Tag Archives: Royce Hall

ON LINCOLN

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“If destruction be our lot, we must ourselves be its author and finisher. As a nation of freemen, we must live through all time, or die by suicide.” — Abraham Lincoln

Tony Kushner (Angels in America and the screenplay for Lincoln) and Sarah Vowell (Assassination Vacation) will examine the life and legacy of Abraham Lincoln this week at Royce Hall.

 

 

TONY KUSHNER AND SARAH VOWELL IN CONVERSATION

THE LINCOLN LEGACY—THE MAN AND HIS PRESIDENCY, Thursday, February 22, at 8 pm.

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

ucla.edu/kushner_vowell

Gloria Reuben, Sally Field, and Daniel Day-Lewis in Lincoln (2012). Image credit: DreamWorks.

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ZADIE SMITH

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“Cities are full of all kinds of people. Some of them watch ISIS videos all day long. Others read conspiracy blogs and hate-filled online screeds. Such material acts as a screen between citizen and reality; it functions like virtual-reality headsets. You slip them on and they allow you to walk into a Charleston church and see only ‘scum,’ or drive along a downtown bike lane and see only ‘scum.’ We can tighten visa laws and build our walls, but they will be poor defense against such ideologies, which are free-floating and borderless and whose goggles can be worn by anyone. Most of the terror attacks in America have been committed by Americans. (Some of the most terrifying have been committed by gun-toting Americans with no obvious ideological commitments at all, employing a different kind of mask between citizen and reality: narcissism.) It’s amazing what a narrative can make someone do. We cannot give up on offering alternative stories. Here’s one about the people of New York: we are not scum. We are every variety of human. Some of us voted for a government that caused the destruction of cities far away. Some of us didn’t. Some of us are dopers and junkies. Some of us are preschool teachers and nuns. None of us deserve to be killed in the street. We are a multiplicity of humans in an elastic social arrangement that can be stretched in many directions. It’s not broken yet. I have no idea if it will break soon—but it’s not broken yet. And here comes the rain, clearing the streets, for an hour maybe, even for a whole afternoon. We’ll be back out tomorrow.”

Zadie Smith, last paragraph of “Under the Banner of New York”—New York Review of Books, November 4, 2017—written in response to the October, 2017 truck-attack in Lower Manhattan. Smith—joined in conversation by Michael Chabon—takes the stage at Royce Hall this week.

 

ZADIE SMITH and MICHAEL CHABON—A CONVERSATION, Thursday, November 30, at 8 pm.

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

cap.ucla.edu/calendar/details/zadiesmith_michaelchabon

Zadie Smith.

Zadie

 

WILLIAM KENTRIDGE — REFUSE THE HOUR

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This weekend, artist-filmmaker-stage designer-provocateur William Kentridge brings his chamber opera REFUSE THE HOUR to Royce Hall for two performances.

Both a five-channel video installation for Documenta 2012, and a live music piece for the Festival d’Avignon that same year, REFUSE THE HOUR—narrated by Kentridge and composed by his longtime collaborator Philip Miller—begins with the myth of Perseus and ends with the discoveries of Albert Einstein. Indeed, REFUSE THE HOUR, “wittingly or not, comes off like a comic pendant to [the] vast and somber masterpiece” Einstein on the Beach.*

With choreography by dancer and choreographer Dada Masilo, video design by Catherine Meyburgh, and dramaturgy by science historian and physicist Peter Galison, REFUSE THE HOUR takes its audience “on an elliptical journey to the outer edges of science, theater and art that is both playful and profound.”**

 

WILLIAM KENTRIDGE—REFUSE THE HOUR, Friday and Saturday, November 17 and 18, at 8 pm.

ROYCE HALL, 10745 Dickson Court, UCLA.

**cap.ucla.edu/calendar/details/refuse_the_hour

*sfchronicle.com/music/article/Exuberant-Refuse-the-Hour-celebrates-time

Dancer–choreographer Dada Masilo in Refuse the Hour, a chamber opera by William Kentridge and Philip Miller.

Photograph by John Hodgkiss. Image credit: Brooklyn Academy of Music.

Dancer–choreographer Dada Masilo in Refuse the Hour, by William Kentridge and Philip Miller, Brooklyn Academy of Music Image credit: BAM

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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JONAH BOKAER

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James McGill and Wendell Gray II in Rules of the Game. Photograph by Yi-Chun Wu

James McGinn and Wendell Gray II in Rules of the Game. Photograph by Yi-Chun Wu

Choreographer–dancer Jonah Bokaer brings three of his works to Los Angeles this weekend, all in collaboration with artist and designer Daniel Arsham: Recess (2010), Why Patterns (2011), and a new piece—Rules of the Game—with an original score by Pharrell Williams, his first for live dance and theater (arranged and co-composed by David Campbell).

RULES OF THE GAME, presented by the Center for the Art of Performance, Friday, February 10 at 8 pm.

Royce Hall, UCLA.