Open Chapter Index Close Chapter Index
See all chaptersMenu
Share  Hopscotch:
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 Reunion

Location: A Rehearsal Studio in the Arts District
Lucha: Odeya Nini
Orlando: Maximiliano Torandell
Jameson: Jameson Cherilus
Music by Odeya Nini
Text by Jane Stephens Rosenthal
Having mistaken the performance date, Jameson walks in on the rehearsal for Lucha and Orlando’s new Orpheus and Eurydice performance. Jameson is dazzled by Lucha’s self-possessed presence as she performs, and is stuck by her adaptation of the story. In Lucha’s retelling, Orpheus regains Eurydice and emerges from the underworld. Lucha explains to Jameson that she believes art should be aspirational, not merely re-telling human fallacies. Jameson invites her to a party on a nearby rooftop, and they leave together.

Director’s Notes:

“Jameson follows the address on the back of the postcard he got in Chapter 2 and walks into a beautiful warehouse in the Arts District. He’s instantly transformed by what he sees: Orlando as an aerialist floating through the space, with Lucha following him with a puppet of Orpheus. They’re rehearsing for a performance of the Orpheus and Eurydice myth, which for them ends with Orpheus successfully leading Eurydice out of the underworld.

The Myth of Orpheus and Eurydice

In arguably the most famous of Greek tragedies, the musician Orpheus marries his beloved Eurydice, who unexpectedly dies on the day of the wedding by snakebite. Distraught, he crosses the River Styx to the Underworld with the help of the gods in order to retrieve her. His music captivates Hades and Persephone, who allow him to return to the mortal realm with Eurydice as long as he never turns around to face her. Every telling involves Orpheus’ failure.

“They walk out of the warehouse together and share a sweet scene: Lucha defends her version of the ending, saying that Orpheus succeeding is her way of creating aspirational art. She turns the myth into a story about transcending our weaknesses. It’s so irresistible to Jameson, and he impulsively asks her out.

“This chapter was meant to be about recovery and reunion, finding someone you took for lost or disappeared. The Orpheus myth offers a mythical backdrop for that to happen, especially Lucha’s ‘revisionist’ version of the story. Jameson’s unexplained disappearance later in the story will challenge the hopeful message Lucha expresses here.

Composer and performer Odeya Nini describes how her relationship with her scene partner, Maximiliano Torandell, changed throughout Hopscotch

Production Designer Jason H. Thompson designing the light installation for Chapter 7

“Creating a narrative arc for Hopscotch was often inspired by the desire to create contrasting situations, from one chapter to another and within each individual route. The idea for this chapter as a ‘puppet theater’ performance came about after securing the Million Dollar Theater for Chapter 33 as a site of mourning the past. I thought it would be powerful for audiences on the Yellow Route to have two different visions of theater on the same route –three, if you count their own reflections on the theatrical experience of Hopscotch. Chapter 33 was a longing for the past, as Lucha wanders the balcony of a majestic, empty theater and sees Monteverdi’s Orpheus from a great distance, while Chapter 7 offered an opposite atmosphere: more immediate, visceral, and forward-looking. It was also disarmingly straightforward and un-polished, not only indicating Lucha and Orlando’s more meager means as young artists, but their own aspirational hopes for the future.”

– Yuval Sharon

Lindsay Patterson speaks about the joy of starting the Finale at The Central Hub