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  The ringing of a gong seizes your attention, and you follow the sound to the next stage. It is empty, devoid of any backdrop, and the platform is dark. A haze blankets your vision, like heat radiating off of the desert floor. You hear the sound of hands clapping a steady rhythm, and within moments, the haze begins to coalesce into the forms of a troupe of ghostly women, clad in linen shifts. Their wraithlike hands pluck at the strings of translucent zithers and harps, shake spectral sistrums, and their pallid lips blow upon ethereal flutes. The music that they play is discordant, otherworldly, and seems to be at once a funeral dirge and a paean to life: a triumphant lamentation. As the sound swells, you hear the beating of wings in the distance, and a keen, a siren’s ululation, joins the haunting melody. As the song reaches its eerie crescendo, a beautiful winged woman alights on the stage, summoned by the phantom song. Her skin is dusky brown, and the vigor of her youthful body seems in conflict with the depth of grief reflected in her eyes. Her wings spread out behind her in morbid majesty, and she takes flight. Her dance is, itself, a visible act of mourning, and is almost sensual in its sorrow.

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  The Balcony Scene Perfume Oil

  Arise, fair sun, and kill the envious moon,
  Who is already sick and pale with grief
  That thou her maid art far more fair than she.

  This year, Lilith was cast as Romeo in her Shakespeare group’s production of Romeo and Juliet, which took place in their vision of Venice Beach in the ’90s; the Capulets were preppies and Heathers, and the Montagues were goths and punks. Lilith’s interpretation of Romeo was pure ’90s grunge.

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