As Kristy Edmunds embarks on her new role with MASS MoCA and as Creative Advisor for the UCLA Nimoy Theater, Fred Frumberg and Meryl Friedman, both of whom have extensive experience in managing CAP UCLA’s operations, have assumed interim leadership of CAP UCLA. Together, they will oversee management, programs, artist relations and all other aspects of leading a major cultural organization in close coordination with the school and campus.
“I’ve been lucky enough to work in a theater my entire adult life, and I know how much possibility lives in that room especially when students meet a new artist or discover the performing arts for the first time,” says Friedman. “I’ve had the joy of experiencing the power of that potential every day for the past 13 years as Director of Education and Special Initiatives, with Kristy and all our incredible team. Every day we get to create a new story, and I’m honored to help write this next chapter.”
“I met Kristy in 2005 when I was running a company in Cambodia,” Frumberg explains. “She took a risk by inviting one of our theater pieces to the Melbourne Arts Festival. It’s that uncompromising commitment to the power of arts that enticed me to join CAP UCLA as deputy director five years ago and that empowers me to take on this interim role. I’m humbled to join the entire staff as we navigate this exciting transition together.”
Meryl and Fred are eagerly coordinating with artists to meet you all in the theater for a vibrant spring season and an enthusiastic return to live performance.
I’m writing to share the news that after 10 tremendous years at UCLA’s Center for the Art of Performance, I have accepted the position as the next Director of MASS MoCA in North Adams, Massachusetts. I am honored and excited to join this incredible organization while full of emotion as I transition my role from the Center and UCLA which has been my professional home for over a decade.
I have countless memories from hundreds of performances, artists, and the Center’s indefatigable staff over these years of our shared efforts (that stunningly and often against all odds have made many an ‘art miracle’ happen, with many more to come). I could fill volumes recounting these wildly rewarding, challenging, and indelible experiences, and perhaps one day I will try to catalogue the weave of my time at the helm of CAP UCLA.
Doing so now would be premature because as I transition into the big shoes at MASS MoCA, I will continue my involvement with the Center as Creative Advisor for the much-anticipated UCLA Nimoy Theater (formerly The Crest). With renovations soon to begin there will be exciting news about “the Nimoy” on the near-term horizon.
At this moment though, I want to express gratitude for the positive impact that you have all had on my tenure at UCLA. Every director of an arts organization has the multi-faceted responsibilities that come with the job, and here that encompasses the myriad detail involved in presenting and sustaining live performances and the artists who create their worlds for us to encounter on stage. I have had the pleasure to collaborate with an astonishing staff, patron leadership from our Executive Producer Council, the School of the Arts and Architecture and moreover, all of you that make up the community that we have the joy of working with and for.
I have been regularly motivated by you as audience members and supporters who are such an enormous part of what has compelled me to get up every morning and stay late into the evenings. You care about what we do here and show up time and again. At a professional and personal level, your presence and consistency over these many years means that we know each other by name, by face, and through our many exchanges together. This rapport and relationship is the backbone of the Center itself.
You have made a lasting mark on my professional life in extraordinary ways. These come in the form of a simple kindness, a high-five or an embrace, or sharing a profound observation about the production or a burst of ebullience in the lobby. You’ve offered helpful advice on improvements (notably the wine selection or parking, a squeaking seat, font sizes, the importance of harp players and more). You’ve sent emails to me after reflecting on a show or an event; a masterclass by a visiting artist, or a toast backstage. There have been times when you re-upped your membership to support CAP UCLA, and done so not for the benefits associated, but for the cause. Some of you have made transformative gifts to one of the support funds or program endowments that keep the lights on and enable the work to continue.
You are as much a part of the inspiration behind my job as the artists and the people I work with each day.
I know this is as true for the CAP UCLA team as it is for me.
As I begin as the Director of MASS MoCA and shift into an advisory role to support the transition ahead, I am elated to announce that Fred Frumberg, Deputy Director and Program Manager and Meryl Friedman, Director of Education and Special Initiatives who have extensive experience in managing CAP UCLA’s operations, will together assume the interim leadership for CAP UCLA. I know you will join me in supporting them and everyone on the Center’s team as we move into a brilliant future.
Thank you for being the community that has made my life’s work here so fulfilling, and here’s to the circle expanding in transformative ways for all of us.
Executive and Artistic Director
UCLA’s Center for the Art of Performance
The first task was sourcing 10 tons of local sand to create the beach that audience members look down onto from a square shaped balcony. Following three days of performances and 15 showtimes, the sand will be donated to local elementary schools for use in sandboxes.
The next step was creating a realistic scene. While performing the libretto, translated from Lithuanian to English, the cast will act like it’s any other day at the beach — relaxing on towels, slathering on sunscreen and playing badminton. They’ll even nibble on snacks sourced daily from neighboring eateries in Little Tokyo. Beach noise playing over speakers in the space will add a layer to the live singing; there will even be a dog or two to add to the ambience.
There is also a distinct color palette of pastels to create a sense of nostalgia. The costumes and props will all be muted tones. We even crowdsourced a light colored bike from a member of CAP UCLA’s staff as a prop.
This peek behind the curtain only just begins to reveal the scale of the transformation needed to execute this artistic vision.
The 2019 Venice Biennale winner Sun & Sea, presented by CAP UCLA, the Museum of Contemporary Art (MOCA) and the Hammer Museum and featuring the L.A.-based Tonality choir, will make its West Coast premiere at the Geffen Contemporary on October 14th. Tickets on sale September 17th at 10 AM PDT.
We are thrilled to share our 2021-22: Fall programming with you! Whether a plastic bag store, a soundscape mapped to L.A. terrain or dance created for 2D, they’re all presented to you, our audience, from a cooperative practice.
This fall we worked with our neighboring colleagues the Hammer Museum and The Museum of Contemporary Art (MOCA) to offer viewing cycles of Sun & Sea, the climate-crisis opera that won the Venice Biennale’s coveted Golden Lion. Tickets on sale September 17th.
Today, the Student Committee for the Arts at UCLA in association with CAP UCLA launch Ellen Reid SOUNDWALK: UCLA Campus, a compliment to the full scale soundwalk at Griffith Park. As a gift to the returning students, faculty and staff, Ellen Reid hopes “it brings the same sense of reflection, adventure, and endless possibility to the UCLA campus. I welcome listeners to observe how sound can alter the perception of a place, beckoning them to explore new areas and to experience the familiar with a fresh perspective.” Download the app now and make sure to turn on your location.
This November 4-7, The Tune In Festivalreturns! Curated by J. Ivy and Lisa Kaplan in close collaboration with Executive and Artistic Director Kristy Edmunds to create a lineup that brings joy and hope for a post-pandemic future. A full day-by-day schedule is coming soon.
With The Plastic Bag Store and several other CAP UCLA presentations we’ve illustrated how collaboration makes us better. Award-winning performance poet J. Ivy and pianist Lisa Kaplan will continue to carry that energy through the fall as associate curators of the 2021 Tune In Festival. Ivy and Kaplan, along with Executive and Artistic Director Kristy Edmunds, have put together an incredible lineup which will be announced September 1st.
In addition to performance poet, J. Ivy is a recording artist, songwriter, author and actor. Over the years his work has earned him a Peabody, Clio, Telly and NAACP Image Award. He is widely known as the poet featured on Kanye West’s Grammy-winning album The College Dropout on the classic song Never Let Me Down, along with Hip-Hop icon Jay-Z.
Early in his career Ivy was featured on three seasons of HBO’s Russell Simmons presents Def Poetry. From there, he did everything from performing at conferences for Deepak Chopra to penning a poem for the NBA Hall of Fame legend Michael Jordan. J. Ivy has used his unique style of poetry to navigate the art form to arenas of all facets.
In 2015, directors Coodie & Chike commissioned J. Ivy to poetically narrate, act, and star in the award winning B.E.T. documentary, Muhammad Ali: The People’s Champ. The trio later followed up with the NAACP Nominated documentary, Martin: The Legacy of a King. Both films paid homage to two of the world’s most iconic voices. The author of three books, his latest, Dear Father: Breaking the Cycle of Pain, has inspired many to pick up the pen and write their own Dear Father Letter in hopes of promoting the Power of Forgiveness.
A fun fact for many, J. Ivy is the man who gave EGOT-winning singer, songwriter, actor and activist John Stephens the stage name John Legend, as told by John himself on Oprah’s Next Chapter. In 2019 J. Ivy became the first Spoken Word Artist to hold a Chapter President’s seat (Chicago Chapter) in the history of the Recording Academy (The Grammy’s).
Lisa Kaplan is the founding pianist and Executive Director of the four-time Grammy Award-winning sextet Eighth Blackbird. She has won numerous awards, performed all over the country and has premiered new pieces by hundreds of composers, including Andy Akiho, Jennifer Higdon, Amy Beth Kirsten, David Lang, Missy Mazzoli, Nico Muhly, George Perle and Pamela Z.
As of late, Kaplan has also greatly enjoyed and appreciated the opportunity to do both composing and arranging for Eighth Blackbird as well as some producing. In 2019, Kaplan co-produced her first record, When We Are Inhuman, with Bryce Dessner.
Throughout her career, Lisa Kaplan has had the great pleasure to collaborate and make music with an eclectic array of incredibly talented people including Laurie Anderson, Jeremy Denk, Bryce Dessner, Philip Glass, Bon Iver, J. Ivy, Glenn Kotche, Shara Nova, Will Oldham, Natalie Portman, Gustavo Santaolalla, Robert Spano, Tarrey Torae, Dawn Upshaw and Michael Ward-Bergeman to name a few.
As a proud single-mama-by-choice, Kaplan has been having an incredible time raising and learning from her happy-go-lucky four-year-old, Frida. Kaplan is a true foodie, gourmet cook, avid reader, crossword and Scrabble addict, enjoys baking ridiculously complicated pastry and loves outdoor adventures. She has summited Mt. Kilimanjaro, braved the Australian outback, stared an enormous elephant in the face in Tanzania’s Ngorongoro Crater and survived close encounters with grizzly bears in the Brooks Range of Alaska.
When CAP UCLA commissioned and screened Plastic Bag Store: The Film in April, we had no way of knowing that it would inspire people to come together to bring the full installation to Los Angeles. But it did! More than 3,000 people attended The Plastic Bag Store installation and immersive experience during its two-week run in the downtown arts district. The feedback from all has been tremendous and affirming:
Environmental activist Ed Begley Jr. hailed it as “One of the most original and thought-provoking art installations I have ever witnessed.”
Patron Milo Runkle described it as “Compelling, stunning, interesting, creative, humorous, fun, and provocative.”
The first of many challenges facing the project was raising funds to get it to Los Angeles from Australia and find a suitable venue in less than three months’ time. A downtown warehouse in the Arts District, donated by Yuval Bar-Zemer, proved to be the perfect physical space. The generous assistance of Bar-Zemer and his team, in coordination with our production staff and Pomegranate Arts, helped transform the venue from an empty warehouse into a unique grocery store within a couple of weeks.
While the installation was the centerpiece of the project, CAP UCLA partnered with several local cultural organizations to host ancillary programs and events. Institute of Contemporary Art, LA, Art At The Rendon and the Skirball Cultural Center presented short films, installations and special workshops that helped build public awareness about the environmental impact of single use plastics. Kicking off the effort was a screening of Plastic Bag Store: The Film at the recently reopened Long Beach Aquarium of the Pacific, who hosted a discussion afterward with Aquarium CEO Peter Karevia, artist Robin Frohardt and environmental activist and lifeguard Devon Beebe.
Many of these organizations also participated in the Plastic Pollution Awareness Night we co-presented with UCLA’s IoES, Government and Community Relations and Sustainable L.A. Grand Challenge. Speakers included L.A. City Councilmember Paul Koretz; Director of Energy, Water & Waste at the Office of Mayor Garcetti Rebecca Rasmussen; LENS’ Ursula Heise; Daniel Coffee of the UCLA Luskin Center for Innovation; UCLA Chief Sustainability officer Nurit Katz as the moderator; artist Robin Frohardt; and environmental activists Emily Parker of Heal the Bay and Plastic Pollution Coalition co-founder Dianna Cohen.
“Robin Frohardt’s Plastic Bag Store accomplishes what only art can do,” said Cohen. “Reach into our minds, our hearts, our guts and make us feel, think and question our use of ‘plastic.’ What is the true cost of our ‘single-use throwaway culture’ and marketed ‘convenience’? And is this the legacy that we wish to hand down to future generations?’”
After months of lockdown, students from the Fernando Pullman Community Arts Center were able to attend one of the immersive experiences. “We finally welcomed students in-person!” said Meryl Friedman, Director of Education and Special Initiatives. “Many thanks for being the first. You were such a great audience and your curiosity and enthusiasm were a ray of sunshine after months of clouds.” CAP UCLA also hosted students from Roosevelt and Hernandez High School, who are interning with the Natural History Museum, courtesy of contributing patron Vera Campbell, who also supported the exhibition.
“Bringing this project to Los Angeles with creative producers Pomegranate Arts has taken years of advocacy and effort, said CAP UCLA Executive and Artistic Director Kristy Edmunds. “There were multiple challenges to overcome and everyone at CAP UCLA came together at every single turn to ensure that we would succeed. The Plastic Bag Store is not only a tremendous creative achievement by the artist and her team, but in L.A. it is also an enduring example of the collaborative impact a creative community can have by linking arms in order to make something extraordinary happen. I think this exact approach can counter the ‘foreverness of plastic,’ and generate a wave of essential change – spur a recovery, and keep us connected to what is most essential. In the seemingly short span of just twelve days – Robin’s work has left an indelible mark on L.A.”
After all of the above, we’re going to take a breather. We’ll be back with more updates on August 15th. Here’s our Environmental Toolkit to help you finish Plastic Free July strong!
While CAP UCLA is committed to presenting performances with community impact, they require significant resources to produce. Support advocacy driven performing arts with a gift to CAP UCLA today!
Art, like love, is a sort of rupture in our subjective situations, something dis/reorienting that demands we move beyond previous conceptions of our selves and our worlds. Ted Hearne embodies this principle in his work, challenging notions of stable coherent identity and highlighting the gaps and contradictions between the worlds of the private and the public, the personal and the political, the inside and the outside.
Hearne says that what intrigued him about Dorothea Lasky’s poetry was that it articulated the tension between our imagined conceptions of ourselves and how we are recognized by others. These themes resonate with much of Hearne’s work. Hearne is drawn to setting his own identity as composer against the words of others, complicating questions of authorial intent — his 2014 oratorio The Source featured autotuned audience-embedded vocalists singing the transcripts of Chelsea Manning’s instant messages and the text of wikileaked government documents; the uncanny valley surrealism of the vocal filters kaleidoscopically reflecting the disorienting natures of both modern information warfare and gender dysphoria.
This new band Dorothea continues Hearne’s decentering of the self, , a collective aesthetic developed with musician Eliza Bagg and visual artist Rachel Perry, spotlighting the words of poet Dorothea Lasky. Dorothea as a collective project embodies the blurring of identities of Hearne champions, functioning as a creative assemblage which the artists’ individual aesthetics flow together to produce something unexpected, a new multiplicitous form of subjectivity that the artists lose themselves in. You are hereby invited to lose yourself in it, too.
—Andrew Hartwell On behalf of UCLA’s Center for the Art of Performance
At UCLA’s Center for the Art of Performance, we tend to mark each season gone by with a set of programs that we have supported, commissioned, produced and presented. It is safe to say that this past season has been unlike any other in our history. As we near its conclusion, this tends to also be when we announce the incoming projects ahead, seek membership renewals, celebrate the plethora of new productions and enlist subscriptions from our stalwart audiences.
This year, we are not going to announce the 2021-22 Season as per tradition. Instead, we will be announcing our upcoming programs quarterly. This feels wise and true given what the last year has wrought. Our financial ability to make long term advance commitments is also much more precarious than before. I am proud and amazed by what the staff and the artists have pulled together over a season spent largely in distanced quarantine, change and uncertainty. It is a testament to an incredible drive to share some pretty awesome lemonade made out of a boatload of LEMONS.
As we begin to see things opening up in Los Angeles, throughout the U.S. and internationally, it is cause for ebullient hopefulness. In hearing from so many of you and the artists themselves, there is a growing sense of relief at being able to do some of our most meaningful activities together again.
As Los Angeles reopens, CAP UCLA will continue to adjust our approach. For the first time in CAP UCLA’s history, we will bring an ambitious and wildly creative installation project to L.A. in July (stay tuned). This fall, we will celebrate the ten-year history of the Center for the Art of Performance! We are bringing back the Tune In Festival which is being filmed throughout the summer and we will continue to populate the CAP UCLA Online channel that has become a beacon for over 55,000 people from literally all over the world.
In fact, 74% of you who joined us in the digital realm this past year were first time attendees to CAP UCLA programs. Not only did you conjoin with the Los Angeles family of supporters, you also sent us contributions and words of such eloquent appreciation that truly kept us going. As did the support from our Executive Producer Council, members and donors and from some vital foundation grants. It probably goes without saying that absorbing a year with no ticket revenue takes a hefty amount of creative maneuvering. I know many assume that UCLA funds the Center’s work, and while that is true in part, it is by no means the lion’s share of our operation, which actually comes from ticket revenue and charitable donations.
Where 2021 will continue to yield little or no earned income, I cannot express our gratitude for your support more emphatically, and now we need your support more than ever. By now you all know that every dollar counts and will continue to as we move forward, so please give what you can.
There is going to be a great deal of exciting programming and inspiration to discover in the upcoming year and we are going to share it with you in the months ahead. For now, we are steady on and full of gratitude for all that you have done and continue to do on our behalf and for the incredible imaginative impact and resilience of artists the world over.
Executive and Artistic Director
UCLA’s Center for the Art of Performance
Several of the performances presented this past season were not how they were originally intended to be experienced. Without the pandemic we might not have had the chance to encounter these new creative works. In February 2020, we were already reviewing tour dossiers and preparing for what the 2020-21 season would be. The rest of the story is familiar: March 13, 2020 came and we filed the assets gathered for later use, including A Gospel According to James Baldwin from ten-time Grammy-nominated singer-songwriter Meshell Ndegeocello.
Inspired by the writing of James Baldwin, Ndegeocello collaborated with director Charlotte Brathwaite to reimagine her live performance. What emerged was just as immersive and experiential as her intended tour — but a virtual experience. Rather than a live interaction between artists and audiences, they communicated monthly by phone, online and by mail. “This is a different experience,” Ndegeocello said, “so I hope you have an open mind, or at least an open heart.” Those who experienced the project in fall 2020, described by the artist as “a 21st-century ritual tool kit for justice,” engaged in an urgent and critical investigation of race, religion, sexual orientation and the American status quo through the lens of Baldwin’s ideas and legacy expressed in music.
For Brooklyn Youth Chorus, it was evident that bringing 600 choristers from New York to Los Angeles would not be plausible. Instead, CAP UCLA executive and artistic director Kristy Edmunds asked, “Can you reimagine this for a virtual audience?” The answer was both yes and no. As a compromise, the project, She Is Called, a collaboration with four celebrated composers to create original works for the chorus, became multiple phases. The first phase, She Is Called: Dear Stranger, a media-rich web-based experience, launched last Saturday, April 24th. Visitors to the site can scroll down and hear original works composed by Nathalie Joachim, David Lang, Alev Lenz and Shara Nova or click the header images and hear the choristers read letters to their past and future selves.
Composer Ted Hearne, on the other hand, felt performing his work sans audience would help bring the project to the stage when live performance could return. He was still developing the piece, then entitled In Your Mouth, in February 2020 when it had a work-in-progress showing at the Walker Center in Minneapolis. After discussions with Edmunds about how to reshape and create the work for the digital stage, he renamed it Dorothea, in honor of poet Dorothea Laskey, whose poems are at the heart of the piece. “[CAP UCLA Online] is a perfect space for its current form,” said Hearne. “The film will allow me to bring it to other centers.”
Luckily for us, many of the artists whose works we would have presented live on stage this past season have been excited about rethinking the format and delivery of their work rather than facing cancelation. To continue this much needed process of recovery to maintain our presence and place in the performing arts culture of L.A., we’ll need your help.
Today launches our spring fundraising campaign in which we ask you to reimagine a future with us — one with a vibrant arts ecosystem and exciting presentations from performing artists around the globe. Supporting us with a gift today makes you an instant member of our community of dedicated arts patrons committed to the vitality of contemporary performance and to expanding our understanding of the world we live in now.
It’s almost impossible for me to try to explain what it is you are about to watch and the journey it took to get here. I started working on The Plastic Bag Storein 2015 after watching someone bag and double bag all my groceries that were already bags inside of bags inside of boxes. I wanted to highlight the absurd amount of packaging we are using and throwing away by making something even more absurd, a grocery store that only sold packaging. Over time the project evolved into an elaborate immersive puppet play with transforming sets and hidden rooms. For several years, my amazing team and I slowly pieced together this epic beast of a project. Sometimes that meant working with the support of prestigious residencies at architectural firms and fellowships at Universities. But more often it meant grueling rehearsals, endless schlepping and hours spent sifting through NYC garbage.
With all the pieces finally in place and a venue to die for, The Plastic Bag Store was set to open in the heart of Times Square on March 18, 2020…ya know… the day the whole world shut down? We did one amazing dress rehearsal and locked the doors and walked away.
I think part of me wanted to give up after that. When the opportunity presented itself to create a filmed version of the project, I was relieved that there would be some record of what we created (we didn’t film that rehearsal). I never imagined how beautiful the film would turn out, and how perfectly it would capture the story as I see it in my head. We then found a way to integrate the film into the installation for a live experience which we ultimately got to show in Times Square and take to Australia! So, creating the film has made The Plastic Bag Store viable and tourable in this time in a way that other projects haven’t been. For that, I cannot be more grateful.
Plastic Bag Store: The Film is a labor of love from many hands. The film is in no way a substitute for seeing the complete installation live, but it tells a story that I have been dying to tell you for a very long time.