The third actor to accost the audience in Assurbanipal Babilla's Three Angels Dancing on a Needle, Miriam appeared as the wife of a man who'd killed himself by jumping off a bridge. She hated him a lot, and his death had done little to soften her rage. For an interminable time — truly interminable; she could have held the stage for instants or epochs — she stood there, body and voice trembling, all her communicative faculties short-circuiting at their inability to process the vastness of her anger, tracing the shape of her hatred with horrific blind references to episodes which are never quite illuminated, allowing the audience's imagination to extrapolate at will and guiding that imagination into very weird terrain. Walking fifty-seven blocks to the morgue to identify her husband's remains, she danced all the way — like a whore, she said, just like her husband's mother. When she did the dance onstage, her hips were like war machines, and her face was like nothing you've ever seen before — a writhing tableaux of electric evil so pure that, if you encountered it in life, it would almost certainly be the last thing you ever saw. Even within the relative safety of the theater, audiences felt an actual, physical revulsion. One spectator said, "If she came any closer to my seat, I was going to scream," and that's about right. It's worth mentioning: According to all reports, Miriam Kulick is a very sweet lady when she's not scaring the hell out of you.