By Abigail Vega
This week, we began the final rehearsal and development process for Generation Sex, which opens at the Los Angeles Theatre Center (LATC) on April 19th. This is our first full production running in another city; our run of YOUR PROBLEM WITH MEN at Encuentro 2014, while big and exciting, was fully supported by the Festival setting around it. This show is very ambitious and we’re doing it with only one partner – the LATC – and without the built in crowds that came with the Encuentro. In addition to Elizabeth and I, this production has new cast members from Los Angeles, a producer from Oakland, a sound designer from New York, a choreographer from Chicago, and a Set and Projections Designer who will be back and forth between Los Angeles and Seoul during our rehearsal process. So yes, many of our production meetings will happen over Skype.
This seems fitting for a show focused on the impact of technology on our relationships.
But why are we doing this to ourselves? Why are we engaging in a process with so many difficulties? Why did we hire out of town designers? Why are building this final round of the show in so short a time? Why are we engaging new actors? Why are we trying to expand the ensemble to Los Angeles when we could have just stayed in Chicago? Why are actively trying to make our lives harder? Why is Luna in Los Angeles?
Because the number of all-female creative spaces are dwindling in this country.
Because I’m (and we) are exhausted by people working through the paradigm of problems and not solutions.
Because if shit isn’t hard, it’s not worth doing.
Because if we don’t take risks, we’ll never learn, and we’ll definitely never get better.
Because working with different people, in different regions, with different points of view, is only good for us.
Because female artists of color need places they can safely work outside of their comfort zones, in different cities, without having to join a union.
Because the cold depresses us.