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Check Out Luke Rothschild’s Story

Today we’d like to introduce you to Luke Rothschild.

Hi Luke, we’d love for you to start by introducing yourself.
I’m a composer and performer and collaborative multi-instrumentalist musician. I’ve had the great fortune to find like-minded creative humans with whom to collaborate on my journey to, and in, Los Angeles. My wife Holly and I started our performance ensemble String Theory two decades ago, and we combine giant architectural long-string installations with original music, choreography/dance, and projections to create an immersive performance environment.

I’m from the Boston suburbs and ended up going to high school at a small private arts school called Walnut Hill. The existent ethos on campus was really a formative environment for me. I focused on painting and drawing and really stretched to grow as fast and fully as my fantastic teachers and mentors were able to help me realize. That discipline followed with me to The School of The Art Institute of Chicago where I continued with painting and drawing and then expanded out into printmaking, photo extensions & manipulations, and also sonic sculpture. All along from my mid-teens, I’d been playing music as well, and now as SAIC, the musical and fine art forms began to merge. Some friends and I began exploring new ways to perform live music with invented and experimental instruments and also incorporating different immersive mediums like dance and projections into the mix. Eventually, after years of growth and permutations, String Theory emerged from that process.

Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
The creative path seems to be a circuitous one… I know it has been for me, and I’ve heard this from many of my talented friends and collaborators. The Gig Economy existed for us before this term was coined, and I think one of the persistent challenges in the creative fields is to get people to pay you well for the work you do. We are grateful for the corporate work we get, in balance with the more artistically fulfilling works we are able to mount and self-produce. But again, I think a continuing challenge is to be able find well-remunerated work that is also creatively fulfilling. And especially since the pandemic landed and really created a huge headwind to continuing the live performing arts work we do.

Thanks – so what else should our readers know about your work and what you’re currently focused on?
With String Theory, the performance ensemble my wife Holly and I founded 20 years ago, I have the creative privilege to collaborate with many amazing musicians, dancers and artists. String Theory is a hybrid performance ensemble combining signature architectural harp installations, original music, dance, and projections. It is String Theory’s mission to continue to transfix audiences in the US and abroad with long-string harp installations where architecture is transformed into giant musical instruments, spaces become resonators, and audiences are enveloped in an expansive site-specific canopy of golden musical brass wire and sound. Rock, classical, and cutting-edge digital styles converge in a lush and compelling soundtrack supporting kinetic contemporary movement, with stunning costumes and projections, creating an immersive multi-sensory environment. Holly is lauded choreographer and adds stunning theatrical imagery and movement to the performances. There are many diverse performers and writers that bring their impressive quiver of talents to the group. String Theory collaborates on dance and theater scores and produces music for film and TV. I am honored to be a Sundance Composer alum and bring this experience to the group as well. It’s a privilege to be able to work with such talented and inspiring artists to create disciplinary work in Los Angeles and abroad.

I am also really thrilled to be working on an incredible film that explores sustainable farming and regenerative agriculture. I’m writing and recording the full score for a feature documentary called Feeding Tomorrow, being produced and directed by Common Table Creative. This in depth look at the challenges and strategies to transition to a sustainable system of agriculture is super inspiring, and the subjects of the doc are introduced with vibrant clarity by brother directors Oliver English and Simon English. The film should be finished by the end of 2021 and hoping for wide distribution in 2022.

Where we are in life is often partly because of others. Who/what else deserves credit for how your story turned out?
Well, my first shout-out would go directly to my wife and creative partner Holly Rothschild. She is an amazingly talented choreographer and creative thinker, combining a keen mind for set design, costume design and an ear for music supervision. She also is constantly pushing to create new work and new collaborations, and her energy in this direction has had a huge impact on not only our business model but the breadth of creative work that has been achieved by the group as a whole.

Also, I feel amazingly fortunate to have been able to connect with, and develop deep creative ties to our performance ensemble of musicians and dancers. It truly is a family of exceedingly talented performers and creators that orbit through our sphere of productions and creative endeavors. I love and respect these people deeply:

Robert Amjärv, Julie Pusch, Danny Moynahan, Gavin Salmon, Vivek Maddala, Stuart Johnson, David Ralicke, Drea Sobke, Lavinia Findikoglu, Alexa Kershner, Genevieve Carson Baker, Carrisa Songhorian, among others.

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