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ANIMATED CHAPTERS 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 23 16 13 10 5 3 1 27 30 34
An intersection in Boyle Heights
Lucha's Childhood
Lucha's Quinceañera Song
Mariachi Plaza, Boyle Heights
Jameson's Story
Jameson Portrait
The 2nd Street Tunnel, Downtown Los Angeles
The Reunion
A Rehearsal Studio in the Arts District
First Kiss
Hollenbeck Park, East Los Angeles
Angel's Point
Angel's Point, Elysian Park
Love and Fractals
The Floating Nebula
The Corn Fields, Los Angeles State Historic Park, Chinatown
City Hall, Downtown Los Angeles
The Next Years
The Phone Call, Part 1
Traversing between the Arts District and Boyle Heights
A Fortune
Chinatown Plaza
Orlando's Story
Orlando's Fairwell
Evergreen Cemetery
Interlude (Car Wash)
AirStream Trailer, Elysian Park
The Roadways, Elysian Park
The Experiment
3rd Street and Broadway
230 Center St, Arts District
The Disappearance
The Red Notebook
Utter darkness
The Other Woman
The Bradbury Building, Downtown Los Angeles
Bowtie Parcel, Los Angeles River
Lucha and Orlando in Love
Historic Core, Downtown Los Angeles
Lucha Portrait
Alongside the LA River, Interstate 5
Orlando In Love
The Million Dollar Theater
Orlando Portrait
Libros Schmibros Book Store, Boyle Heights
Farewell From the Roof Tops
Rooftops, Toy Factory Lofts, Biscuit Lofts, Ito Building Tower, Arts District
Old Age Like a Dream
The Phone Call, Part 2
Chavez Ravine, Elysian Park
The Central Hub


Location: 230 Center St, Arts District
Lucha: Laura Bohn and Sharon Kim
Trumpets: David Aguila, Lisa Edelman, Lucas Lipari-Mayer, Mona Seda
Music by Ellen Reid
Text by Mandy Kahn
Recording: Doug Balliett, Jillian Risigari-Gai, Evan Honse
Produced and recorded by Ellen Reid
Lucha obsessively looks for Jameson on the city streets. The city seems nightmarish, producing Doppler effect sounds throughout the environment. Day and night blur into each other as the years pass and the trauma deepens.

Director’s Notes:

“This chapter was Lucha’s cry of despair, where she was literally split into two – and the only chapter that was not good for audiences with motion sickness. In her desperation, the two Luchas drove obsessively around the same street corner, over and over again. We originally called this chapter the Doppler Effect, because it began with Ellen’s early wish to explore that effect as a musical phenomenon. Each time the car would pass an abandoned loading dock, the window would roll down and a quartet of trumpets would blare a siren-like fanfare. The trumpeters seemed to multiply, as Lucha’s own vision of reality seems to fracture and decay.

The Doppler Effect

Discovered separately by Christian Doppler and Hippolyte Fizeau in the 1840s, this phenomenon refers to change in frequencey/pitch relative to speed. As the listener moves toward the sound, its wavelength decreases, causing its pitch to be perceived higher. Consequently, as the listener moves away from the sound, its wavelength increases, causing its pitch to be perceived lower.

“This was the chapter on the Yellow Route where the outside world infiltrated the isolation of the car interior (on the Red Route, this was Chapter 2, and on the Green Route this was Chapter 19). Not only did we have the trumpeters on the loading dock, but the haunting coda of the work had Lucha leave the car and sing from the street. Using the same wireless mics and Sennheiser antennae set-up from other chapters, Lucha’s voice changes from the immediacy of the shared space to the removed, alienated loneliness of the coda.


Excerpt from the Hopscotch album, Track 12. Composer, Ellen Reid

“Lucky Orpheus!” When you went to Hades, your Eurydice was there. Still in wedding whites-braiding slowly her clean hair-lilies fresh in her bouquet-lilac live behind one ear-but what flower could live here? Lucky, lucky Orpheus! Hades he visited and he left with his fresh bride. Oh Hades has bloomed in me. Hades now lives in me…I become a part of night.”

“Mandy’s text has Lucha sing: ‘I become a part of night.’ It made me think of creating a shroud that could ‘black out’ the windows and make the surrounding world disappear. So many other chapters were about observing the streets; in the depths of her despair, I wanted to find a way for that street life to be obliterated. A black shroud pressed against the windows suddenly made the cityscape disappear, and Lucha floated in a featureless darkness. When we were rehearsing this, I often thought of the ‘day for night’ approach most films take to create the illusion of a nocturnal setting in normal daylight hours – I thought we were doing the makeshift operatic version of that.

Laura Bohn drew strength from within to portray Lucha in the throes of despair.

“The ‘car-eography’ of this chapter, with the nauseating circling around the same block, was particularly demanding, and based on how long it took to drive around and around the block, the scene would also get cut short on a moment’s notice. Like Chapter 12 and Chapter 15, this scene was performed in a different order depending on the direction you experienced it: some audiences began with the shroud aria, others experienced it as a coda.

“As if it wasn’t already demanding for the artists to portray this anguished scene 24 times a day, they also had to be constantly prepared to deploy one of so many different alternative versions of the scene at a moment’s notice – I’m still astonished how they did it.”

– Yuval Sharon

The cast of Chapter 22