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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

Orfeo

Location: The Million Dollar Theater
Lucha: Jennifer Lindsay
Orfeo: James Onstad
Violins: Eric KM Clark, Mona Tian
Text by Tom Jacobson
Music by Marc Lowenstein
Although many years have passed, the mystery of Jameson’s disappearance still haunts Lucha in a series of vivid memories. She remembers a beautiful night at the opera with him and the haunting melody of Orpheus pleading with the boatman of the River Styx.

Lucha and Orfeo

Excerpt from the Hopscotch album, Track 18. Composer, Marc Lowenstein

“This scene was all about distance: the vast distance between Lucha and this faraway Orpheus figure. After more immersive chapters like Chapter 25 or Chapter 8, scenes like this one and Chapter 33, where musicians played on distant rooftops, offered distance and detachment. To me it kind of implied the arc of growing up: as we take leave of certain elements in our lives they seem to get farther and farther away. The penultimate chapter – Chapter 35, where the older Lucha calls her younger self – shows the ultimate distance as also being the most intimate closeness.

Jennifer Lindsay says when singing in Hopscotch, self-care is paramount.

“One of Lucha Reyes’ most famous performances in Los Angeles was at this very theater – another way the legendary Mexican singer wove her way through the fabric of Hopscotch. When we needed something to accompany the audience’s path down the fire escape at the end of the chapter, the choice seemed obvious: Lucha Reyes’ ‘Por un amor,’ which played through concealed speakers throughout the alleyway. In this way, the immortal voice of Lucha Reyes reclaimed her space in a way that echoed the haunting memory our fictional Lucha experienced opposite the ghostly tenor.

The Million Dollar Theater

Opened in 1918, it is the first theater to have shown variedaes, Spanish language variety shows. At the height of her career in the 1930s-40s. Lucha Reyes appeared onstage at the Million Dollar Theater in downtown to much critical acclaim.

“The leaf in the river
The memory of a moment
That’s all you get
Catching on wet stone
Then swirling on.”

“The Orpheus myth became a useful spine for the story when we were in the writing phase, but using Monteverdi’s setting of it — a piece often cited as the “first” opera — in such a pronounced way puts us into conversation with operatic history. Hopscotch was the third production of my company The Industry, and each work strove to expand on the operatic genre and create new ways of creating and experiencing opera. When I started the company, I often cited Monteverdi to imagine the difference between the process of making the work and how history canonized their finished work: when they were creating Orfeo, opera was not a genre. Instead they thought of creating something interstitial – not quite theater, not quite a concert, not quite an official ceremony or celebratory spectacle, and definitely not an oratorio. They let the unpredictable path of colliding art forms – music, literature, choreography, architecture – define a collaborative project that could only be labeled a ‘work’…or, in the Italian, opera. That always struck me as so contemporary, and starting The Industry grew from a belief that the most exciting path for new opera was to connect back to that initial aspiration.”