Despite the coronavirus, the show will go on, for now, at Los Angeles State Historic Park, where Yuval Sharon's opera company the Industry has built stages that incorporate the cityscape to tell a nonlinear story of Arrivals and Hosts.
are arriving in this land. And“We were like, how do we do this so that we don’t let the audience off the hook — thatis the land where this happened?” says Sharon. “Los Angeles State Historic Park feels like a central character in ‘Sweet Land.’”
Part of that included a multitude of indigenous perspectives. Chacon is an enrolled member of the Navajo Nation. Duncan is part Ojibwe. Luger is an enrolled member of the Mandan, Hidatsa and Arikara Nation who grew up on the Standing Rock Reservation in North Dakota.Scenic designers Tanya Orellana, left, and Carlo Maghirang with projection designer Hana S. Kim, on the set of “Sweet Land.
“I like the subtlety of talking about a postindustrial experience,” Luger says. “How do we escape the weight of primitivism and look at some of these new materials?” Much of the opera’s design was about working with what was available. The theaters were placed where land was flattest and they wouldn’t disturb any trees. The boneyard supplied a ready-made postindustrial landscape.
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