October 31 - November 22, 2015 Los Angeles, CA

Music by Veronika Krausas, Marc Lowenstein, Andrew McIntosh, Andrew Norman, Ellen Reid, David Rosenboom.
Text by Tom Jacobson, Mandy Kahn, Sarah LaBrie, Jane Stephens Rosenthal, Janine Salinas Schoenberg, Erin Young
Concept and Direction by Yuval Sharon
Produced by The Industry

From the LA River to the Bradbury Building, from rooftops to abandoned parking lots, from inside an Airstream to the back of a limousine zooming through the unsuspecting city streets, The Industry’s audacious mobile opera Hopscotch took Los Angeles by storm in Fall 2015.

With 24 cars, 126 diverse artists, 6 composers, 6 writers, and 1 unique architectural space where the entire piece was streamed for free, Hopscotch was a once-in-a-lifetime event.

An expansive recording of Hopscotch, now available on The Industry Records, showcases the diverse range of musical and theatrical ideas at the heart of the original production. The accompanying “Music of Hopscotch” concert, performed as part of USC’s Visions & Voices program in Newman Recital Hall January 2017, was a celebration of the contributions of the six composers while putting them in the context of the larger-scale narrative. This concert was preceded by an informative panel discussion of the creation and implementation of Hopscotch as well as reactions to the groundbreaking endeavor.


Creative Team

  • Production Designer Jason H. Thompson
  • Costume Designers Ann Closs-Farley, Kate Bergh
  • Choreographers Danielle Agami, Artistic Director, Ate9 dANCE cOMPANY
  • Dramaturg Josh Raab
  • Executive Producer Elizabeth Cline
Click here for a full list of credits

Leadership Support for the production of Hopscotch comes from the Aileen Getty Foundation, Kiki and David Gindler, and the Lenore S. and Bernard A. Greenberg Foundation. The music of Hopscotch is commissioned by Elizabeth and Justus Schlichting. Yuval Sharon’s “Director’s Chair” is underwritten by Stephen Block, Leslie Lassiter, and Raulee Marcus.


Awe-inspiring. One of the more complicated operatic enterprises to have been attempted since Richard Wagner staged The Ring of the Nibelung in 1876. Hopscotch triumphantly escapes the genteel, fenced-off zone where opera is supposed to reside.

A defamiliarizing and ultimately haunting journey through the cityscape. With fantastical dream sequences and arias that describe the existence of parallel universes, Hopscotch is less a traditional plot than a trippy exploration of time and memory.

Breathtaking. A glorious patchwork portrait of Los Angeles, Hopscotch could be the future of the genre. Immersive, surprising, and decidedly modern.

Hopscotch may be referred to years from now as the project that redefined opera for the early 21st century. The overwhelming impact and uniqueness of Hopscotch leaves you awestruck.

An incredibly intimate and yet infinitely vast experience. Unquestionably meaty in concept, thought provoking in themes and sonics and gargantuan in logistical execution.

After Invisible Cities, I should have known I was in for something challenging, innovative, complex, and epic. I had no idea. Hopscotch fractures everything you think you know about opera, and forces you to stretch your brain.

The most intimate opera performance I’d ever experienced. Hopscotch gives Los Angeles a starring role.

One of the most comprehensive, expansive and poetic reflections of life in Los Angeles that I’ve ever seen. To experience it is to travel in both actual and fragmented time. To experience feelings of both bewilderment and belonging. To momentarily find a center in a place that will defiantly forever be more of a montage than a snapshot.

A theatrical experience that defies description and will blow your mind.

A masterpiece of logistics and a remarkable fusion of variety and consistency. Hopscotch has broken the fourth wall with a vengeance, not merely freeing opera from the opera house, but making its heightened expression the sound of real, everyday and inner life.

One of the most audacious cultural events of the year.

L.A.’s most anticipated new opera takes place in cars — of course.

Site-specific performance at its best. Inspired, massive, complicated, and magical.