While Jarzyna was making regular visits to Brooklyn, Feldman found herself traveling in the other direction to procure additional funding from Warsaw city officials and from the Polish culture and foreign ministries. (She estimates that the Polish side is putting up "almost half" of the budget, which will come to more than $600,000 for all production and construction costs; the rest is coming primarily from American foundation support and the box office.) Feldman reckons she's made 10 round-trips across the Atlantic.

Now that she's in the home stretch, Feldman has concentrated on finding solutions to more concrete problems. For instance, the site near the Manhattan Bridge is too noisy for the show's intricate soundscape. So she and Jarzyna decided that each audience member will wear muff-type headphones; the sound will be mixed live at each performance and piped into the personal headsets.

"This whole thing is not practical," says Feldman, sitting in her theater on a recent afternoon, laughing and massaging a pinched nerve in her neck. "But I would say that every problem has been solved. It's all excessive—but that's what it is."

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