2019-20 SEASON cap.ucla.edu - Center for the Art of Performance at UCLA
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UCLA'S CENTER FOR
Center for the Art of Performance//2019-20 Season
NON-PROFIT ORG
THE ART OF PERFORMANCE U.S. POSTAGE
405 HILGARD AVE. PAID
UCLA
BOX 951529
LOS ANGELES, CA
90095-1529
cap.ucla.edu 2019–20 SEASON
Photo Credits: (Cover) Maria Baranova; (Back) Paul Marotta
WE THE UCLA’S NIMOY THEATER
The Center for the Art of Performance and UCLA BAR Architects has been selected to lead the
PEOPLE.
School of the Arts & Architecture have acquired renovation team. Insightful and creative re-
the Crest Theatre on Westwood Boulevard as purposing of existing buildings is fundamental
a new performance space for its arts public to BAR Architects’ practice. Their diverse port-
programming. A landmark venue dating back folio includes projects such as George Lucas’
to the 1940s, the Crest will be transformed into Skywalker Ranch, Robert Redford’s Sundance
the UCLA Nimoy Theater, a new off-campus Institute, Sonoma State University’s School of
performing arts space that will be operated Music at the Green Music Center and the Library
THE POWER
and managed by CAP UCLA. of Congress’ Packard Campus for Audio Visual
Conservation. BAR also has a deep-rooted
The UCLA Nimoy Theater is envisioned as a connection to the Crest Theatre dating back
OF ART.
much-needed public platform for emerging to the late 1980s when they were selected
contemporary performing artists across all by the Walt Disney Company to replace the
disciplines whose work seeks an intimate scale, original façade with one reminiscent of an Art
WELCOME TO UCLA’S
including extraordinary UCLA students and Deco Revival movie palace.
recent alumni, independent practitioners
throughout Los Angeles and national and As the UCLA Nimoy Theater, the Crest Theatre
CENTER FOR THE ART international visiting artists. The reinvigorated
theater, which will be upgraded to current
will return to its historic roots as a performing
arts venue. The space originally opened in
OF PERFORMANCE
standards and outfitted with state-of-the-art December 1940 as the Westwood Theater, a
technology, will become a dynamic home on the live performance hall, designed by the architect
Westside of Los Angeles for both audiences and Arthur W. Hawes. In 2008, the Crest was desig-
artists, enabling creative collaboration and pre- nated a Historic-Cultural Landmark by the city
sentation in theater, music, digital media, spoken of Los Angeles.
JOIN US FOR UCLA’s Center for the Art of Performance (CAP UCLA) is word, dance and contemporary performance.
dedicated to the advancement of the contemporary per-
OUR 2019-20 forming arts in all disciplines—dance, music, spoken word UCLA’s purchase of the long-dormant theater
Building on the strength of UCLA’s internationally
acclaimed public arts institutions and programs,
SEASON and theater, as well the emerging digital, collaborative was made possible by major gifts from actor, the renovation of the Crest into the Nimoy rein-
and cross-platforms utilized by today’s leading artists. CAP writer and director Susan Bay Nimoy and an forces the university’s commitment to the arts
Royce Hall, UCLA UCLA is the public-facing presenting organization for the anonymous donor. With an anticipated open- and public engagement as it marks its centennial
The Theatre at Ace Hotel performing arts at UCLA—one of the world’s leading public ing date in 2021, the venue will be re-named the in 2019.
The Ford Theatres research universities—and we are housed within the UCLA UCLA Nimoy Theater, in honor of Nimoy’s late
Royce Rehearsal Hall, UCLA School of the Arts & Architecture along with the Hammer husband, Leonard Nimoy.
Freud Playhouse, UCLA and Fowler museums. CAP UCLA curates and facilitates
REDCAT direct exposure to contemporary performance from around
The Music Center the globe, supporting artists who are creating extraordi-
nary works of art and fostering a vibrant learning commu- SUPPORT THE Inspired by this vision, and to inspire other arts
Powell Library, UCLA
nity both on and off the UCLA campus. As an influential UCLA NIMOY THEATER supporters, one of the campaign’s lead donors
voice within the local, national and international arts has made a challenge gift that will match dol-
community, CAP UCLA is also where cultural expression CAP UCLA will launch a capital campaign to lar for dollar all contributions to the campaign
and artistic exploration can thrive, and where audiences raise funds for the renovation and activation up to $2.5 million.
can have fun and experience the artists of the stage of its new performance space, the UCLA Nimoy
that connect us to new ways of seeing and better under- Theater. Through philanthropic support, the If you are interested in learning more about the
standing the world we live in now. space will be transformed from a dormant campaign and the impact your support can
movie theater into an innovative and flexible have through this matching opportunity, please
250+ seat performing arts venue that will play contact Sarah Sullivan, Director of Development
a vital role in the arts ecology of Los Angeles. for CAP UCLA at 310-206-6431.
LETTER
FROM THE DIRECTOR
This CAP UCLA season making room for altogether different sensibilities to come
spans the UCLA Centen- forward over a lifetime of artistic practice. Sankai Juku,
nial and we have put Philip Glass, Chick Corea, Sergio Mendes, Jack DeJohnette,
much consideration into Pina Bausch, Lucinda Childs, Bill Frisell and Aaron Neville
how our globally engaged are undisputed legends, and for very good reason.
performing arts program
can also commemorate Women who are (and have been) bending the needle to-
the 100-year history of this wards equity, social justice and inclusive practices feature
incredible public research prominently. This is where we have invested our commission-
university. The sheer scale ing support, and the resulting projects are either yet to pre-
of UCLA’s legacy to date miere or will make their L.A. debut with us this season. Toshi
offers a cornucopia of Reagon, Pam Tanowitz, Samin Nosrat, Lindy West, Bebel
possibilities and there Gilberto, Perla Batalla, Jennifer Koh, Wendy Whelan and
will be abundant celebra- Maya Beiser are women who are making history through
tions across the campus their leadership and in their collaborative approaches for
throughout the year that we will spotlight. UCLA’s Center creating new work.
for the Art of Performance carries the dynamic mandate
of curating and presenting the contemporary performing The maverick emergence of another generation of prac-
arts for faculty, students and L.A. audiences to experience titioners is also abundant in the 2019-20 CAP UCLA season—
in equal measure. After all, we are a potent animator for Adam Linder, MK Guth, Jerry Quickly, AVERY*Sunshine,
what UCLA has always stood for—a collaborative approach BUIKA, Marlon James, Marike Splint and John Cameron
to publicly sharing new knowledge, supporting exceptional Mitchell—and all carry the hallmark of being the kind of
ideas that add dimension to the diverse contour of Los artists who shift the culture through their unique vantage
Angeles and providing continuity in a constantly evolving points.
cultural landscape.
Which brings me to my final insight. We are only able to
CAP UCLA presents the generous artistry of contemporary present and sustain this work because of the commitment
performance makers to the widest possible public so that of each of you who support the cause. Without exception,
we can share in the perspectives they offer us. We support every artist on the program knows that you are the alchemy
the creation of new work by artists who span generations that completes their work. We all thank you.
and forms. Experiencing their work, it invariably shifts our
inner monologues towards a broader way of understanding I am ever mindful that those of us who do this work are not
the world around us. in our roles to amplify predominant tastes or narratives, but
to stretch them. We are not charged with reinforcing the
History plays an important role in many of the projects that successfully familiar by asking the boldly emerging to wait
will take center stage this season by artists who amplify the their turn. Instead we are asked to dramatically expand the
under-sung individuals that changed the conditions of their stories, dances, music, collaborations and cultural traditions
respective eras or communities through their actions. Some accessible throughout the arts in service to inclusion and
draw from original source materials including historic texts our collective attention.
found in the UCLA Library, legal cases or imagery that have
become firmly lodged in our popular imagination. Others 2019-20 is in many ways a creative celebration of “We the
assert the enduring relevance of their cultural traditions to People.” Three words that herald our American democracy
infuse an abiding wisdom into our contemporary moment. and that stand at the very core of what UCLA has been
Ain Gordon, Fotini Baxevani, Andrew Dawson, Porte Parole, investing in for 100 years.
Bill Morrison, Omar Sosa with Yilian Cañivarez and Terri
Lynne Carrington with Rudresh Mahanthappa in a tribute
to Charlie Parker come to mind. Kristy Edmunds
Executive and Artistic Director
Many of the artists featured are historically singular and Center for the Art of Performance
singularly acclaimed the world over. They have quite literally
re-shaped the history of what is possible in the arts by
Photo Credit: Ian Maddox
1
WE THE PEOPLE:
MEMBERSHIP MATTERS
CAP UCLA members form a vibrant community of Member benefits include:
engaged arts enthusiasts whose passion,
generosity and commitment have a vital impact • Preferred seating
on the cultural landscape of contemporary • Access to pre-show donor lounges
performing arts. and post-show NightCAPs with artists
• Discounts on tickets and season subscriptions
By supporting CAP, members make a difference • Invitations to exclusive member events
in our ability to bring many of the world’s leading • Complimentary ticket exchange
artists and thinkers to Los Angeles audiences. • Advance access to tickets for added events
Join CAP and discover the power of membership. Join or renew today at:
cap.ucla.edu/become_a_member
or contact us at membership@cap.ucla.edu
or 310-794-4033
2
2019-20
SEASON AT-A-GLANCE
DANCE THEATER GLOBAL CONTEMPORARY
Adam Linder Loch na hEala BUIKA Philip Glass
Thu–Sun, Sept 19-22, 2019 (Swan Lake) Sat, Jan 25, 2020 & Jerry Quickley
REDCAT Sat, Nov 9, 2019 The Theatre at Ace Hotel Sat, Mar 21, 2020
Royce Hall, UCLA The Theatre at Ace Hotel
JAZZ WORDS & IDEAS
Chick Corea JAZZ Piper Kerman JAZZ
Thu, Oct 3, 2019 Joshua Redman Quartet & Rachel Kushner Fly Higher:
Royce Hall, UCLA with The Bad Plus Thu, Jan 30, 2020 Charlie Parker at 100
Sun, Nov 10, 2019 Royce Hall, UCLA Thu, Mar 26, 2020
DANCE Royce Hall, UCLA Royce Hall, UCLA
Sankai Juku THEATER
Sun, Oct 6, 2019 THEATER Lady of Ro THEATER
Royce Hall, UCLA Andrew Dawson Fri–Sat, Jan 31–Feb 1, 2020 Seeds
Thu–Sun, Nov 14-17, 2019 Freud Playhouse, UCLA Fri–Sat, Apr 3–4, 2020
THEATER Royce Rehearsal Hall, UCLA Freud Playhouse, UCLA
217 Boxes of JAZZ
Dr. Henry Anonymous GLOBAL Gregory Porter SPECIAL EVENT
Fri–Sat, Oct 11–12, 2019 Sergio Mendes Fri, Feb 7, 2020 John Cameron Mitchell
Freud Playhouse, UCLA & Bebel Gilberto Royce Hall, UCLA Sat, Apr 11, 2020
Sat, Nov 16, 2019 The Theatre at Ace Hotel
SPECIAL EVENT Royce Hall, UCLA DANCE
Hassan Hajjaj Four Quartets CONTEMPORARY
Fri, Oct 11, 2019 ROOTS Sat, Feb 15, 2020 Jennifer Koh &
The Ford Theatres AVERY*Sunshine Royce Hall, UCLA Jean-Baptiste Barrière
Sat, Nov 23, 2019 Fri, Apr 17, 2020
CONTEMPORARY The Theatre at Ace Hotel GLOBAL Royce Hall, UCLA
Max Richter Ladysmith Black Mambazo
Sat, Oct 12, 2019 ROOTS Thu, Feb 20, 2020 SPECIAL EVENT
Royce Hall, UCLA Bill Frisell & Julian Lage Royce Hall, UCLA Pina Bausch
Duo Fri–Sun, Apr 17–19, 2020
WORD & IDEAS Thu, Dec 5, 2019 WORDS & IDEAS The Music Center
Samin Nosrat & Lindy West Royce Hall, UCLA Marlon James
Sun, Oct 13, 2019 Thu, Feb 27, 2020 ROOTS
Royce Hall, UCLA SPECIAL EVENT Royce Hall, UCLA Perla Batalla
Bill Morrison Sat, Apr 18, 2020
DANCE With Wild Up GLOBAL The Theatre at Ace Hotel
Maya Beiser/Wendy Fri, Dec 6, 2019 Omar Sosa
Whelan/Lucinda Childs/ The Theatre at Ace Hotel & Yilian Cañizares CONTEMPORARY
David Lang Fri, Feb 28, 2020 Anthony De Mare
JAZZ Royce Hall, UCLA Sat, Apr 25, 2020
Fri–Sat, Oct 18–19, 2019
Royce Hall, UCLA DeJohnette/ Royce Hall, UCLA
Coltrane/Garrison SPECIAL EVENT
ROOTS Sat, Dec 7, 2019 Marike Splint SPECIAL EVENT
Aaron Neville Duo Royce Hall, UCLA Feb 29–Mar 1, Apr 18–19, MK Guth
May 9–10, 2020 Fri–Sat, May 1–2, 2020
Sat, Nov 2, 2019
WORDS & IDEAS UCLA Campus Powell Library, UCLA
Royce Hall, UCLA
Frank Bruni
WORDS & IDEAS
& Sarah Smarsh SPECIAL EVENT SPECIAL EVENT
Andrew Sean Greer Sun, Dec 8, 2019 Parable of the Sower David Sedaris
& Sloane Crosley Royce Hall, UCLA Sat, Mar 7, 2020 Sun, May 10, 2020
Royce Hall, UCLA Royce Hall, UCLA
Sun, Nov 3, 2019
SPECIAL EVENT
Royce Hall, UCLA
Lea DeLaria
Sat, Jan 18, 2020 UCLA CENTENNIAL
The Theatre at Ace Hotel UCLA COLLECTS: 100 Years of Sharing Knowledge
Opens April 5, 2020
Fowler Museum, Hammer Museum & UCLA Library
3
SUBSCRIBE
& SAVE
Renewing subscribers keep their seats DANCE $269.55 WORDS & IDEAS: $270
from season to season. (CAP Members: $239.25) (CAP Members: $240)
Adam Linder: The WANT Samin Nosrat in Conversation
New subscribers receive priority seat- Sankai Juku: Meguri with Lindy West
ing before single tickets go on sale. Maya Beiser/Wendy Whelan/ Andrew Sean Greer in Conversation
Lucinda Childs/David Lang: THE DAY with Sloane Crosley
All regular subscribers save 15% off Pam Tanowitz/Brice Marden/Kaija Frank Bruni in Conversation
the individual ticket price with our Saariaho: Four Quartets with Sarah Smarsh
pre-selected series and receive 10% Piper Kerman in Conversation
off the purchase of additional single JAZZ $389 with Rachel Kushner
tickets to all performances and special (CAP Members: $345) Marlon James
events in the 2019-20 season. Chick Corea Triology with
Christian McBride & Brian Blade CREATE YOUR OWN SERIES
CAP UCLA Members who subscribe Joshua Redman Quartet with Select any five performances to save
save 25% off the individual ticket price The Bad Plus 10% off the single ticket price AND
with our pre-selected series and 15% DeJohnette/Coltrane/Garrison receive priority seating before
off the purchase of additional single Gregory Porter individual tickets go on sale.
tickets to all performances and special Fly Higher: Charlie Parker at 100 CAP UCLA Members save 15%.
events in the 2019-20 season.
GLOBAL: $299.40 (CAP Members: $266) Single tickets to any performance
Hassan Hajjaj: My Rock Stars or special event may also be added
ROYCE CHOICE $435.80 Experimental – Live! on to any subscription or CYO series
(CAP Members: $387) Sergio Mendes & Bebel Gilberto at the time of purchase.
Max Richter BUIKA
Aaron Neville Duo Ladysmith Black Mambazo ON SALE DATES FOR
Michael Keegan Dolan/Teac Damsa: Omar Sosa & Yilian Cañizares INDIVIDUAL TICKETS
Loch na hEala (Swan Lake) CAP Members:
Ladysmith Black Mambazo ROOTS: $271 (CAP Members: $241) Wednesday, July 10, 2019
Toshi Reagon: Parable of the Sower Aaron Neville Duo Renewing Subscribers:
Fly Higher: Charlie Parker at 100 AVERY*Sunshine Thursday, July 11, 2019
Anthony de Mare: Liaisons 2020: Bill Frisell & Julian Lage Duo CAP Enews Presale: Friday, July 12, 2019
Re-Imaging Sondheim Toshi Reagon: Parable of the Sower General Public: Monday, July 15, 2019
from the Piano Parts 1 & 2 Perla Batalla: Discoteca Batalla UCLA faculty and staff:
Monday, July 15, 2019*
THEATER $244.50 CONTEMPORARY: $335.60 UCLA students:
(CAP Members: $217.50) (CAP Members: $298) Monday, September 23, 2019*
Ain Gordon: 217 Boxes of Max Richter
Dr. Henry Anonymous Bill Morrison with Wild Up: Dawson *Based on availability;
Michael Keegan Dolan/Teac Damsa: City: Frozen Time LIVE! limit two tickets per performance
Loch na hEala (Swan Lake) Philip Glass & Jerry Quickley:
Andrew Dawson: Space Panorama Whistleblower
& Spirit of the Ring Jennifer Koh & Jean-Baptiste Barrière:
Fotini Baxevani: Lady of Ro 38th Parallel
Porte Parole: Seeds Anthony de Mare: Liaisons 2020:
Re-Imaging Sondheim
from the Piano Parts 1 & 2
4
PLEASE NOTE: Subscriptions and all single tickets to perfor-
mances that take place on the UCLA campus (Royce Hall,
Freud Playhouse, Royce Rehearsal Hall and Powell Library)
will be available through the UCLA Central Ticket Office,
on line at cap.ucla.edu or by phone at 310-825-2101.
Single tickets to all CAP UCLA performances at The Theatre
at Ace Hotel are sold via AXS. You can purchase tickets to CAP
performances at the Ace at cap.ucla.edu, acehotel.com or by
calling AXS at 888-929-7849.
The Theatre at Ace Hotel also offers in person ticket sales
at the ticket booth, right under the marquee on Thursday,
Friday and Saturday from 10am to 5pm. When you purchase
in person, you pay no handling fees.
Single tickets for Hassan Hajjaj’s at the Ford Theatres
are on sale now through the Ford Theatres website at
fordtheatres.org or 323-461-3673. Subscribers may also add
single tickets for this performance onto their CAP UCLA sub-
scription order or as part of a Create-Your-Own package.
Single tickets for Pina Bausch at The Music Center will go
on sale in July through the Music Center website at
musiccenter.org or 213-972-0711. Subscribers may also add
single tickets to this performance onto their CAP UCLA sub-
scription order or as part of a Create-Your-Own package.
Single tickets for Adam Linder at REDCAT will go on
sale in late summer through REDCAT at redcat.org or
213-237-2800. Subscribers may also add single tickets
to this performance onto their CAP UCLA subscription
order or as part of a Create-Your-Own package.
HOW TO ORDER
Online In Person
cap.ucla.edu UCLA Ticket Office
325 Westwood Plaza
By Phone M-F, 10 am – 4 pm
310-825-2101
M-F, 10 am – 4 pm
Programs, prices and performers subject to change.
5
Photo Credit: Phinn Sriployrung
ROYCE HALL, UCLA
A symbol of both intellectual and artistic excellence, Royce Hall functions not only as
a monument to Los Angeles’ rich cultural past, but also as a portal to the future.
Modeled after Milan’s Basilica di Sant’Ambrogio, constructed in the tenth and elev-
enth centuries, Royce Hall was built in 1928 as one of the first campus structures by
architect David Allison and was named for the American philosopher Josiah Royce.
Royce Hall’s reputation was forged early in UCLA’s history. By 1936, the campus had
been open for only seven years and was cradled in the midst of an old sheep pasture
in an area that most residents probably still regarded as “country.” It was an unlikely
place to stumble across one of the greatest American popular composers of all
time—George Gershwin—who appeared at Royce Hall in September of that year.
That same year, University of California President Robert Sproul appointed a com-
mittee to oversee programming at Royce Hall and in 1937 they presented their first
performing arts season featuring the great contralto Marian Anderson, the Budapest
String Quartet and the Los Angeles Philharmonic.
Since then, the list of artists who have graced Royce Hall’s stage reads like a Who’s
Who of performing arts in the 20th and 21st centuries, including Duke Ellington,
Aaron Copland, Arnold Schoenberg, Jimmy Dorsey’s Big Band, Frank Sinatra, Orson
Welles, Royal Shakespeare Company, John Coltrane, Miles Davis, Thelonious Monk,
Twyla Tharp, Merce Cunningham, Mikhail Baryshnikov, Muddy Waters, Frank Zappa,
Ravi Shankar, The Philip Glass Ensemble, Laurie Anderson, Spalding Gray, Sonic Youth,
Joan Baez, David Sedaris and Taylor Mac.
Like Carnegie Hall and Lincoln Center, Royce Hall is one of America’s great concert
halls, distinguished, not only for its impeccable beauty and refined acoustics, but
also for the ghosts of performances that haunt it.
6
Photo Credit: Mireyah Marcinek
THE THEATRE
AT ACE HOTEL
Broadway was the movie capital of the world in the pre-talkie era. During the Jazz
Age, the neon stretch of the Broadway Theater District rivaled its New York name-
sake—a strip where a dozen temples of cinema played host to screen starlets and mat-
inee kings, and film royalty premiered their latest reels nightly to audiences of thou-
sands. It’s where, in 1927, a group of visionary iconoclasts from Hollywood’s Golden
Age erected the home of United Artists, the film studio whose acumen and rebellious
ingenuity helped to reshape the American cinematic landscape.
United Artists studio and theater was the vision of silent movie starlet Mary Pickford,
who—together with Douglas Fairbanks, Charlie Chaplin and DW Griffith—dreamt of
forming an independent production house outside of the established Hollywood studio
system. With the help of architect C. Howard Crane and Los Angeles architectural firm
Walker & Eisen, the group erected the United Artists Theater and its adjacent tower—
the tallest building in all of Los Angeles upon its completion.
Though it changed hands frequently over the following decades, the United Artists
Theater stayed active as an arts venue until 1989, including a long stint as a Span-
ish-language movie house, and later as the broadcast site for televangelist Dr. Gene
Scott. Following a meticulous restoration of the then-vacant movie palace, Ace cut
the ribbon on The Theatre at Ace Hotel in February of 2014—and we’ve been doing our
best to honor the maverick spirit of its founders ever since.
7
CAP UCLA IN ASSOCIATION WITH REDCAT PRESENTS ADAM LINDER THE WANT THU–SAT, SEP 19–21, 2019 @ 8:30 PM; SUN, SEP 22, 2019 @ 7 PM | REDCAT 8 DANCE
Photo Credit: Andrea Rossetti
“PERHAPS MORE THAN AN EXPLORATION OF MERCANTILE
ACTIVITY OR THE TRANSACTION OF LATE-NIGHT CRUISING,
KOLTÈS’ PLAY IS A SPECULATION ON THE INDIVIDUAL’S
CAPACITY TO KNOW ANOTHER.” — ADAM LI NDER
A dam Linder is a choreographer who works between Los Angeles and Berlin.
His performances are shown in both performance and visual arts contexts.
In 2016, he was awarded the Mohn Prize for artistic excellence from the Hammer
Museum for his work in Made in LA. Inspired by the Client/Dealer relationship
from Bernard Marie-Koltès play In the Solitude of The Cotton Fields, The WANT is a
contemporary opera—with music by Ethan Braun and lighting design by Shahryar
Nashal—that fuses vocal expression with a rich physicality. The libretto, littered
with interjections from Jacques Derrida to Missy Elliott, contemplates the desire,
vulnerability and cunning at the heart of any transaction. The singers, actors and
dancers—Jess Gadani, Justin F. Kennedy, Jasmine Orpilla and Roger Sala Reyner—
are ‘Offerors’ and ‘Offerees’ enrobed as the key archetypes of mercantile Europe
and the spiritual tradition of constant trade between a reflexive mind and a sen-
suous being.
Production Adam Linder. Coproduction HAU Hebbel am Ufer, Berlin, UCLA's Center for the Art of Performance,
Los Angeles, Kampnagel Hamburg. Funded by Hauptstadtkulturfonds.
Funds provided by the National Endowment for the Arts Challenge Grant Endowment, the Royce Gala Endowment and
The Andrew W. Mellon Foundation multi-year grant for Collaborative Intersections in the Visual and Performing Arts.
DANCE 9CHICK COREA TRILOGY WITH CHRISTIAN MCBRIDE & BRIAN BLADE THU, OCT 3, 2019 @ 8 PM | ROYCE HALL, UCLA 10 JAZZ
Photo Credits: (Left) Peter Gannushkin; (Right) James Adams
“GALE FORCE INTENSITY, GLORIOUSLY IMPASSIONED.”
—JAZZWISE MAGAZINE
L egendary keyboardist, composer and bandleader Chick Corea has attained
iconic status in music. He is a DownBeat Hall of Famer and NEA Jazz Mas-
ter, as well as the fourth-most nominated artist in Grammy Awards history with 63
nods—and 22 wins. From straight-ahead jazz to avant-garde, bebop to fusion, Chick
has touched an astonishing number of musical bases in his career and played with
a Who’s Who of jazz greats. For his return to Royce Hall, he will be joined by bass
powerhouse Christian McBride, one of the most outstanding talents and celebrated
musicians of his generation, and drummer extraordinaire Brian Blade to perform
works from their landmark 3-CD set, Triology.
Funds provided by the Henry Mancini Tribute Fund.
JAZZ 11SANKAI JUKU
MEGURI
SUN, OCT 6, 2019 @ 7 PM | ROYCE HALL, UCLA
“ONE OF THE MOST ORIGINAL AND
STARTLING DANCE THEATER GROUPS
TO BE SEEN.” —THE NEW YORK TIMES
12 DANCEPhoto Credits: Sankai Juku
O ver the course of the past 35 years, the work of Ushio
Amagatsu for his Tokyo-based, all-male company
Sankai Juku has become known worldwide for its elegance, re-
finement, technical precision and emotional depth. Amagatsu’s
contemporary Butoh creations are sublime visual spectacles
and deeply moving theatrical experiences. As one of the pre-
miere choreographers at work in the world today, the arrival
of a piece by Ushio Amagatsu is a much-anticipated event in
the North American dance landscape. Sankai Juku returns to
Royce Hall with one of Amagatsu’s strongest works, Meguri:
Art in Action: Listening to the Landscape Teeming Sea, Tranquil Land. Set against an upstage relief of sea
Inspired by the themes of Meguri,we’ll explore lily fossil images, this exquisite piece is a poetic meditation on
how today’s contemporary artists are respond-
ing to the ongoing challenges facing our
the passage of time as symbolized by the circulation of water
natural world. Join us for interactive activities and the seasonal transformation of the earth.
in the West Lobby before the performance.
Funds provided by the Doris Duke Charitable Foundation Endowment Fund.
DANCE 13CAP UCLA IN ASSOCIATION WITH THE UCLA SCHOOL OF THEATER,
FILM AND TELEVISION PRESENTS
AIN GORDON
217 BOXES OF DR.
HENRY ANONYMOUS
FRI, OCT 11, 2019 @ 8 PM; SAT, OCT 12, 2019 @ 3 PM & 8 PM | FREUD PLAYHOUSE, UCLA
“AIN GORDON HAUNTS THE MARGINS OF
HISTORY … CONJUR(ING) THE SORT
OF DISTANT LIVES THAT DON’T MAKE
IT INTO TEXTBOOKS, PROCESSED INTO
OBLIVION BY WHAT HE CALLS HISTORY’S
‘RUTHLESS EDITING MACHINE.’”
—THE NEW YORK TIMES
14 THEATER2 17 Boxes of Dr. Henry Anonymous tells the
largely unknown story of a courageous gay
psychiatrist whose activism made a profound and
lasting impact on LGBTQ civil rights. Disguised in
a mask and using a voice modulator, John E. Fryer
testified as Dr. Henry Anonymous on a homosexual-
ity panel at the 1972 Annual Meeting of the Amer-
ican Psychiatric Association (APA). Facing the loss
of his medical license should his identity be discov-
ered, Fryer’s testimony resulted in the APA’s removal
of homosexuality from its Diagnostic and Statistical
Manual of Mental Disorders (DSM) in 1973. Drawn
from 217 boxes of Fryer’s personal papers, Obie
Award-winning writer/director Ain Gordon re-imag-
ines this historic moment through the eyes of three
key figures in Fryer’s life, bringing it to UCLA to
coincide with the 50th anniversary of the Stonewall
riots. Featuring Laura Esterman, Derek Lucci and
Ken Marks.
The first production of 217 Boxes of Dr. Henry Anonymous was made with
major support provided by The Historical Society of Pennsylvania and
The Pew Center for Arts and Heritage. It premiered on May 5, 2016 at the
Painted Bride in Philadelphia. A Pick Up Performance Co. Production.
Funds for the CAP UCLA presentation provided by Diane Levine;
Teri Schwartz, Dean UCLA School of Theater, Film and Television; and the
James A. Doolittle Endowment.
Photo Credits: Paula Court
Art in Action:
Recognizing History: Seeing the Invisible
Join us before the show for a special Pop-Up Library and
Reading Room featuring films, archival material and publica-
tions surrounding the fight for LGBTQ rights. Each performance
will be followed by a discussion and Q&A with Ain Gordon and
a special guest from L.A.’s LGBTQ community.
THEATER 15Photo Credits: Hassan Hajjaj 16 SPECIAL EVENT
THE FORD THEATRES
IN ASSOCIATION WITH
CAP UCLA PRESENTS
HASSAN
HAJJAJ
MY ROCK STARS
EXPERIMENTAL
– LIVE!
FRI, OCT 11, 2019 @ 8PM | THE FORD THEATRES
“…THE MUSICIANS BRIDGE THE GAP BETWEEN
NOW AND THEN, US AND THEM, HIGH AND LOW
CULTURE, REFLECTING A FUSION OF MOROCCAN
CRAFTSMANSHIP AND CONTEMPORARY ART AND
PERFORMANCE.” —LOS ANGELES COUNTY MUSEUM OF ART
P hotographer, designer and filmmaker
Hassan Hajjaj uses the language of fashion
photography to produce portraits of figures
dressed in colorful North African fabrics with
luxury brand clothes and shoes. For his L.A.
appearance, Hajjaj will premiere the first ever
live musical presentation of his video installation,
My Rock Stars. The selected “rock stars” include
Afrikan Boy, a grime MC originally from Nigeria
now based in London; contemporary African
acoustic jazz/folk/soul singer-songwriter Bumi;
artists, musicians and sisters Abimaro & Lakwena;
Marques Toliver, a songwriter, producer, violinist
and vocalist from Daytona Beach, FL; New York
City-based jazz and hip hop vocalist José James;
and Simo Lagnawi, a Moroccan berber now settled
in the UK who is steeped in the Gnawa trance
music of North Africa.
SPECIAL EVENT 17“MUSICALLY INCREDIBLE
AND CONCEPTUALLY
SPOT ON. MAX RICHTER
IS TRULY A MODERN DAY
MUSICAL GENIUS.”
—THE LINE OF BEST
Photo Credit: Rahi Rezvani
MAX RICHTER
PREMIERING MATERIAL FROM HIS FORTHCOMING ALBUM
& ‘FROM SLEEP’ WITH AMERICAN CONTEMPORARY
MUSIC ENSEMBLE & GRACE DAVIDSON
SAT, OCT 12, 2019 @ 8 PM | ROYCE HALL, UCLA
M ax Richter's work embodies both the rigor of the classical tradition and the
experimentalism of contemporary electronica. Heart-stopping orchestration
and mind-bending synthesis co-exist in his work which is beautifully crafted, intelli-
gent and disarming in its honesty. Inspired equally by Bach, punk rock and ambient
electronic music, Richter is radically unafraid of appealing directly to our emotions.
His output encompasses concert music, operas, ballets, art and video installations
and theater and television scores, including Martin Scorsese’s Shutter Island;
Damon Lindelof’s HBO series The Leftovers; Alan Cumming’s solo version of Macbeth on
Broadway; the National Theatre of Scotland’s Black Watch; and his many collabora-
tive ventures with maverick Royal Ballet resident choreographer Wayne McGregor.
NightCAP CAP UCLA Artist Circle members are invited to join us in a celebratory toast with the artists after the performances.
18 CONTEMPORARYS amin Nosrat is a food columnist for The
New York Times Magazine, author of the
bestseller Salt, Fat, Acid, Heat: Mastering the
Elements of Good Cooking and the star of the
Netflix series of the same name. As an under-
graduate studying English at UC Berkeley, she
took a detour into the kitchen at Chez Panisse
and, since 2000, she has pursued her twin pas-
sions of food and words with equal vigor, aiming
to create work that inspires, creates community
and raises cultural, social and environmental
awareness. Lindy West is a contributing opinion
writer for The New York Times and the author of
The New York Times bestselling memoir Shrill:
Notes from a Loud Woman, which she recently
adapted as a half-hour comedy series for Hulu.
They will discuss the challenges and experienc-
es of women in the 21st century and, of course,
food.
Funds provided by the Arthur E. Guedel Memorial Lectureship Fund.
Photo Credit: Grant Delin
SAMIN NOSRAT IN CONVERSATION WITH
SUN, OCT 13, 2019 @ 7 PM | ROYCE HALL, UCLA
LINDY WEST
Photo Credit: Jenny Jimenez
“[SALT FAT ACID HEAT] IS A
CELEBRATION OF NOSRAT’S FOOD
ETHOS, WHILE ALSO BEING THE
KINDEST, GENTLEST, MOST WARM
AND WELCOMING REBUFF TO
FOOD-PORN EXCLUSIVITY.”
—NEW YORK MAGAZINE
“[LINDY WEST IS] ONE OF THE
MOST DISTINCTIVE VOICES
ADVANCING FEMINIST POLITICS
THROUGH HUMOR.”
—THE NEW YORK TIMES BOOK REVIEW
Art in Action: We kick off our Words &Ideas series in the Royce West
Lobby with a special Pop-Up Recipe Bazaar, Food Writers Library and
a “Women Who Draw” event, inspired by artist Wendy MacNaughton,
the illustrator of Salt, Fat, Acid, Heat.
WORDS & IDEAS 19MAYA BEISER/
WENDY WHELAN/
LUCINDA CHILDS/
DAVID LANG
THE DAY
FRI–SAT, OCT 18–19, 2019 @ 8 PM | ROYCE HALL, UCLA
“A GUT PUNCH . . .
NOTHING SHORT
OF LIFE ITSELF:
BY TURNS HOPEFUL,
FUNNY, SURPRISING
AND TRAGIC.”
—THE NEW YORK TIMES
NightCAP
CAP UCLA Artist Circle members are
invited to join us in a celebratory toast
with the artists after the performances.
20 DANCEPhoto Credit: Nils Schlebusch
D ancer Wendy Whelan, one of the stars of the New York City Ballet, is widely
considered one of the world’s leading ballerinas. Cellist Maya Beiser, a vet-
eran of the world’s most revered stages, has been described as “a force of nature”
by The Boston Globe and a “rock star” by Rolling Stone. Together with iconic modern
dance choreographer Lucinda Childs and Pulitzer Prize-winning composer David
Lang, they have joined forces to create an evocative, bold, highly collaborative new
work entitled THE DAY. A meditation on two journeys—the mortal passage of time,
followed by the eternal, post-mortal voyage of the soul—THE DAY explores universal
themes not easily grappled with—memory, aging, death and the survival of the soul
—through the lens of mundane daily calendar appointments and the visceral, poetic
languages of music and dance.
THE DAY was conceived by Maya Beiser.
THE DAY was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding
from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.
THE DAY was co-commissioned by Théâtre de la Ville, Paris; Carolina Performing Arts at The University of North
Carolina at Chapel Hill; Jacob’s Pillow; The Joyce Theater; UCLA’s Center for the Art of Performance; and was
supported, in part, by the Inaugural Artist Fellowship at The Joyce Theater Foundation’s Artist Residency Center.
Substantial development support was provided by LUMBERYARD Contemporary Performing Arts, with additional
support from Baryshnikov Arts Center.
Funds for the CAP UCLA presentation provided by Deborah Irmas and the Merle & Peter Mullin Endowment for the
Performing Arts.
DANCE 21“AARON NEVILLE HAS A VOICE
MADE TO AGE GRACEFULLY….
NOW 75, THE MAN STILL
SINGS LIKE AN ANGEL WHO’S
SWALLOWED A WAH-WAH
PEDAL.” —NPR
Photo Credit: Sarah A. Friedman
AARON
NEVILLE DUO
SAT, NOV 2, 2019 @ 8 PM | ROYCE HALL, UCLA
G rammy Award-winning American R&B and soul singer Aaron Neville is argu-
ably one the most distinctive vocal stylists on the planet. Performing with
keyboard player Michael Goods, this intimate evening showcases “the other side of
Aaron” with songs from throughout his career, including those that inspired him as a
child and helped influence his more than five-decade long musical journey. Known as
both a solo artist and for his work with The Neville Brothers, his latest album Apache
hails his mixed Choctaw and African-American roots. Touching on the mystic gumbo
of “Yellow Moon” and sheer sweetness of “Everybody Plays the Fool,” patrons will
be privileged to experience a third path never quite heard from Neville before. Don’t
miss this iconic evening of hits, stories and soul from one of the best in the business.
22 ROOTSA ndrew Sean Greer is the Pulitzer
Prize-winning author of six works
of fiction, including the bestsellers The
Confessions of Max Tivoli and Less. Sloane
Crosley is the author of The New York Times
bestselling essay collections I Was Told
There’d Be Cake, How Did You Get This
Number and Look Alive Out There. Both
are gifted storytellers, keen observers of
human nature and masterful with their
use of humor. Reading them makes you
feel like you’ve known them forever. But
there the similarities end. Greer’s wit is
subtle, poignant and gentle. Crosley’s is
loud, brash and thigh-slappingly funny.
She has been described by David Sedaris as
“perfectly, relentlessly funny.” He has been
described by Michael Chabon as “feeling
and funny.” A sort of a literary yin and yang,
their conversation is sure to be both enter-
taining and enlightening.
Photo Credit: Kaliel Roberts
ANDREW
SEAN GREER IN CONVERSATION WITH
SLOANE CROSLEY
SUN, NOV 3, 2019 @ 5 PM | ROYCE HALL, UCLA
Photo Credit: Ungano + Agriodimas
“WRY AND RUEFUL.... QUIRKY
AND LANGUOROUS, [GREER’S]
STYLE BEAUTIFULLY CAPTURES
HIS CHARACTERS’ WISTFUL
SELF-CONSCIOUSNESS.”
—THE SAN FRANCISCO CHRONICLE
“SLOANE CROSLEY HAS A GIFT.
IN A SINGLE PIECE SHE CAN
FIND A WAY TO BE FUNNY,
FAMILIAR, REMOVED AND
GENEROUSLY PERSONAL.”
—THE GLOBE AND MAIL
WORDS & IDEAS 23CAP UCLA IN ASSOCIATION WITH
THE FORD THEATRES PRESENTS
MICHAEL
KEEGAN-DOLAN/
TEAĊ DAMSA
LOCH NA HEALA (SWAN LAKE)
SAT, NOV 9, 2019 @ 8 PM | ROYCE HALL, UCLA
“SWAN LAKE/LOCH NA HEALA IS RAW,
RAUCOUS, REDEMPTIVE, MAJESTIC,
VITAL AND EMPOWERING.” —IRISH TIMES
24 THEATERPhoto Credits: Colm Hogan
F rom the imagination of one of Ireland’s foremost dance
and theatre-makers, Sadler’s Wells Associate Artist
Michael Keegan-Dolan, comes a magical new adaptation of
one of the most famous ballets in the world, Swan Lake. Loosely
based on the traditional tale, this dark comedy version takes
place in the present in a small town in Ireland. Performed by
a company of 14 world-class performers including actor Mikel
Murfi, this new production is interwoven with storytelling, song
and live music. The Dublin-based band Slow Moving Clouds
has created a new score, combining Nordic and Irish traditional
music with minimalist and experimental influences. With
beautiful dancing and powerful imagery, Swan Lake is rooted
NightCAP in the Midlands of Ireland, where ancient mythology and the
CAP UCLA Artist Circle members are invited to
modern world collide.
join us in a celebratory toast with the artists
after the performances.
Funds provided by the Doris Duke Charitable Foundation Endowment Fund.
THEATER 25JOSHUA REDMAN QUARTET WITH THE BAD PLUS SUN, NOV 10, 2019 @ 7 PM | ROYCE HALL, UCLA 26 JAZZ
Photo Credits: (Left) Arne Reimer; (Right) Shervin Lainez
“AT HIS BEST, JOSHUA REDMAN SEEMS A CLASS APART FOR
TECHNIQUE, INVENTION AND ARTISTRY.” —EVENING STANDARD
S axophonist Joshua Redman is one of the most acclaimed and charismatic
jazz artists to have emerged in the decade of the 1990s. The Joshua Redman
Quartet’s newest album, Come What May (March 2019, Nonesuch), marks the
first recording in almost two decades for this group of musicians—the recently
Grammy-nominated saxophonist and his longtime friends and colleagues pianist
Aaron Goldberg, bassist Reuben Rogers and drummer Gregory Hutchinson. The
heavy-hitting quartet evokes a sound that can be challenging, provocative and
forward-looking, but also hard-swinging, melodic and soulful. Redman’s sound links
him directly to the authenticity of jazz from the 50s and 60s while incorporating a
more contemporary approach.
Since its outset, the iconic trio The Bad Plus has dared to be different, challenging
all preconceived notions of jazz. Through a provocative style of arrangements and
compositions they call ‘avant-garde populism’, their unique blend of influences—
ranging from experimental jazz, indie rock, pop and classical music—has earned
them a reputation as one of the most universally well-respected bands in jazz today.
They have constantly searched for rules to break and boundaries to cross, bridging
genres and techniques while exploring the infinite possibilities of three exceptional
musicians working in perfect sync.
JAZZ 27“THE SCALE AT WHICH DAWSON OPERATES
IS SMALL BUT HE THINKS BIG. STANDING
ON A PLATFORM BEHIND A FLAT, SLANTED
AND VELVETY BLACK SURFACE, AND CUED
TO AN EDITED RECORDING, IN JUST UNDER
30 MINUTES HE GUIDED US THROUGH
THE DRAMATIC HIGHS OF ‘DER RING DES
NIBELUNGEN.’ PLACES, CHARACTERS AND
THE SHIFTING OF FOCUS AND SCALE WERE
ALL CONJURED VIA EXPRESSIVELY
DETAILED GESTURE.” —THE TIMES OF LONDON
Art in Action: Discovering the Landscape
In 1969 a new landscape came sharply into view with the historic
moon landing of Apollo 11. We’ll be exploring the 50th anniversary
of this landmark event with special “Art & Science” talks and
hands-on space ship making
ANDREW DAWSON
Photo Credit: Nitin Vadukul
SPACE PANORAMA & THE SPIRIT OF THE RING
THU–FRI, NOV 14–15, 2019 @ 8 PM | SAT NOV 16, 2019 @ 3 PM & 8 PM
SUN, 17, 2019 @ 3 PM | ROYCE REHEARSAL HALL, UCLA
A ndrew Dawson is a dancer, a theater artist, a puppeteer and, most of
all, a storyteller. A student of such 20th century cultural icons as Merce
Cunningham and Jacques Lecoq, Dawson has created his own unique brand of
theater using only the finely tuned gestures of his hands and the expressions of
his face to act out the details of complex narratives. Dawson presents two works
for CAP UCLA audiences—one story of epic fact, the Apollo 11 moon landing, and
one epic story of fiction, the whole of Wagner’s Ring cycle in 30 minutes. Space
Panorama takes us from Houston to the moon and back, conveying the colossal
distances and the risks involved in this perilous journey simply through the deftness
and skilled movement of his hands. In Spirit of the Ring, Dawson embodies a myriad
of characters—the vast Rhine River, the Castle of the Gods and the winged horse of
the Valkyrie—with nothing more than his hands, a brief narrative introduction and
edited orchestral excerpts. You truly have to see this to believe it. We guarantee you
will be both charmed and amazed.
Funds provided by Anne-Marie Spataru.
28 THEATERSERGIO
MENDES
& BEBEL
GILBERTO
SAT, NOV 16, 2019 @ 8 PM | ROYCE HALL, UCLA
“[SERGIO MENDES IS] THE MAN WHO PUT GO-
GO BOOTS ON BRAZILIAN MUSIC AND BROUGHT
IT TO THE WORLD.” —BILLBOARD
“BEBEL GILBERTO HAS CARVED HER OWN
DISTINCT NICHE [WHILE STAYING] TRUE TO
HER ROOTS, SHE STAUNCHLY REFUSES TO BE
PINNED DOWN TO ONE GENRE, MUCH LESS
ONE CONTINENT.” —THE ADELAIDE REVIEW
T he legendary Sergio Mendes is one of
the most internationally successful
Brazilian artists of all time. A triple Grammy
winner and one of the prime architects of
the bossa nova revolution in the 1960s, he
came to international stardom with his iconic
band Brasil ’66. World renowned singer-song-
writer Bebel Gilberto has been enchanting
fans and critics worldwide since her solo
debut release in 1986. She belongs to a family
that is considered musical royalty in Brazil—
her father, João Gilberto, is one of the most
iconic figures of Brazilian music and one of
the creators of bossa nova and her mother is
the famous singer Miúcha. These two legend-
ary Brazilian powerhouses come together at
Royce Hall to present a memorable evening
of new work and old favorites.
Funds provided by The Evelyn and Mo Ostin Endowment for
the Performing Arts and the José Luis Nazar Endowment
for the Performing Arts.
Art in Action: Hearing beyond Listening: Join us for a special Lis-
tening Lab and dance party featuring the many sounds of Brazil.
GLOBAL 29AVERY*SUNSHINE
SAT, NOV 23, 2019 @ 8 PM | THE THEATRE AT ACE HOTEL
“A FORCE TO BE RECKONED WITH, [AVERY*SUNSHINE] SHOWCASES
HER EMOTIONS THROUGH NUANCED VOCAL PERFORMANCES, SELLING
HER ARTISTRY WITH THE UTMOST CONSISTENCY.” —POPMATTERS
I
n a genre that is inundated with singers,
AVERY*Sunshine has forged a career by
staying true to her musical vision. Fluent
in many languages from soul and house
to jazz and hip hop, she expresses herself
with a voice that speaks boldly and tells a
uniquely familiar story—a story about love
and loss, healing and finding the newness
of oneself in the midst of it all. Her reper-
toire features soulful, in-the-pocket
R&B grooves, sublime ballads, exquisite
arrangements with lush orchestration
and exuberant, life-affirming gospel. The
Atlanta-based singer/songwriter’s no-holds-
barred signature sound has also garnered
her acclaim from such pop luminaries as
Patti LaBelle, Berry Gordy and Boy George.
Career milestones include opening for
Babyface at Madison Square Garden, per-
forming for Smokey Robinson at his Rock
‘n Roll Hall of Fame tribute and taking the
stage twice with the Queen of Soul, Aretha
Franklin. Sunshine is joined by her musical
partner (and husband) Dana Johnson, a
classically-trained guitarist, gifted lyricist,
producer and the man behind the tracks.
Funds provided by the Kevin Jeske Young Artists Fund
with additional support from The Theatre at Ace Hotel.
Photo Credit: Derek Blanks
30 ROOTSBILL
FRISELL
& JULIAN
LAGE
DUO
THU, DEC 5, 2019 @ 8 PM
ROYCE HALL, UCLA
D escribed as being at “the very epi-
center of modern American Music”
by the BBC, Bill Frisell’s career as a guitarist
“IT’S HARD TO FIND A MORE and composer has spanned more than 40
FRUITFUL MEDITATION ON years and 300 recordings, including 40 of
AMERICAN MUSIC THAN his own. Frisell’s output spans a wide range
of musical expression, from his earliest
IN THE COMPOSITIONS OF incarnation as part of the avant rock super-
GUITARIST BILL FRISELL.” group Naked City, with John Zorn, Fred Frith,
—THE NEW YORK TIMES Wayne Horvitz and Joey Baron; to original
Photo Credit: Monica Jane Frisell Buster Keaton film scores; arrangements for
extended ensembles with horns and strings;
collaborations with Nashville musicians;
a collection of traditional American folk
songs; and two trio albums—one with jazz
legends Dave Holland and Elvin Jones, the
other with Ron Carter and Paul Motian.
Julian Lage is one of the most prodigious
guitarists of his generation and has long
displayed an ability to explore a wide range
of sounds, ideas and genres since he first
appeared with vibraphonist Gary Burton’s
band at age 16. Since then, he has more
than fulfilled the promise of his youth,
collaborating with a diverse range of artists,
including guitarist/singer Chris Eldridge of
Punch Brothers, bassist Steve Swallow and
the iconic avant-garde composer John Zorn;
“THERE’S A DISARMING as well as with the house band on Live From
SPIRIT OF GENEROSITY IN Here; and composing for and fronting this
THE MUSICIANSHIP OF JULIAN own trio. This meeting of the minds of two
LAGE... HE HAS SPENT MOST guitar masters promises to be a night to
remember.
OF HIS LIFE BATHED IN A
BRIGHT, EXPECTANT LIGHT.”
—THE NEW YORK TIMES
Photo Credit: Nathan West
ROOTS 31BILL MORRISON
DAWSON CITY:
FROZEN TIME LIVE!
COMPOSED BY ALEX SOMERS;
LIVE MUSIC PERFORMED BY WILD UP
FRI, DEC 6, 2019 @ 8 PM | THE THEATRE AT ACE HOTEL
“AN INSTANTANEOUSLY
RECOGNIZABLE MASTERPIECE.”
–THE NEW YORK TIMES
32 SPECIAL EVENTPhotos Courtesy of the Artist
A hallucinatory cinematic fever dream, Dawson City:
Frozen Time tells the bizarre true story of some 533
silent film reels, dating from the 1910s and 20s, that accu-
mulated at the end of a film distribution line in northwestern
Canada and which were miraculously discovered some 50 years
later, in 1978, buried in a sub-arctic swimming pool, deep in
the Yukon permafrost. Filmmaker Bill Morrison (Decasia, The
Miners’ Hymns, The Great Flood) deftly combines excerpts from
this remarkable collection with historical footage, photographs,
and original interviews, to explore the complicated history of
Dawson City, a Canadian Gold Rush town founded across the
river from a First Nation hunting camp, and then traces how
the development of that town both reflected and influenced
the evolution of modern Cinema. Combined with a powerful,
evocative score by Alex Somers (Captain Fantastic; Hale County
This Morning, This Evening; Honey Boy), Dawson City: Frozen
Art in Action: Time is a triumphant work of art that spins the life cycle of a
LA Omnibus: The Archeology of Film singular film collection into a breath-taking history of the 20th
Join us in the lobby before the show for a look century. This film presentation will be accompanied by a live
at how some of the world’s greatest silent film-
performance of the score by L.A.’s contemporary ensemble
makers and photographers defined California.
Wild Up and a girls choir from the National Children’s Chorus.
NightCAP
CAP UCLA Artist Circle members are invited to Funds provided by The Andrew W. Mellon Foundation multi-year grant
for Collaborative Intersections in the Visual and Performing Arts with
join us in a celebratory toast with the artists additional support from The Theatre at Ace Hotel.
after the performances.
SPECIAL EVENT 33DEJOHNETTE/ COLTRANE/ GARRISON SAT, DEC 7, 2019 @ 8 PM | ROYCE HALL, UCLA 34 JAZZ
Photo Credit: Peter Gannushkin
“DRUMMER AND JAZZ LEGEND JACK DEJOHNETTE PAIRS UP
WITH SAXOPHONIST RAVI COLTRANE AND BASSIST (AND
ELECTRONICS WHIZ) MATTHEW GARRISON, TO SPELLBINDING
AND HAUNTING RESULTS.” —PITCHFORK
I n a career that spans five decades and includes collaborations with some of the
most iconic figures in modern jazz, NEA Jazz Master and Grammy winner Jack
DeJohnette has established an unchallenged reputation as one of the greatest
drummers in the history of the genre. Along the way, he has developed a versatility
that allows room for hard bop, R&B, world music, avant-garde and just about every
other style to emerge in the past half-century. Twenty years ago, DeJohnette brought
saxophonist Ravi Coltrane and bassist Matthew Garrison together for the first time
to perform the music of John Coltrane at The Brooklyn Museum. This historically
significant configuration was reborn in 2016 and has been touring ever since.
Representing the prestigious lineage of today’s great jazz families, DeJohnette/
Coltrane/Garrison explores open improvisation as well as their own compositions.
JAZZ 35FRANK BRUNI IN CONVERSATION WITH SARAH SMARSH SUN, DEC 8, 2019 @ 5 PM | ROYCE HALL, UCLA “I THINK WHAT WE JOURNALISTS TOO OFTEN DO IS ASSUME THE STATUS QUO IS UNCHANGEABLE. I THINK ALL SORTS OF ISSUES OF POLITICAL REFORM [AND] ELEC- TORAL REFORM NEED MORE DISCUSSION THAN THEY GET.” —FRANK BRUNI 36 WORDS & IDEAS
“TO FIND A MORE ACCURATE VISION OF THESE UNITED STATES,
WE MUST RESIST PAT NARRATIVES ABOUT ANY GROUP—
INCLUDING THE WORKING CLASS ON WHOM OUR CURRENT
POLITICAL SITUATION IS MOST OFTEN PINNED.” —SARAH SMARSH
F rank Bruni is a long-time Op-Ed columnist for The New York Times. He joined
the newspaper in 1995 and has ranged broadly across its pages—from being a
White House correspondent to writing as the chief restaurant critic. In his columns,
he reflects on diverse topics including American politics, higher education, popular
culture and gay rights. Sarah Smarsh is an author, educator, speaker and journalist
who focuses on socioeconomic class and rural America. Her book Heartland: A
Memoir of Working Hard and Being Broke in the Richest Country on Earth examines
historic economic inequality and tells the story of her upbringing among the working
poor on a Kansas farm. Together, they will discuss recent events and issues facing
voters in the upcoming elections.
WORDS & IDEAS 37ORANGE IS THE NEW BLACK’S
LEA DELARIA
IN CONCERT
SAT, JAN 18, 2020 @ 8 PM | THE THEATRE AT ACE HOTEL
“(DELARIA) SWINGS HARD, AND SCATS AND BENDS NOTES IN A
STYLE THAT SUGGESTS A NO-FRILLS BETTY CARTER ON STEROIDS.”
—THE NEW YORK TIMES
T he much-loved and outspoken
actress, comedian and gay icon
Lea DeLaria seems to have achieved over-
night stardom with her three-time, SAG
Award-winning, stand-out role as Carrie
“Big Boo” Black in the Netflix hit series
Orange is the New Black. However, her
multi-faceted career has, in fact, spanned
decades. An Obie & Theater World Award
winner and Drama Desk nominee for
her portrayal as Hildy in the Public Theatre’s
2014 revival of On The Town, DeLaria has
also appeared in the television series The
Code and is the first openly gay comic
to perform on television in America. She
was also the featured vocalist at the 50th
Anniversary of the Newport Jazz Festival,
and has performed in some of the most
prestigious houses in the world including
Carnegie Hall, Lincoln Center, the Chicago
Symphony, Hollywood Bowl, The Royal
Albert Hall and the Sydney Opera House.
With a performance style described as
“loud and brassy,” DeLaria brings her
high energy genius to The Theatre at Ace
Hotel to perform hits from her latest album
House of David: delaria+bowie=jazz. With
her velvet-smooth voice contrasting per-
fectly with a razor-sharp wit and sassy
stage presence, DeLaria promises to deliver.
Additional support from The Theatre at Ace Hotel.
Photo Credit: Tina Turnbow
38 SPECIAL EVENTBUIKA
SAT, JAN 25, 2020 @ 8 PM | THE THEATRE AT ACE HOTEL
“THOUGH COMPARED TO NINA SIMONE, BILLIE HOLIDAY AND EDITH PIAF, [BUIKA]
SOUNDS LIKE NO ONE BUT HERSELF.” —LOS ANGELES TIMES
L atin Grammy winner and two-time Grammy nominee, BUIKA is a critically
acclaimed flamenco-fusion vocalist from Spain. The daughter of political
refugees from Equatorial Guinea, she is part of a new generation of performers
who are combining classic flamenco with jazz, soul and dance rhythms. With a
voice that has been described as “sultry,” “sonorous” and “achingly beautiful,” she
knows no boundaries when it comes to language or geography and has recorded
tracks in English, French, Portuguese, Farsi, Italian and Armenian. Her World Tour
2020 will showcase BUIKA’s all-female band performing a new repertoire of styles
that include a deep sound of jazz meets reggae, world music, soul, R&B and funk—
all meticulously chosen and flavored with her profound flamenco accent.
Additional support from The Theatre at Ace Hotel.
GLOBAL 39PIPER KERMAN IN CONVERSATION WITH RACHEL KUSHNER THU, JAN 30, 2020 @ 8 PM | ROYCE HALL, UCLA “[ORANGE IS THE NEW BLACK ] IS IMPOSSIBLE TO PUT DOWN BECAUSE SHE COULD BE YOU. OR YOUR BEST FRIEND. OR YOUR DAUGHTER.” —LOS ANGELES TIMES Photo Credit: Michael Oppenheim Art in Action: Watch our website for information on collaborations with our campus and community partners focusing on developments in prison reform and criminal justice. 40 WORDS & IDEAS
P
iper Kerman
Photo Credit: Chloe Aftel
got mixed up in
a drug trafficking and
money laundering
operation soon after
graduating from
college in 1992. She
moved to San Fran-
cisco to start a new
life, but in 2003 she
was sentenced to 15
months in federal prison for her past crimes.
There she experienced firsthand the deep
injustice undergirding the criminal justice
system—particularly as related to people of
color—as well as the resilient community
of incarcerated women. Her experiences
behind bars inspired the 2010 bestselling
memoir, Orange Is the New Black which was
later turned into the Emmy Award-winning
Netflix series of the same name. Since her
release, Kerman has been a fierce advocate
for criminal justice reform. Kerman and
Kushner will discuss the challenges faced by
incarcerated women and the very serious
need for prison reform in America.
R achel Kushner
is among Am-
erica’s most exciting
writers. Her novels
and essays explore
contemporary art,
culture, revolutionary
politics, modernism
and feminism with
unmatched wisdom
and grace. Her most
recent work, The Mars Room, is an intense,
“[THE MARS ROOM IS] A MAJOR NOVEL, unforgettable and heartbreaking story
set in a Californian women’s prison. The
A SUSTAINED PERFORMANCE, ONE novel delivers a necessary critique of the
judicial system and an attack on the prison-
THAT BROODS ON SEVERAL EXIGENT industrial complex. Kushner has crafted a
IDEAS.” —THE NEW YORK TIMES holistic depiction of who gets wrapped up in
incarceration—families, lawyers, police and
prisoners—written with a skilled voice that
is filled with pathos, love and humanity.
Funds provided by the George C. Perkins Fund.
WORDS & IDEAS 41You can also read
