As the year ends and we prepare to return to live performance in the spring, we asked some of our patrons to help us look back on our last live presentation at Royce Hall, Toshi Reagon’s Parable Of The Sower. Thank you to all who filled out the survey!
Based on Octavia Butler’s popular novel, the much-anticipated concert opera piece that Reagon worked on as an artist in residence with CAP UCLA during 2018-19 was presented to a sold out crowd on March 7, 2020. The survey respondents said they were excited and there was an ‘exhilarating great energy’ in the hall.
The show, a testament to the power of performance, has been referenced positively by several Angelenos as the last live show they saw before the pandemic shutdown. And the Los Angeles Times declared it a ‘lavish, powerful work’ and that ‘there is a genuine power to the Reagons’ “Sower.”’
Our patrons said:
“I love live performance, and Ms. Reagon’s work that night was no exception. And then – poof – the pandemic hit and we haven’t been to a live performance since.”
“I’m glad that my last live show was such a good one.”
“Incredibly happy to remember this as ‘the last public gathering I attended before [the pandemic began].’”
Now we’ll ask you, what is your favorite part of being in a theater? Share your memories with us on social by using #CAPUCLA. And save the date for our spring announcement on January 11th.
Our sincere thanks go out to everyone who has already subscribed to our upcoming season. We’re currently working on seating order for subscribers and your tickets will be in the mail soon! We are looking forward to a packed calendar of inspiring, provocative and exciting performers from around the world, and it is always great to know we have a cadre of committed arts lovers readying themselves for the season along with us.
Subscriptions to our pre-curated series of Theater, Spoken Word, Jazz, Roots & World, Global Music, Dance, and our special four-night package celebrating Belgian contemporary company Rosas ended last week. But, you can still subscribe to the 2015-2016 season with a self-programmed Create-Your-Own series of five or more events. In fact, you can order a Create-Your-Own series at any point during the season, gathering any five or more upcoming performances.
This choose-your-own-arts-adventure option has by far become our most-popular subscription method over the last several years. It makes sense. As a social media savvy society, we are increasingly able to curate our own experiences with information, pop culture and entertainment. It seems natural that arts lovers would gravitate toward desiring a series of events that will specifically enhance their individual interests. And our programming is eclectic enough that we know you are also likely to be exploring and engaging with new artists and experiences as you build those personalized series.
There are people who might ask– why subscribe to CAP UCLA or to any performing arts program at all? Why not just buy tickets as the shows approach? We know subscribing to a series in advance definitely entails a certain amount of pre-planning on your personal calendar, self-education/research into artists as well as an initial financial investment—all of which might seem daunting.
But, if you’ve never purchased a subscription to a performing arts program before, consider some of the benefits. For us, and likely for many other organizations, the only discounts on ticket prices happen during the subscription window. For example, our series subscribers (anyone who purchases our pre-curated selections) save 15% off list prices. For our Create-Your-Own option, you save 10%. This adds up to a great deal per ticket, one you won’t get otherwise.
And, ticket fees, which no one loves, but are inevitable and necessary, are lower on a subscription package because you pay one fee for five performances, rather than doling out fees on five or more different purchases throughout the year.
At CAP UCLA subscribing is also your best way to get the best seats in the house. Our venues are not large–Royce Hall is an 1,800 seat theater, Freud Playouse just 500 seats. Prime seats go to first to our returning subscribers who are also philanthropic members of CAP UCLA, then to our repeat series subscribers. By the time individual tickets go on sale every year, there is very limited access to seats front-and-center in any of our venues. So if you’re the kind who loves to see the sweat on a dancer’s brow, or catch every nuance of an actor’s facial expression, or see fingers fly across a keyboard or guitar string, subscribing is your best bet to get that experience.
For us, subscribers are the foundation of success for any given performance. We are proud of the artists we present and we bring them to Los Angeles because we truly believe that there are people here who should witness them. The subscribers who sign on now to be here for a performance up to a year from now, we know are going to bring the kind of energy to this place that will lift us all up.
For those of you who subscribe year after year, we see you. We feel you and we thank you. For those of you who are new subscribers this year, we can’t wait to see what you bring to the program. And for those of you who pick up tickets as the season progresses, we are so appreciative of the support and energy you add to the whole process as the curtain call draws near.
Individual tickets go on sale June 26 at full price. If you see several things you like on our upcoming season, consider taking a chance and Create-Your-Own series now or at any moment before a performance begins.
Regardless of how you get here though, know that we’re extremely happy when you arrive.
Here’s a peek into my arts-addled mind. This is the series I would create if I wasn’t essentially already subscribed to every single performance.
Miranda July: New Society–-Because I like earnestly rendered awkwardness and I like community togetherness and this “social experiment” is poised to provide both.
Kid Koala’s Nufonia Must Fall–While I am an electronic music lover, I’m not super familiar with his DJ work, but I find this combination of electronic sounds, live string instruments and graphics very intriguing. Plus I have a huge soft spot for sweet-looking animated robots.
Taylor Mac’s 24-Decade History of Popular Music: The 20th Century Abridged.–Because I also have a huge soft spot for men in drag. (Avid re-watcher of Hedwig and the Angry Inch and Rocky Horror Picture Show right here). I caught Taylor in a performance at the Hammer earlier this year and not only is he incredibly glam, but surprisingly tender and with truly legit vocal chops. Can’t wait to see him bedazzle Royce Hall.
Akram Khan and Israel Galvan: Torobaka–-I fell in love with Akram Khan’s work when we presented Vertical Road a couple of years ago. It was the same year he created this beautiful piece for the London Olympics opening ceremony, which the U.S. cut out of its broadcast in favor of a Ryan Seacrest interview. I’ve watched this segment many times since then and am looking very much forward to seeing Khan perform in what seems like it will be a very powerful physical dialogue between two dancers and two forms.
An Evening with Anoushka Shankar–I love the sitar and had many chances living in L.A. to see her glorious father perform live, none of which I took. I am remedying that mistake with the next generation.
The process of planning for and later presenting live performances is a remarkable encounter with careening variables. However refined a season schedule might be or however long we have planned with artists and colleagues for each project – we are ever aware that in an instant, things can change on a dime (and frequently do). Multifarious daily adventures become months and then a year, and a new season is born!
Since our work at the Center parallels life at large, it also offers us abundant recognition of how interdependent we are in creating the conditions for great artistry to arrive and thrive on our stages. That is a potential and vitality that includes you – our patrons, members, supporters, subscribers, audiences, students and visiting cultural omnivores. Without your interest, involvement and support, none of this would happen. Thank you.
As you have come to expect from Center for the Art of Performance at UCLA, the 2015-2016 season reflects a diverse and highly considered program of contemporary performances.
One particular intention within our programming focus this season is the massive contribution of women in all of the art forms that our mission envelops.
Our Words & Ideas series is chock full of powerful, maverick and generous voices – from the literary genius of Ursula K. Le Guin, to the disarmingly brilliant cultural commentary of cartoonist Roz Chast. Miranda July returns to the Center for a top-secret experience, and we will hear from Moscow-based Russian feminist punk protest group Pussy Riot.
We also present a retrospective survey of one of the world’s most admired and influential choreographers Anne Teresa de Keersmaeker and her company Rosas. The world premiere of a major commissioned work by Ann Carlson, entitled The Symphonic Body UCLA features 100 performers culled from the workers on this campus. It is unlike anything you have experienced before. And, we present the world premiere of new work from L.A.’s beloved Latin-Urban collective CONTRA-TIEMPO under the direction of Ana Maria Alvarez.
Anne Bogart and SITI Company return to the season in a new collaborative work with Julia Wolfe and Bang on a Can All-Stars. And we’ve linked arms with our colleagues at Center Theater Group to welcome Young Jean Lee back to L.A. Her newest theater piece titled STRAIGHT WHITE MEN opens just in time for the holiday season. To start the season’s theater offerings, CAP UCLA is proud to present Desdemona, written by Toni Morrison and Rokia Traoré. Directed by the singular Peter Sellars, this thoughtful work is a re-imagining of Shakespeare’s Othello, as told from the female characters’ perspectives.
In music, Cassandra Wilson performs her disarming Billie Holiday tribute and Regina Carter takes the stage in collaboration with Sam Amidon, in a celebration of her own Southern roots. We will also host Anoushka Shankar, Noura Mint Seymali, Lucinda Williams, as well as Finnish composer Kaija Saariaho in an intimate concert featuring UCLA’s one-and-only Gloria Cheng—just to name a few. We love men too! A generous and formidable contingent of men join us as well.
Thank you for finding us, for supporting what we do, and for coming along as we host some truly unforgettable performances this season.
Here’s just a snapshot of what’s in store. You can also click through the online 2015-2016 program guide.
We began rehearsals this week with flutist extraordinaire Claire Chase to prepare for the West Coast premiere of Cerchio Tagliato dei Suoni (Cutting the Circle of Sounds). This is a rarely performed work for 104 flutes, four soloists situated at the four corners of the performance space and 100 migrating performers who continually move throughout the space, cutting into the circle of sound created by the soloists.
We gathered at the Hammer Museum Wednesday and Thursday night for public rehearsals where we were introduced to several very interesting breathing techniques that make this instrument play a very different role than one would usually expect from it.
It was fascinating and kind of physically dizzying actually. As Claire pointed out several times, we were doing breathwork tantamount to several yoga classes.
We all brought our own relationship to the flute, to performance and to music in general and it is a piece that creates space for that individuality to shine.
Tonight we move over to Schoenberg Hall and we’ll explore how to activate that space in this very purposeful manner.
Check out images from our rehearsals below and read Claire’s note for the program. We hope you’ll join us and become part of this circle of sound and breath we are creating.
I have always been fascinated by the emotional impact of a single, unpitched exhalation into the flute, a sound that, as we discovered during our thrilling public workshops at the Hammer Museum this week in which both flutists and non-flutists participated, anyone can make with exhilarating individuality, purpose and nuance. There is a kind of irrepressible poetry to this most quotidian of labors: the simple gesture of breathing in and out, trying precisely not to make a tone on the most lyrical of musical instruments. As I found myself engrossed in the sounds that this remarkable group of people, the youngest of them ten and the oldest in his seventies, were huffing and heaving and woooof-ing into these tiny metal tubes Wednesday night, I was reminded of Rumi’s wise words on flute-playing from nearly 800 years ago: We have fallen into the place/where everything is music.
Salvatore Sciarrino’s sonic explorations of the flutist’s bow arm – our breath — have metabolized into slow-moving soundscapes, operas and immersive musical experiences that defy categorization. There are few composers since the 18th century who have done more to expand the expressive capacity of the flute than Sciarrino, whose compositional influences range from Perotin to Punk Rock. Cutting the Circle of Sound, which takes its inspiration from Frank Lloyd Wright’s iconic spiraling architecture, is one of the composer’s most intrepid investigations into a few simple, barely audible sounds re-imagined en masse.
The composer describes the impulse of the work through the patterns of a particularly fearless, but supremely delicate migrating animal:
“A wild butterfly crosses the space and seems to fly randomly, but she has a precise direction and she is at once moving of her own volition and not ever alone. There are no living beings that don’t move periodically…. In recent times we have seen that our species is very attracted to the opposite instinct, to home, to stability, to the absence of motion, to keep ourselves and our society in balance. An impossible balance. Impossible? Yes, life is mutation.”
The hour-long piece has only been performed a handful of times, and it has never been documented as a complete performance, so our work this week has been equal parts inventing and inheriting a nascent oral tradition. I have been in constant contact via Skype and e-mail with Luisa Sello, the Italian flutist who premiered the work under Sciarrino’s supervision, and members of our dedicated migrating flute force have been online with one another, communicating between Los Angeles, San Diego, Santa Barbara and Brooklyn, sharing instructional videos, impressions, musings and ideas on breathing new life into humankind’s oldest musical instrument.
I am grateful to The Center for the Art of Performance at UCLA for taking the leap to present the West Coast Premiere this afternoon; to the brilliant sound engineer and instrument-builder Levy Lorenzo whose idea it was to design LED lights that illuminate the migrating flutes; to Erin, Christine and Michael for their tireless work on the devilishly difficult solo parts; and most of all to my fellow fearless, migrating, metamorphosing flutists.
We are looking for 100 flutists of all shapes sizes and skill levels to comprise our “Flute Migranti” as part of master flutist and International Contemporary Ensemble co-founder Claire Chase’s April 4 appearance at CAP UCLA. She will be leading a special performance of Salvatore Sciarrino’s “Cerchio Tagliato dei Suoni” (“Cutting the Circle of Sounds”) an immersive 60-minute work for 104 flutists: 4 soloists and 100 migranti, who move throughout the theater playing air sounds and simple extended techniques. Participants in the migranti can be all ages (10 and older) and all levels, all you need is a flute and an enthusiasm for making new sounds on the instrument.
This piece is aural theater and it has only been performed once in the U.S. Our presentation is the official West Coast premiere and it’s not soon to be repeated. Read more about this unique work and its 2012 presentation at the Guggenheim Museum in New York.
Positioned around an audience arranged in a square with an aisle cut through it, the soloists exchanged trills, hisses, sputters and violent bursts. Around 10 minutes into the 70-minute work a cadre of 100 additional flutists — “migranti,” Mr. Sciarrino designates them — marched through the aisle, playing breathy, hooded sounds at the cusp of audibility. These players, seasoned professionals and small children alike, circulated intermittently, some using intact instruments while others blew through head joints only.
I’m tickled at the thought of a heard of flutists floating through Schoenberg Hall. I have many memories of being part of herds of flute players in my life. And there’s this very incredible emotional high you get from being inside a sound, being part of an orchestra or conglomeration of people making music, making sounds.
I started playing the flute when I was 11 years old after experiencing an introduction to orchestral instruments in the weekly music class at my middle school. (This was in the 1980s, we had music class every week, we learned to sing and read music and play basic tunes on myriad instruments). I, like so many other musically inclined young girls, fell in love with the flute. It was beautiful to look at, beautiful sounds came out of it. I felt (and still feel) beautiful whenever I pick it up and make music with it.
As I traversed the years that followed, I discovered the flute appealed to a multitude of young musicians, many of them girls. Every audition, every competition, every music camp I attended for the next 15 years was punctuated by a sea of fellow flutists vying for a seat, a spot or a score. My private teacher would gather together all of her students every Christmas and institute a “flute choir,” and we would perform crowd-pleasing songs of the season at a busy shopping mall in Phoenix, Arizona. It was almost always an all-girl group of performers, even though at the time my only knowledge of a professional flutist in real life was James Galway, who I adored and wanted to see whenever he came to my city.
Counting myself among a sea of flutists was a big part of my artistic development. I eventually became good enough to find myself a soloist, or a featured performer, earning a scholarship to college in 1990 where I discovered an even greater sea of more-talented and more-dedicated flutists in the world than I was.
But I was young and content for my chosen instrument to become a hobby rather than a career. I still love to play. I look at music that I used to proficiently perform and enjoy and can pick out much of it, which makes me feel more nostalgic than chagrined at my deteriorated skill.
It’s a beautiful instrument and I still love making music with it and hearing others make music with it.
I’m very much looking forward to seeing Claire Chase perform and witnessing every possibility of this wonderful instrument in the hands of a contemporary master.
And of course I jumped at the chance to join the gathering of flutist that will be part of her performance.
If you play the flute, or used to play the flute and long for an opportunity to dust it off, please join me. It’s going to be a very special moment on the season.
Claire will lead two public workshops with the migranti to prepare for the performance.
Ideally participants would be available for all rehearsals, but we can be flexible with schedules.
Wednesday, April 1: 4-7 pm
Thursday, April 2: 4-7 pm (April 1st and 2nd are at the Hammer Museum, free parking available)
Friday, April 3: 6-9 pm (Rehearsal at UCLA’s Schoenberg Hall)
Saturday, April 4: (1:30 rehearsal, 4:00 Performance at Schoenberg/UCLA)
For more info and to confirm participation, contact Meryl Friedman firstname.lastname@example.org
The Royce Terrace turned into a dance club on Friday, February 13 to launch CAP UCLA’s first Movement event—a party to bring art enthusiasts together to celebrate the artists and performances that inspire us.
Following the Los Angeles premiere of Kyle Abraham/Abraham.In.Motion’s “When The Wolves Came In” guests partied with the company under the disco ball and danced to beats fueled by KCRW’s Garth Trinidad.
A special shout-out goes to new CAP UCLA member Karin Okada who got the party started. Karin was the first guest to participate in the interactive dance video. Video of revelers dancing were projected on to the Royce Hall Building, which non-dancers got to enjoy while taking advantage of snacks and the cash bar. We’re very happy to provide CAP UCLA members complimentary drink vouchers and members’ priority line at the bar for events like this.
And, we’re very grateful for the CAP UCLA members and collaborators who made this party possible. Thank you Sasha & Bill Anwalt, Stu Bloomberg, Fariba Ghaffari, Deborah Irmas, Diane Kessler, Renee Luskin, Ginny Mancini, Julie Miyoshi, Edie & Robert Parker, Kathleen & John Quisenberry, Anne-Marie Spataru, Jennifer Simchowitz, DeeDee Dorskind & Brad Tabach-Bank and Patty Wilson.
Check out more photos from Movement 2015 and both Kyle Abraham performances here. There’s more to come!
A message from Kristy Edmunds for the evening’s program notes.
Ryoji Ikeda: superposition. Royce Hall Nov. 7, 2014
I have had the great pleasure of working with Ryoji Ikeda over the span of a nearly 20 year arc. I first experienced his work in the context of an artist collective in Kyoto, Japan, called DumbType. I had seen their performance entitled “S/N” in 1994 at On the Boards in Seattle, Washington and was at the formative stage of my own career as a curator/artistic director.
DumbType was unique in their cross-discipline approach. They weren’t “blurring boundary lines” between art forms exactly, they were compressing many sources of artistic intelligence into a specific form. Their projects were stunning – quite literally. While we were grappling with floppy disks, dial-ups and beginning to say farewell to the marvels of our beepers and fax machines – Ryoji and his contemporaries were generating dimensional aesthetic poetry for the stage, the screens and for the gallery cubes that sought to frame their dynamic exploration.
I for one, had absolutely no idea what I was experiencing when I saw that first work – but I understood it was brilliant and it left me with a wonderment that soon converted into a recognition that I would have to galvanize something in my community in order for it to be seen. I started the Portland institute for Contemporary Art in the spring of 1995.
In 1999 we presented DumbType’s project entitled, “OR” and again in 2002 with “memorandum.” When I took up the position of Artistic Director at the Melbourne International Arts Festival, I invited Ryoji to perform and screen two of his pieces: “C4I” and “Formula” in 2005; with DumbType returning in the 2006 Melbourne Festival with “Voyage.”
By 2010, I was consulting artistic director at the Park Avenue Armory in New York and Ryoji was living in Paris, I commissioned an immersive installation entitled, “the transfinite” which premiered in April of 2011. Below is an excerpt of my introduction to this installation
“In ‘the transfinite,’ Ryoji Ikeda takes the pursuits and structures of mathematics as one ‘material’ for his aesthetic and does so with monumental and poetic result. At the center of the work is his sonic and visual re-purposing of binary code: 0 and 1. These numbers form the string codes used to represent all information in the digital world. While few of us understand just how the intricacies of this works, we are impacted by it in every conceivable way and on a daily basis.
Ikeda is drawn to that which is at the edge of comprehensibility and human perception and he distills it into an experience we can viscerally and physically connect to. In so doing, he also offers us a tangible glimpse into the sublime purity that exists within mathematics.”
I think this continues to provide insight into his continuing explorations, now involving the language of physics, and Einstein’s theory: “superposition.”
Having with Ryoji for many years, I am interested in his return to the incorporation of live performers on the stage as a part of his immersive sonic and visual environments. So too, the conjoining of his work within the legacy of Royce Hall itself. A stage where the multiple languages and lineages of art, poetry, poetic and scholarly thought are steeped into its history located within the confines of a major research institution known worldwide for its contributions to mathematics and data.
I think it is worthy of mention, Einstein himself stood on this very same stage, a fact I cannot wait to share with Ryoji.
In both cases, and certainly the many other artists, scholars and innovators who have spanned the distance in between these two men and their ephemeral footprints – this is a place where we illuminate the existence of endless possibility.
Editor’s Note: Lucy Guerin’s program note about “Weather” was so insightful, I wanted to give it a pulpit here and give everyone the chance to crawl deep inside the philosophy of this important work well before they arrive at the theater. We have weathered some challenges to get Lucy and her company here and we are extremely proud and excited for the performance on Friday. Enjoy.
The ideas underpinning this work stem from a desire to explore the possibilities of the human body’s connection to the elemental forces of weather. The range of this subject is limitless and universal, but for me, weather has a natural expression through dance and movement. It can be defined as the ‘state of the air’, and in this work, this invisible drama is made visible through movement and design. The cause and effect of moving air to create pressure systems informs the choreographic structure of the work, and defines the dynamics and performance of the movement material. Weather affects our mood, dress, food, activities, sports, conversations, architecture and our identity. Many works of art and literature have used the idea of a drought, a storm, the tropics or the icy outreaches of the poles to speak about the psychology of individuals, relationships or societies.
Making “Weather” has been for me a visceral immersion into choreographed movement and the body on stage. The motivation for the material has stemmed from the physical sensation and impact of the elements on the body, abstract representations of weather through maps and diagrams and our identification of human emotions with different weather phenomena. It occurred to me many times throughout the process that the human body shares with weather the qualities of moving air, water, mist and heat, and that the air we breathe in and out becomes part of the weather at some stage.
In today’s world, weather is acting like a barometer for our environmental disasters. As the polar ice caps melt and the holes widen in the ozone layer, we have to accept that humans are now a factor in the creation and alteration of weather. Our actions have tipped the balance resulting in uncertainty in the ‘natural’ order of things.
The attempt by scientists to understand, record and predict the weather is only partially successful, and I think it is this ability to defy our logic and to overwhelm us with its force that ultimately draws me to this subject. This aspect of nature cannot be controlled or subdued and is a poetic reminder that we are not the masters of the universe. Dance shares with the weather a resistance to easy interpretation. It is about force, direction, dynamics and form. But once the body stops dancing, nothing remains, and once the cyclone is still, we are left with only air. It is motion that brings them both into being.
This work has been a return for me to a focus on pure movement and the fascination I have for choreographing the human body. These exceptional dancers have contributed to both the choreographed and the improvised movement in Weather and without their willingness, superlative talents and belief in what we do, I could not have made this work. The stimulating dialogue I have had with my design and music collaborators has also impacted strongly on the creation of this piece and I owe much to their having strong visions within their own practices to bring to this work.