Tag Archives: Center for the Art of Performance at UCLA (CAP UCLA)

ATE9 AND GLENN KOTCHE AT ROYCE HALL

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“We need to gamble way more than we do—in dance and in life. With time and age we gamble less and less—less with our money, less with our hearts, because we’ve known pain. With improvisation you seek out pleasure, and with that comes discovery. And often what you discover is what you don’t know. There is a great freedom in feeling that you don’t know everything. I keep a very nice percentage of not knowing in my life.” — Danielle Agami*

The “Glenn” in CALLING GLENN—a new work choreographed by Agami and performed by her troupe Ate9—is Wilco percussionist Glenn Kotche, who will accompany the troupe’s performance of the piece this weekend at UCLA.

ATE NINE—CALLING GLENN

Saturday, November 11, at 8 pm.

Royce Hall

10745 Dickson Court, UCLA.

AteNine

Ate9, Calling Glenn, photographs by Cheryl Mann Productions.

JASON MORAN’S MONK AT TOWN HALL

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On Friday night, in celebration of Thelonious Monk’s centenary, CAP UCLA presents pianist JASON MORAN—IN MY MIND, MONK AT TOWN HALL 1959.
This multimedia project brings Moran’s group Big Bandwagon—Jason Moran, (piano), Wallace Roney II (trumpet), Immanuel Wilkins (alto sax), Walter Smith III (tenor sax), Frank Lacy (trombone), Bob Stewart (tuba), Tarus Mateen (bass), Nasheet Waits (drums)—to the ornate Theatre at Ace Hotel in downtown L.A.
In addition to virtuoso performances of Monk’s music, IN MY MIND combines documentary recordings of Monk’s rehearsals at photographer W. Eugene Smith’s downtown loft, artwork by Glenn Ligon, sampling and mixing, and archival visual material brought to life by videographer David Dempewolf.
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JASON MORAN—IN MY MIND, MONK AT TOWN HALL 1959, Friday, November 10. at 8 pm.
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THE THEATRE AT ACE HOTEL, 929 South Broadway, downtown Los Angeles.
Thelonious Monk.
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thelonious-monk

THÉÂTRE DE LA VILLE AT UCLA

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It’s an active week in Los Angeles for international theater of resistance. In addition to Redcat’s presentation of Mateluna, CAP UCLA is bringing in the THÉÂTRE DE LA VILLE production of Albert Camus’ L’ETAT DE SIÈGE for two nights.

Camus’ piece—an allegory about authoritarian corruption, with original mise en scène by Jean-Louis Barrault—was originally staged in 1948. This new production, directed by Emmanuel Demarcy-Mota, will complete its current U.S. tour at the Brooklyn Academy of Music next month.

 

THÉÂTRE DE LA VILLE—L’ETAT DE SIÈGE / THE STATE OF SIEGE, Thursday and Friday, October 26 and 27, at 8 pm.

ROYCE HALL, 10745 Dickson Court, UCLA, Los Angeles.

cap.ucla.edu/calendar/details/state_of_siege_fri

From top: Jean-Louis Barrault, Maria Casarès, and Albert Camus in 1948; Théâtre de la ville production of L’état de siège/The State of Siege, by Albert Camus. Théâtre de la ville image credit: France Inter.

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Théâtre de la ville's production of Albert Camus' L'état de Siège/The State of Siege. Image crdit: France Inter

 

HELEN LAWRENCE AT ROYCE HALL

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The artist and professor Stan Douglas explicates our postmodern condition—our crossed lines of narrative in a post-metanarrative age—for his students at Art Center College of Design, and for the rest of us in works like his multi-channel video installation The Secret Agent (2016).

In 2014 Douglas—in collaboration with writer Chris Haddock and Canadian Stage—created Helen Lawrence, a postwar, film noir piece set in The Old Hotel and Hogan’s Alley in Vancouver. “Performing live on a stage that functions as a giant blue screen, Helen Lawrence’s cast of twelve are filmed and transported into 3-D environments, the combined elements virtual and real then projected on a transparent screen hanging in front of them.”*

The Los Angeles premiere of Helen Lawrence takes place this weekend in a CAP UCLA production directed by Douglas.

 

HELEN LAWRENCE, Friday and Saturday, October 13 and 14, at 8 pm.

ROYCE HALL, UCLA, Los Angeles.

cap.ucla.edu/calendar/details/helen_lawrence2

J. Kelly Nestruck, Helen Lawrence review, The Globe and Mail, October 20, 2014.

Crystal Balint and Allan Louis in a Toronto production of Helen Lawrence. Photograph by David Cooper.

David Cooper

 

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KAREN SHERMAN’S SOFT GOODS

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“As a stagehand you sit in the dark for many, many long hours. You wear black all the time, like you are perpetually at a funeral. You are not supposed to be seen. You are not supposed to be heard. Your skill set can sometimes resemble your suffering, your isolation.” — Karen Sherman*

Sherman—a dancer, choreographer, artist, writer, and stagehand—understands the tensions between backstage workers and the performers they support, and the dark space proximate to but excluded from the spotlight.

This sense of erasure informs Sherman’s dance/theater piece SOFT GOODS—presented this weekend by CAP UCLA—”an examination of the lives lived backstage, the lonesomeness of theaters, the spectral beauty of a lighting focus, the choreography of labor, and the labor of dance.”**

 

KAREN SHERMAN—SOFT GOODS, Saturday, October 7, at 8 pm.

FREUD PLAYHOUSE, MACGOWAN HALL, UCLA, Los Angeles.

*  mprnews.org/story/2016/12/06/soft-goods-turns-dance-spotlight-backstage-karen-sherman

**  cp.ucla.edu/calendar/details/karen_sherman

Karen Sherman (light gray shirt, facing camera), Soft Goods. Photographs by Euan Kerr. Image credit: MPR.

The cast for "Soft Goods"

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Karen Sherman, Soft Goods Photograph by Euan Kerr Image credit: MPR