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ANIMATED CHAPTERS 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 23 16 13 10 5 3 1 27 30 34
Introduction
Crash
An intersection in Boyle Heights
Lucha's Childhood
Lucha's Quinceañera Song
Mariachi Plaza, Boyle Heights
Jameson's Story
Jameson Portrait
The 2nd Street Tunnel, Downtown Los Angeles
The Reunion
A Rehearsal Studio in the Arts District
First Kiss
Hollenbeck Park, East Los Angeles
Angel's Point
Angel's Point, Elysian Park
Love and Fractals
The Floating Nebula
The Corn Fields, Los Angeles State Historic Park, Chinatown
Wedding
City Hall, Downtown Los Angeles
The Next Years
The Phone Call, Part 1
Traversing between the Arts District and Boyle Heights
A Fortune
Chinatown Plaza
Orlando's Story
Orlando's Fairwell
Evergreen Cemetery
Interlude (Car Wash)
AirStream Trailer, Elysian Park
Passengers
The Roadways, Elysian Park
The Experiment
3rd Street and Broadway
Despair
230 Center St, Arts District
The Disappearance
The Red Notebook
Utter darkness
The Other Woman
The Bradbury Building, Downtown Los Angeles
Hades
Bowtie Parcel, Los Angeles River
Breakthrough
Lucha and Orlando in Love
Historic Core, Downtown Los Angeles
Lucha Portrait
Alongside the LA River, Interstate 5
Orlando In Love
Orfeo
The Million Dollar Theater
Orlando Portrait
Libros Schmibros Book Store, Boyle Heights
Farewell From the Roof Tops
Rooftops, Toy Factory Lofts, Biscuit Lofts, Ito Building Tower, Arts District
Old Age Like a Dream
The Phone Call, Part 2
Chavez Ravine, Elysian Park
Finale
The Central Hub

Wedding

Location: City Hall, Downtown Los Angeles
Lucha: Ashley Allen
Jameson: Jon Keenan/Landon Shaw II
Guitar: Nicholas Deyoe
Music by Andrew McIntosh
Text by Sarah LaBrie and Janine Salinas Schoenberg
Months later, it is Lucha and Jameson’s wedding day. Lucha is anxious about the superstions they are breaking, which Jameson dismisses as childish. Lucha gives Jameson a red notebook as a wedding gift so that he can write down all his thoughts. Jameson takes hold of the notebook and is through into a state of crisis and introspection.

Guitarist Nicholas Deyoe in a Chapter 12 rehearsal

Notes from Director, Yuval Sharon:

“The day of their wedding, and it’s not off to a great start: they break a series of superstitions, which Jameson scoffs but Lucha has pangs of anxiety about. Lucha removes her mother’s ring from her neck and stores it away. Finally, she gives Jameson the gift of a red notebook, a place she offers as a private home for his inexpressible thoughts. As if it were an evil omen, touching this red notebook transforms him instantly. Lucha’s dialogue trails off (Ashley Allen brilliantly decrescendo-ing her voice until only her lips are moving) and Jameson muses achingly on the potential meaningless of his life, accompanied by Nick Deyoe’s mournful electric guitar. It is a decisive shift for the character.

Bad Omens for a Bride

On her wedding day, a bride must not: see her reflection fully-dressed, see a grave, a blind man or a pregnant woman, eat until after the ceremony, fahsion her own dress, drop the ring, or receive a knife. In Mexico, a bride must never wear pearls - each pearl worn symbolizing a tear the bride will cry during her marriage.

“This chapter was different depending on which direction you went on the Yellow Route: half the audience members changed cars just outside City Hall, and half changed outside the warehouse space a mile away. That meant that if your audience group was sent on the Yellow Route in a counter-clockwise direction, you entered the car with the newlyweds on their way to City Hall. When the car arrived, Lucha and Jameson ran up the steps to get married. The next audience, then, started the scene with Lucha and Jameson running down the steps, as if they were just married. (The performers needed to have two different versions of the scene memorized.)

Ashley Allen (Lucha) Jon Keenan (Jameson) outside City Hall in Downtown Los Angeles with a passerby who wished the pair well on their wedding day

“We had official permission to use the City Hall steps – but it was still so great to see people constantly congratulate the actors, as if they were real newlyweds. The best moment was perhaps one afternoon, when Mayor Eric Garcetti was addressing his entire staff on the plaza. When he saw our Lucha and Jameson, he stopped his speech and encouraged everyone to cheer for them and congratulate them on getting married. That’s a moment I wish I could have experienced directly!

“We had several other historic locations in mind for their marriage: Vibiana’s or La Placita Cathedral, both of which would have been wonderful, but having Sunday afternoon performances obviously made it difficult to secure a church. Since we were spending so much time at City Hall getting permissions to perform Hopscotch everywhere else, why not consider City Hall itself the site—a beautiful and iconic building in its own right? I like imagining that un-romantic Jameson, with his disdain for all superstition, probably forced Lucha to have a straightforward signing of a marriage license.”

“I am not the center of myself.
Strange, the way a thought can send you reeling,
everything you thought was the world
suddenly dissolving,
remaking itself into something new.”