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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

The Phone Call, Part 2

Location: Chavez Ravine, Elysian Park
Lucha: Suzanna Guzmán
Music by Marc Lowenstein
Text by Mandy Kahn
Special Consideration from Lewis Pesacov and Paul Matthis
Lucha makes a phone call to her younger self, and reminds herself: “A thousand streets lead into one great path, and no gate blocks your way.”

Director’s Notes:

“The circle that opened with Chapter 14 is now closed in Chapter 35, as we hear Suzanna Guzmán singing to her younger self,

‘A thousand streets lead into one great road, and no gate blocks your way.’

“What was scary and anxious in Chapter 14 is here a transcendent moment. You realize that she always had within her the wisdom to overcome her obstacles, her fears, her traumas. I think it is a beautiful message, that with time and with the process of living, you uncover your true self, your center – the power you had within you all along.

“One of the lines the older Lucha sings to her younger self goes, ‘Time is happening all at once.’ It’s a line that leads Lucha to wonder, in Chapter 15, ‘Is all time simultaneous?’ What I love about this chapter (14 / 35) is that it actually creates a kind of wrinkle in real time. Suzanna and Maria Elena are really singing the same scene to the vision of the other, in two different parts of the city, simultaneously, creating an invisible axis in Los Angeles. Even the geography of their routes reinforced the poetics of their metaphysical connection: the younger self in the heart of historic Boyle Heights, the other winding her way up into the idyllic hills of Elysian Park.

The Lizard People

It is the thought that the city of Los Angeles stands above a lost city of catacombs filled with incalculable treasure and imperishable records of a race of humans far more intellectually and scientifcally advanced than today. The entrance to this city is said to be in Elysian Park.

Legend has it that in the late 1880’s the city hired actors to picnic on the hills to show Angelenos how to use this great park. Then between 1920 and 1940, maps of Elysian Park included streets named after Greek and Roman mythologies. These streets mysteriously disappeared from maps after 1940s, and no physical trace of the streets exists within the park today.

Mezzo-soprano Suzanna Guzmán describes the thrill of pushing herself to the edge of her art with The Industry

“As the penultimate chapter, this chapter was really the one that gives a sense of completion for those following the story in a linear way. But just like the Cortazar novel that inspired this project, the disorientation of skipping from chapter to chapter offers the audience an escape from linear time. Thanks to this website you can follow each chapter of the story and see how each moment in the lives of Lucha, Jameson, and Orlando had a relationship to the ones that follow: but the experience of life is never so linear, and by scrambling the chronological flow, the audience was instead invited to let each moment speak for itself. Rather than present time as a river, Hopscotch showed time as a web (a line given to Jameson in Chapter 6 and Chapter 9).

“Marc’s vocal writing for this chapter is so extraordinary, because it synthesized both the fearful younger Lucha who is frightened by the premonition of the voice on the line, and the blissful older Lucha who feels the circle of her own life closing in the perfect way. It’s like one of the great ensembles of Verdi, where characters harmonize despite singing radically different emotional states and points of view; Marc achieves a perfect musical balance that tells you instantly that these characters are one.”

– Yuval Sharon

Marc Lowenstein, Ash Nichols and Suzanna Guzmán rehearse Chapter 35.

“All the moments you have spent
braid together to a play
and the pain will black your eyes,
but your hand will feel a door.
And beyond it is a peace that is fragrant
as a field.
Love is structured
like all time.
I will meet you in that room.”