“We jokingly called this the sexophone chapter, since it depicted the moment of physical union between Jameson and Lucha, and was scored by Andrew McIntosh for a saxophone quartet.
“The scene had three parts: Lucha and Jameson’s foreplay, with one saxophonist in the car, with clothes starting to come off; the saxophonist leads the audience to Peter Shire’s sculpture at Angel’s Point, with its expansive views of Los Angeles, and where three other saxophonists waited to play climactic harmonies; and finally a different saxophonist lead the audience back into the car, where the post-coital Jameson and Lucha sang a beautiful coda: ‘The end, never the end, never the end, never the…’
The sculpture at Angel’s Point is by Echo Park artist Peter Shire. The sculpture memorializes Glass’ and Simons’ activism to keep the neighborhood from being overdeveloped. The underlying message draws awareness to the negative effects of industrialism and represents Shire’s own perception of Los Angeles, including its physical and social constructions.
Andrew decided to score this duet for two women, a really beautiful nod to operatic tradition. As luck would have it, Chapter 11 – when the couple were most deeply in love –also has Jameson played by a woman. Now I regret that we didn’t have at least one male Lucha!
Excerpt from the Hopscotch album, Track 6. Composer, Andrew McIntosh
“The road up to Angel’s Point in Elysian Park was full of potholes when I first chose it as a location for the Green Route. I was having a hard time imagining a saxophonist playing on such an unstable stretch of road without potentially getting injured! So in conversations with the office of Councilmember Gil Cedillo, I asked the planner if they could pave the roads sometime before October. To my amazement, they actually did it!
“I still consider this site one of the best-kept secrets in Los Angeles.”