Caroline Shaw is a musician who moves among roles, genres and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She works often in collaboration with others, as producer, composer, violinist, and vocalist. Caroline is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale and a Thomas J. Watson Fellowship. Recent projects include the score to Fleishman is in Trouble (FX/Hulu), vocal work with Rosalía (MOTOMAMI), the score to Josephine Decker’s The Sky Is Everywhere (A24/Apple), music for the National Theatre’s production of “The Crucible” (dir. Lyndsey Turner), Justin Peck’s “Partita” with NY City Ballet, the premiere of “Microfictions Vol. 3” for NY Philharmonic and Roomful of Teeth, a live orchestral score for Wu Tsang’s silent film Moby Dick co-composed with Andrew Yee, two albums on Nonesuch (“Evergreen” and “The Blue Hour”), and tours with So Percussion featuring songs from “Let The Soil Play Its Simple Part” (Nonesuch). She has contributed production to albums by Rosalía, Woodkid and Nas. Her favorite color is yellow, and her favorite smell is rosemary.

Andrew Yee (she/her) is a two-time GRAMMY Award–winning cellist and an increasingly vital compositional voice working across concert music, opera, film, and television. Equally at home onstage, in the studio, and in collaborative creation, her work is driven by curiosity, emotional clarity, and a deep commitment to storytelling.

She is a founding member of the Attacca Quartet, whose albums of Caroline Shaw’s string quartets Orange and Evergreen each received GRAMMY Awards for Best Chamber Music/Small Ensemble Performance. Known for their stylistic range, the quartet can also be heard on the score to Alfonso Cuarón’s Apple TV+ series Disclaimer (music by Finneas O’Connell) and on Billie Eilish’s album Hit Me Hard and Soft.

As a composer, she has built a distinctive body of work that bridges classical forms, experimental theater, and screen scoring. She co-composed the score for Wu Tsang’s MOBY DICK; or, The Whale with Caroline Shaw — a major interdisciplinary work premiered in Zurich and later performed by the New York Philharmonic. Her music for film and television includes Love, Jamie(PBS American Masters), and two seasons of the BBC series We Might Regret This, where she also appears as a performer.

Last year, Yee co-created a radical reimagining of Bizet’s Carmen, which premiered at the Schauspielhaus Zürich, contributing original music woven into the operatic fabric to reshape the work through a contemporary, queer lens. That same season, she premiered Trans Requiem, a large-scale work for orchestra, choir, and trans soloists at Trinity Church Wall Street in New York City.

Yee’s recent and upcoming commissions include new works for the Minnesota Philharmonic Orchestra, the Thalea String Quartet, Leilehua Lanzilotti, Moab Music Festival, Palaver Strings, and Caroline Shaw.

UCLA Nimoy Theater is located at 1262 Westwood Boulevard, Los Angeles, CA 90024. For GPS, use 10866 Wilshire Blvd to reach the parking structure. The entrance is on Glendon Avenue — look for either entrance marked VISITOR. Parking is $4, beginning at 5 pm for evening performances and 12 pm for matinees. Arriving before these times will incur the $30 day parking fee.

The box office is open Monday–Friday, 10 am–4 pm, and opens 60 minutes before showtime on show nights. The box office is cashless and accepts all major credit cards. For day-of questions, call 310-206-8655. For general inquiries, contact info@cap.ucla.edu or call 310-825-4401.

All late seating is based on availability and at the discretion of house manager.

Accessible seating and assistive listening are available. Ask any house staff member for assistance. For additional accommodations, contact info@cap.ucla.edu.

Beer, wine, mixed beverages, water, soda, and coffee are available in the lobby. Valid ID required for alcohol. Credit cards and cash accepted. For nearby restaurant options, visit the UCLA Nimoy Theater page.

A digital house program for this performance is available to view or download before the show. Find it on the CAP UCLA Program Notes page.

If the performance is sold out, join the standby line at the box office on the night of the show. A waitlist may also be available — if tickets are released, you will be notified by email with a window to purchase.