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Share  Hopscotch:
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

The Red Notebook

Location: Utter darkness
Music by Andrew McIntosh
Text by Sarah LaBrie
Horn: Allen Fogle
Soprano: Estelí Gomez
Percussion/Violin/Viola: Andrew McIntosh
Recording by Nick Tipp, Scott Worthington,
Mixed by Lewis Pesacov and Andrew McIntosh
Mastered by Justin DeHart
The first vision Lucha sees in the delirium produced by the headband is the red notebook, which now taunts her. Jameson’s journal entries consider the possibility of stepping into alternate realities where different versions of his life unfold.

Strange the Way

Excerpt from the Hopscotch album, Track 14. Composer, Andrew McIntosh

“Strange, the way a thought can send you reeling, everything you thought was the world suddenly dissolving, remaking itself into something new.”

“Strange how we go about our lives inside our bodies like locked cars with all the windows up.”
        

Notes from Director, Yuval Sharon:

“This might have been the scariest chapter in Hopscotch: an electronic soundscape without a single live performer in the car for 10 minutes – and all the windows blackened out. The audience had no idea where they were going. This was the first of Lucha’s nightmare visions upon Jameson’s disappearance: the first one a deep void, the other two – the surreal Bradbury Building scene and the river to Hell – followed chronologically as Chapter 25 and Chapter 26.

Librettist Sarah LaBrie shares how writing for Hopscotch mirrored her own life.

“I’m not sure any chapter was more disorienting than this one: it was like putting on a blindfold and being abducted, only to re-emerge with no sense of where you are or how you got there. I think it was a crucial experience for Hopscotch, and at one point I debated making sure each route had a version of this.

“The car only had to stop once because of a panicked audience member – much less than I expected, actually! More people than I expected called the experience deeply meditative, even transformative, based on the beauty of Andrew’s electronic soundscape. But for those scared of the dark, we offered versions of Jameson’s red notebook that lit up when you opened them. The assistant stage manager asked audiences to open them only if absolutely necessary.

“As luck would have it, this was the one car pulled over by traffic cops – because of the limo’s expired registration! It’s hard to imagine a more appropriate car to be pulled over by the police: the audience couldn’t see what was happening. The assistant stage manager tried convincing the police to let the car continue on its route for the sake of art, but that didn’t work: the audience needed to leave the car and walk to their next stop. Amazingly, none of them complained about the disruption – that unexpected engagement with the uncontrollable aspects of everyday life delighted more often than it detracted.”