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Chapter 2 CrashRed Route - An intersection in Boyle Heights
Lucha and Jamson exchange information in the aftermath of their accident.
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Chapter 4 Lucha's Quinceañera SongRed Route - Mariachi Plaza, Boyle Heights
Lucha remembers the day she left her childhood behind.
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Chapter 6 Jameson PortraitYellow Route - The 2nd Street Tunnel, Downtown Los Angeles
Jameson contemplates the multifaceted nature of his personality.
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Chapter 7 The ReunionYellow Route - A Rehearsal Studio in the Arts District
Lucha and Jameson connect at Lucha's performance of Orpheus and Eurydice.
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Chapter 8 First KissRed Route - Hollenbeck Park, East Los Angeles
Romance blooms on Lucha and Jameson's first date.
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Chapter 9 Angel's PointGreen Route - Angel's Point, Elysian Park
Lucha and Jameson share a passionate physical experience.
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Chapter 11 The Floating NebulaGreen Route - The Corn Fields, Los Angeles State Historic Park, Chinatown
The metaphysical peak in Lucha and Jameson's love.
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Chapter 12 WeddingYellow Route - City Hall, Downtown Los Angeles
On their wedding day, Lucha gives Jameson a fateful gift.
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Chapter 14 The Phone Call, Part 1Red Route - Traversing between the Arts District and Boyle Heights
Lucha receives a mysterious phone call from a voice she seems to recognize.
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Chapter 17 Orlando's FairwellRed Route - Evergreen Cemetery
Before leaving Los Angeles, Orlando pays his last respects to his wife.
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Chapter 18 Interlude (Car Wash)Green Route - AirStream Trailer, Elysian Park
Reflect on the impact of a location's geography on a person's psyche.
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Chapter 24 The Red NotebookRed Route - Utter darkness
In a state of darkness, Lucha is haunted by Jameson's red notebook.
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Chapter 25 The Other WomanYellow Route - The Bradbury Building, Downtown Los Angeles
Still submerged in darkness, Lucha dreams of Jameson's infidelity.
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Chapter 26 HadesGreen Route - Bowtie Parcel, Los Angeles River
Lucha descends to the underworld in search of Jameson.
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Chapter 28 Lucha and Orlando in LoveYellow Route - Historic Core, Downtown Los Angeles
After years apart, Lucha and Orlando reunite in Los Angeles.
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Chapter 33 Farewell From the Roof TopsRed Route - Rooftops, Toy Factory Lofts, Biscuit Lofts, Ito Building Tower, Arts District
Lucha makes peace with Jameson's disappearance.
Jameson Portrait
Percussion: Ray McNamara/MB Gordy
– Yuval Sharon
Director’s Notes:
“The philosopher Paul Virilio proclaimed that ‘what goes on in the windshield is cinema in the strictest sense’, and that confusion of real and virtual worlds was one of the primary ideas behind Hopscotch. In brainstorming ways to put that idea into motion, Production Designer Jason H. Thompson was keen to project on buildings as part of the production design of Hopscotch. When it was clear the performance had to be during the day and projections on buildings were likely to be obliterated by the sun, we realized that tunnels would still provide a dark enough situation for projections to read.
The 2nd Street Tunnel
Completed in 1924, the 2nd Street Tunnel, with its unique light and tiling, has been the set for over 70 car commercials. It is also significantly featured in the film Blade Runner.
“He and Lead AV Tech, Edward Carlson devised a plan to strap a projector to the roof of the limo, with the controls coming from the assistant stage manager in the passenger seat. How they figured this out is completely beyond me – they are both such mad geniuses.
“Andrew Norman’s music for these portraits were not meant to be stand-alone pieces but improvised materials that prepared the audience’s ears for Chapter 36: The Finale. For this portrait, the percussionists play one of the themes from the Finale on the glasses in the car. Just as Jameson is an analytic, Faustian materialist, he obsessively filled the glasses with water, trying to find the exact pitches of the Finale.
“The narrations allowed us to show two times simultaneously: the situation in the car, and the voice coming over the car speakers, representing a different stand-point in the characters’ lives.
“It became clear that Andrew’s musical ideas and the scenes themselves would do better with some first-person narration. This was a very last-minute addition for the three portraits, but it was great to think about how the narrations could make connections across Hopscotch.
“For Lucha’s portrait and Orlando’s portrait the voice-overs show the wiser, older version of the character remembering their younger selves with warmth and compassion. Jameson’s voice-over is from the perspective of his younger self curious about the future: ‘Is this the man I will become?’ Like the images on the walls of the tunnel, the striving scientist Jameson we are presented with in the car is a projection: an uncertain and - perhaps unsatisfying? – future.”