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.
Death in Peter Brook’s elusive, essential production of “The Suit,” which closes this weekend at UCLA, is not losing your balance. Falling and picking yourself up again means you can keep going. Brook vividly underscores that in the new documentary about his rehearsal process, “The Tightrope.”
4/17/2014 - Mark Swed
Famed Theater Director Peter Brook Shows Strong 'Suit' at UCLA
4/12/2014 - Lyle Zimskind
An ineffably effortless, modest and accomplished late work by theater titan Peter Brook.
4/11/2014 - Myron Meisel
Review: Simplicity of 'The Suit' belies its power
Music review: Director Peter Brook's gracious mix of music, motion and speech artfully conveys the horrors of apartheid and humiliation.
4/11/2014 - Mark Swed
Peter Brook at 89 keeps slipping into new suits
Retirement isn't on the director's calendar. He keeps working up projects, including 'The Suit,' which is paying a tour visit to UCLA.
4/9/2014 - Mike Boehm
LA Times Critic's Notebook: The new music cornucopia Tune-In Festival L.A. features Ethel, eighth blackbird and more. Elsewhere, the ensemble What's Next? presents an evening of Dutch composer JacobTV.
3/31/2014 - Mark Swed
Review: For Kronos Quartet, a time of renewal on 40th birthday
Kronos Quartet, ever spinning in a thousand directions, brings special anniversary concerts to UCLA with the help of Chinese pipa player Wu Man, Wilco's Nels Cline and Laurie Anderson.
3/17/2014 - Mark Swed
The Center for the Art of Performance at UCLA brought a fantastic weekend of celebration to Los Angeles to honor the 40th anniversary of the Kronos Quartet in their home away from home at Royce Hall. The March 14 program featured a Los Angeles premiere by Phillip Glass and the world premiere of a composition written and performed by guitarist Nels Cline. The other works were from 40 years of experimental compositions written or arranged for their unique electronic mix of musical chamber culture.
3/17/2014 - Theodore Bell
“Sandyland” – Sandra Bernhard’s new show commences its national tour – Los Angeles theater cabaret review
2/18/2014 - Pauline Adamek
Culture Watch: Stories we tell
2/5/2014 - Sarah A. Spitz
Beauty and anger co-exist in a restless evening of hard-driving dance and thrashing rock music in Susan Marshall’s “Play/Pause.”
11/18/2013 - Victoria Looseleaf
"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