On Choosing a Season

By Jessica Barkl

I will speak for myself, not necessarily for VSA, though I can speak a little about that.

For me I look to find plays that will challenge the company members I have (characters and theories) that would expand their vocabulary as theater artists and keep them growing as artists and thus make our company grow in the progess.

I also, and I have to admit this is the dramaturg in me, look for plays that ask questions of our time, or that asked important questions of the period it was written in. So...this season we chose to produce THE ORESTEIA (and we will continue to explore that saga) and TROILUS AND CRESSIDA. Current politics of annoyance of war and throwing oneself into hedonism to avoid that annoyance, I think, are particularly poignant right now. The idea of vengeance and how futile that truly is, and how right now we know it's futile, yet we still try to avoid any responsibility in those facts. I think both of these plays live in that world, and question that tendency of human nature to shut off and just eat, drink, and sleep with one another...or just
off one another...to avoid talking about the truth...or at least questioning it.

Then, of course, we get into the conversation of new plays vs. classics. Right now, as a company, we are trying to develop new skills and strong skills in all walks of live theater. My own conservatory training tells me that if you can perform the classics with finesse, you can perform anything. Our ORESTEIA was a new adaptation, but not a new play. New plays also
require royalties, and as a new company we can't afford that...a national problem that I am keenly aware of and not necessarily proud that I have to be a part of that community choosing to avoid new plays because of the cost, but.. However, we only produce two shows a year, and so far in our history we've produced 2 new plays, one contemporary Korean play, 1 adaptation, and 1 classic...so I don't think we are necessarily guilty on any level of adding to the problem of new plays not being produced. However, the Catholic in me, feels extremelly guilty that she's not producing more new plays.

VSA is mostly a presenting house that sees holes in the community in regards to contemporary theater/dance and will present those works. We noticed that there wasn't a theater committed to producing works by Native Americans, so we
decided that we should, and we have produced two in addition to cultivating Native American actors, directors, and designers. We actively search for them and that community is growing with us. VSA also will co-produce any good idea
that comes to us that we see isn't already in the community. For that reason we are producing with PLAY CONSERVATORY (Jonathan Dunski's organization) LORD OF THE FLIES because this is a children's play that is not necessarily family-friendly. We produced the 365 DAYS/365 PLAYS by Suzan-Lori Parks because no one else was and By JesiAlbuquerque needed to be represented. We noticed that there was a lot of Shakespeare happening and chose to organize a Shakespeare festival (which
we want to do again and have written to the other theaters, but no response as of yet...so...) Other than that, VSA, as an organization produces one show a year for our multi-ability company Equilibrium Theater Company that advocates for
adults with developmental disabilities in a very avant-garde fashion. This year they have written their first film noir play called THE JEWELED EYE, which will begin touring in March - Molly Kohl, the Artistic Director, also always looks for material that will challenge her actors and expand their vocabulary as artists. Last year they performed their first comedy. VSA
co-produces two of In Strange Company's shows and that's about it other than contemporary dance, local dance, and some music events.

Jessica is Managing Director and Programming Assistant for Theater at North Fourth Arts