Plundering all genres, they were loud and freewheeling, incorporating looping video projections, actors shouting over pre-recorded audio, technicians in full view, occasional nudity and, once, Dafoe in the role of a living chicken heart.Īfter seeing him onstage, Bigelow called the actor to ask if he wanted to be in a film. The experimental works staged at the scrappy space in SoHo had more in common with the no-wave shows happening around the corner at the Mudd Club than with polite theatre uptown. That year, Willem Dafoe was playing a foul-mouthed oil-rig worker, a heroin-addicted mother and a nun – all in the same play – when Kathryn Bigelow took a seat in the audience one night. In 1979, tiny New York theatre The Performing Garage had 60 seats, a tin collection box and some of the most radical ideas in a grimy, broken-down city pulsing with creative energy. This article is taken from the Spring/Summer 2022 issue of AnOther Magazine :
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