable the audience to see two pieces that use different spots in the space without having to rotate the chairs.
“Liz, could you do me a favour?” Niluka, our lighting designer, during her break, is preparing for the tech of the skype project. Esther is working on it from Toronto. She will skype us. In fifteen minutes.
“Twelve minutes”, Jay says.
Two different lights on the high green wall. One of them lights the sleeve of that woman.
“There’s a spider web and it’s getting burnt because of the light.” Niluka, high up on a ladder, is now standing in front of the painting of that woman. Three directors are helping move the tall ladder she is using from one place to the next. (I think the right word is not “ladder”, this object is much bigger.)
Nine minutes left. The ladder moves again. I am sitting here writing. That’s not fair.
Annie, Nai Wen, Jay and I just helped move the ladder again. Tali, the actress who has been working on the skype project, tells Niluka: “I walk slightly forward. Then I go closer to the projection. Three-four steps.”
Now Orly and Jay help Niluka and Liz. They are next to me. Niluka says, through the microphone: “Check, check, check.”
Esther will call in a minute. The space is dark and cold. But still so beautiful. Some parts of it are lit. I do not know what time it is.
“All your life you have only been waiting for this moment to be free.” The volume of the music goes up and down.
“That’s so soothing.” Liz says, referring to the song.
It’s soothing to be waiting here. In the dark. Listening to this music.
Tali and Orly are rehearsing downstairs.
That painting of that woman has just played an important role in their rehearsal.
Six of the directors are here for a single tech. Perhaps what Terry from the Irondale meant when he told us, a couple of days ago, that “there is a lack of ego here that interests me”.
The red door again. The whole space is dark apart from that red door. Now the painting is lit again, for the last time.
– Ioli Andreadi, London/Athens