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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

The Other Woman

Location: The Bradbury Building, Downtown Los Angeles
Lucha: Delaram Kamereh
Lady in Red: Brianna Seamster
Jameson: Trevor Davis/Jeremy Hahn
Saxophone: Sam Gendel
Guitar: Vikram Devasthali
Double Brass: Patrick Taylor
Drums: Kevin Yokota
Ate9 dANCE cOMPANY: Sarah Butler, Ariana Daub, Rebecah Goldstone, Thibaut Eiferman, Genna Moroni
Choreography by Danielle Agami
Music by Veronika Krausas
Text by Tom Jacobson
The next vision that haunts Lucha is of Jameson’s infidelity: she becomes immersed in a noir nightmare where Jameson was stolen from her by another woman.

Notes from Director, Yuval Sharon:

“The second of Lucha’s nightmare visions – the others being the void that preceded it in Chapter 24 and the climactic River Styx scene that followed it in Chapter 26 – was, for many people, one of the strongest experiences in Hopscotch. The audience followed an unhinged Lucha into the spectacular Bradbury Building. They entered the elevator, where a saxophonist accompanied their journey up to the top layer. The audience proceeded level by level back down, where Lucha wanders a labyrinth of images from a noir-ish 1940s dream. Jameson appears as a silent figure, falling in love with a gorgeous ‘Lady in Red,’ standing in for both an idealized past and a potential ‘other woman.’ She ends where she started, with the final line: ‘The past has swallowed you up, and I can’t bring you back.’

Looking Backward

Excerpt from the Hopscotch album, Track 15. Composer, Veronika Krausas

“I think there are few buildings in LA as thrilling to float through as the Bradbury Building, so this chapter felt like it already couldn’t lose. The character of the architecture inspired all of the elements: Veronika wrote the piece with the traversal of the building in mind. Danielle Agami’s amazing group of dancers, Ate9, populated the levels of the building and contributed greatly to the otherworldly atmosphere.

The Bradbury Building is the oldest commercial building remaining in the central city and the decorative Victorian court makes it one of the city’s unique treasures. It’s been featured in Lethal Weapon, The White Cliffs of Dover, Chinatown, Mission Impossible, and music videos by Janet Jackson and Genesis. It is still the headquarters for some Marvel Comic teams, hence the multiple comic series that take place in the building.

“And we knew that the Lucha in this chapter would need to be an anchor for the audience – and standing so close to Delaram’s pure voice and powerful presence was certainly one of the great pleasures of this scene.

“It was important to me that Hopscotch didn’t just feel like a tour package (the Hollywood Sign was not on one of the routes). So in creating the routes and choosing the sites, I wanted to make sure iconic, quintessentially LA buildings like the Bradbury Building would alternate on the same route with anonymous or unknown sites – parking lots, forgotten public sculptures, abandoned loading docks. The fluidity with which you move from a place of overlooked beauty into a space so legendary that it’s practically a cliché is an everyday occurrence in Los Angeles and a large part of what makes living here so fascinating and unpredictable.

“Imagination
or psychic manifestation
a message
a prediction
a revelation?
If he will look at me, all will be well.
Looking backward will save him.”