Lockhart's largest-scale work, set in a nineteenth-century opera house in Manaus, Brazil, films an audience that is a cross-section of the city’s indigenous and European population. From a fixed camera hidden on the theater’s stage, Lockhart captures the audience in a single, unedited thirty-minute take as it sits waiting and listening to a piece of minimalist contemporary music: a choral work especially commissioned for the film from the composer Becky Allen. Performed by a choir out of sight in the orchestra pit, the composition, which consists of a single decrescendo on one note, starts deafeningly loud with twelve groups of five singers each, all intoning a cyclic sequence of local vowel sounds, and then dwindles until all that is left is one barely audible group. As the sound of the musical performance diminishes, ambient noise from the increasingly restless, fidgety, and talkative audience increases. Teatro Amazonas is an elaborate, intriguing formalist experiment investigating the cinematic gaze and cultural exchange, and offering an unconventional ethnographic record of its Amazonian subjects engaged (and disengaged) in the act of spectatorship.