Welcome to CAP UCLA’s online press room, where journalists can find information about our organization and all season programming. CAP supports the creation, presentation and critical dialogues vital to the ongoing innovation and expressive potential of artists in all performance disciplines—theater, dance, music and spoken word, as well as emerging platforms.
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Below you will find links to recent feature articles and reviews.
"Lecture on Nothing," which is published in John Cage's "Silence," is a classic, studied and often recited. One of its much-quoted lines is "I have nothing to say and I am saying and that is poetry as I need it." The conductor Robert Spano read the lecture at the 2006 Ojai Festival, as the director Peter Sellars once did at the Salzburg Festival, slowly savoring every instant.
10/16/2013 - Mark Swed
At last: "Einstein on the Beach," the opera that is not really an opera -- nor is it really about the physicist Albert Einstein -- who, by the way, is never seen at the beach and is portrayed by, among others, the fiddle-playing Jennifer Koh -- arrives at the Music Center courtesy of Los Angeles Opera and the Center for the Art of Performance at UCLA (CAP UCLA).
10/8/2013 - Victoria Looseleaf
Popping up this Saturday at UCLA's Royce Hall as one of the marquee headliners of the six-night Angel City Jazz Festival (which kicks off Friday at LACMA), the onetime Miles Davis sideman and longtime fixture on the jazz vanguard will appear with his latest ensemble, Prism. A bracing electric quartet composed of players who are bandleaders in their own right in pianist Craig Taborn, drummer Eric Harland and guitarist Kevin Eubanks, Prism's churning, groove-heavy sound is a marked departure from some of Holland's acoustic work with his quintet.
10/1/2013 - Chris Barton
Rarely has the dance of shadows, the interplay of light and dark, been put to better storytelling effect in the theater than in the extraordinary "Shun-kin," a collaboration between the London-based company Complicite and Japan's Setagaya Public Theatre that brings to the stage a curious 1933 tale of love and sadomasochism by the Japanese writer Jun'ichiro Tanizaki.
9/27/2013 - Charles McNulty
Australian choreographer Lucy Guerin has been recognized for her intriguing and thought-provoking works since the 1990s, when she spent a pivotal seven years performing and choreographing in New York City. Mikhail Baryshnikov took note of Guerin's individuality in 1999, including two of her dances in his White Oak Dance Project's repertory.
9/12/2013 - Susan Reiter
Sometimes, you can tell a lot about a show based on its audience. In addition to drawing an inspiringly big, deeply attentive crowd to Royce Hall to close out the first season for the newly named Center for the Art of Performance at UCLA (and new Executive Artistic Director Kristy Edmunds), Saturday's double bill of the Bad Plus with the Brad Mehldau Trio also drew bassist and educator Charlie Haden, whose presence was humbly recognized from the stage by Mehldau early in his set.
5/5/2013 - Chris Barton
The music of Philip Glass will be in the spotlight for the new season at the Center for the Art of Performance at UCLA. The 2013-14 season will feature works and productions by Glass, Robert Wilson and the critically acclaimed British theater group Complicite.
5/2/2013 - David Ng
This went on all weekend — the creation and displacement and reconfiguration of priceless body-borne Brownian silences and stillnesses, often fittingly (for conceptual art) altered by chance and context. Unbelievable, really, that there were four different site-specific performances, along with the two-chockablock proscenium concerts at Royce Hall.
4/9/2013 - Jean Lenihan
For the brief moment that she stood atop the eight-story building at UCLA on Friday evening in the soft light of the setting sun, she looked as though she belonged there. This was, after all, the Eli and Edythe Broad Art Center, and the woman might have been, say, an Antony Gormley artwork.
4/8/2013 - Mark Swed
The easy way to describe Rudresh Mahanthappa’s music might be as East-meets-West jazz. Easy, sure. But also wrong, says the saxophonist. “Actually, quite inaccurate,” he says. That's both the East-meets-West part and the jazz part. Not that he has a concise alternate description. Which is the point.
3/1/2013 - Steve Hochman
As Mike Finch explains his role as artistic director of Circus Oz over the phone from Tacoma, Wash., loud noises erupt in the background. The Australian company features a 12-piece live band, and Finch is at sound check.
2/5/2013 - Jessica Koslow
In the beginning is the bed. Upon it, a young girl with earbuds, noodling at a laptop. The wall behind her is festooned with adolescent posters, ranging from True Blood to Breakfast at Tiffany’s to one in French for Tennessee Williams’ Sweet Bird of Youth (another play whose action commences with a woman relegated to her bed). If these contemporary affectations sound like a distraction from a Jacobean shocker from the early 17th century, this viewer certainly found it so. Yet this durable if all-too-mortal text by John Ford, a bare generation younger than Shakespeare, perhaps unplayable any longer as grisly melodrama (perhaps even when it was new), finds many a tawdry illumination against this determinedly stylized production by the august Cheek by Jowl company from Blighty. The bed remains center stage throughout.
1/11/2013 - Myron Meisel
Caruso, Bjorling, Pavarotti, Carreras, Domingo, Alagna, Kaufmann, Florez and (Eric) Cartman. One of these things is not like the other, 'tis true, but there is one way in which they are kind of the same: They have all recorded versions of "O Holy Night." In fact it seems there is hardly a singer who hasn't.
12/19/2012 - Marcia Adair
Every few years Laurie Anderson, who was once dubbed a performance artist for lack of a better descriptor but is simply a performer sui generis, puts together a report from somewhere that is much like our world. She tells stories about places and situations we recognize. She plays something we might recognize as a violin. She uses electronics that have come to seem familiar enough.
10/24/2012 - Mark Swed
While they adjust to a new name for the long-running performance series anchored at UCLA’s Royce Hall, audiences may be reassured by the selection of major names that Kristy Edmunds, the new director who tweaked the title, has included in her first season of picks.
The 2012-13 season announced Tuesday for the re-branded Center for the Art of Performance at UCLA (formerly UCLA Live) has some top stars of avant-garde or genre-blending performance in Laurie Anderson, Hal Willner, Meredith Monk, guitarist Bill Frisell and the Trisha BrownDance Company.
5/22/2012 - Mike Boehm
If names predict destinies, the venerable UCLA performing arts series anchored at Royce Hall is on the cusp of much bigger things.
A new moniker will be unveiled Thursday, Center for the Art of Performance at UCLA. It's a mouthful intended to reflect the broader scope the university plans for the showcase formerly known as UCLA Live.
The center (CAP-UCLA for short) aspires to be not just a performance series, but a creative habitat in which new work is developed, ideas are sparked and techniques are taught to the next generation of performers -- with the mission of presenting visiting talent to paying customers still at its core.
4/26/2012 - Mike Boehm
The Pacifica Quartet likes to think big -- and in the chamber music field, that often means doing cycles.
Some adventurous listeners remember the evening at UCLA's Schoenberg Hall in 2003 when the Pacifica served up all five of Elliott Carter’s notoriously knotty string quartets in one mighty scoop; after that, you figured that from then on, everything else would be a piece of cake for them. There were more cycles to come -- most recently, two volumes of an emerging CD project on the Cedille label, “The Soviet Experience,” that will link all 15 Shostakovich quartets with four by his Soviet colleagues.
However, the Pacifica did not have omnivorous feats in mind when it visited UCLA’s Royce Hall on Wednesday night -- just Beethoven’s Quartets Nos. 4 and 8, and Shostakovich’s Quartet No. 9, plus the spiky, humorous, Allegretto pizzicato movement from Bartók’s Quartet No. 4 as an encore.
4/12/2012 - Richard Ginell
About halfway through the Carolina Chocolate Drops’ gig at Royce Hall on Friday night, singer, stringed-instrument player, dancer and all-around show-stopper Rhiannon Giddens picked up a big, old banjo with a body the size of a hubcap and covered in goatskin. Called a minstrel-style banjo, it’s a replica of an instrument from the mid-1800s, and when played reproduced the same deep, echoed plonk that traveled over from Africa with the slave trade.
4/9/2012 - Randall Roberts
UCLA’s Royce Hall had a nightclub-like feel to it Friday night, as a modest but enthusiastic crowd gathered on a rainy night to hear the Mingus Dynasty, a septet of New York based players exploring the oeuvre of the late bassist and composer Charles Mingus. Most of the group are veterans of the 16 piece Mingus Big Band, which is widely recorded and a more familiar brand. But the Dynasty, with the young Israeli trumpeter Avishai Cohen joining the fray, provided a spirited voice to tunes that were originally presented by Mingus’s smaller groups.
3/20/2012 - By Michael Katz
Since the late '80s Philly-bred bassist Christian McBride has been a low end powerhouse for artists including Milt Jackson, Diana Krall and Questlove. He spent the most time in our fair city between 2006 and 2010 when he was the "Creative Chair for Jazz" with the Los Angeles Philharmonic, and this Saturday he'll bring his straight ahead trio -- including pianist Christian Sands and drummer Ulysses Owens -- to share a bill with Ravi Coltrane's quartet at UCLA's Royce Hall.
2/10/2012 - By Sean J. O'Connell
Royce Hall isn't the sort of venue where you dance and stand on your toes to see during a concert. Your ticket comes with an assigned seat and, typically, you stay there for the duration of the show, offering polite applause throughout the performance. Things are different, though, when They Might Be Giants play. For Saturday night's 30th anniversary show, the Johns (Flansburgh and Linnell, respectively) weren't going to let us stay in our seats.
1/29/2012 - By Liz Ohanesian
The songs coursed from expressions of human desperation early on to spiritual realization (“Over My Head”), transcendence (“Ride Up in the Chariot”) and, ultimately, joy (“Let Us Break Bread Together”).
It’s a journey that Battle made relevant to anyone who walks the earth.
1/22/2012 - By Randy Lewis
Longtime Angeleno Kenny Burrell, who turned 80 this summer, has been recording as a jazz guitarist for six decades; he’s long been one of the masters of the instrument and is now one of the last links to jazz’s heroic age.
He speaks in an Arts & Books profile about his roots in Detroit, the meaning of the blues, his birthday concert at UCLA’s Royce Hall, his years at the university and his hopes for the future.
11/5/2011 - By Scott Timberg
Cellist and classical music innovator Maya Beiser talks to Huffington Post arts critic Daniel Kushner about her work and her performance with Scottish percussionist Evelyn Glennie at UCLA Live.
11/1/2011 - Daniel J. Kushner
Jewish Journal interview with choreographer-composer Hofesh Shechter prior to the U.S. premiere of his powerful first full-length work Political Mother>/i> at UCLA Live.
10/12/2011 - Jewis Journal