A view on the way to the forest near Malmö…I’m definitely not in Kansas anymore.

My friend Christine Sciulli wrote to me today in response to an announcement about my upcoming performance, Undead in the Night. “God you’ve come a long way from our Blair Witch screening!!!”, she wrote. In 1999 Christine called me at my part time job with an invitation to a late night movie. I happily said yes, but apparently was the only person on the planet who hadn’t heard about the film, a little out of touch with popular culture at the time. I sat through the horror film in utter terror, balled up in my seat, peering through clenched fingers as the awful ending pierced the heart of my worst fears. I made her stay on the phone with me that night and couldn’t sleep for days. Camping was out of the question for ages.

A decade later - really?? - I’ve seen countless horror films and now intentionally put myself in a forest (a long long way from home, no less) creating a living horror film. Last night we were out in the woods performing some lighting tests and my eyes and breath were not at ease. For a city girl the darkened woods holds countless unseen threats, real and imagined.

The performance is coming together, our cast is almost complete, and every one of them is absolutely perfect.

Here is an article by Mirjam Johansson about my upcoming Malmö performance, in Sweden’s People magazine - it’s a few pages in, use the right arrow to get there.

For the past 2 days we auditioned many zombies, vampires, and victims in small groups, for Undead in the Night at Lilith Performance Studio, Sweden.

Pictured below is a particularly energetic group of young women working with Artistic Director Elin Lundgren, who together hunted mercilessly and attacked their helpless victim (photos Petter Pettersson):

Read more about the auditions at
Sydsvenskan.se, by Karin Arbsjö. The article is in Swedish only, but includes a slideshow and sound “bite” (pun intended) of the auditions.

Field of the Dead and Undead is a video that I am slaving over working on since last fall. It is all rotoscoping, which at the worst of times is obsessive, slow and labourious, and at the best of times highly meditative. Sometimes something surprising happens, like the layers go missing, creating magic accidental images: