On the same week that a court filing showed that construction on President Trump’s hotly contested triumphal arch could begin as soon as Nov. 5, another less reported development pointed to the possibility that the government might be misrepresenting its plans for Trump’s National Garden of American Heroes in West Potomac Park.
On Monday, the National Park Service held a meeting about a proposed redesign to the park, which is part of the National Mall and also where Trump wants to put his Garden of Heroes featuring more than 250 statues ranging from Humphrey Bogart to Kobe Bryant to Benjamin Franklin. Trump first proposed the idea in 2020, but it wasn’t until his second term — when he began a crusade to remake much of Washington, D.C.’s historic core according to his own predilections — that the plan looked as if it might manifest. The One Big Beautiful Bill Act even appropriated $40 million for the project.
The Garden of Heroes has remained largely in the background while preservationists focused on the demolition of the White House East Wing and the construction of a massive ballroom in its place, as well as the botched painting of the Reflecting Pool, and, of course, the gigantic triumphal arch.
But Monday’s NPS meeting about plans for West Potomac Park rang alarm bells for some when Judy Chesser, chair of the nonprofit conservation and preservation group the Committee of 100 on the Federal City, asked, “How does this relate to the Garden of Heroes that is being discussed in West Potomac?” to which the NPS spokesperson replied, “This is just an update to the tidal basin master plan we started before. This is not the Garden of Heroes.”
However, the Washington, D.C.-based education and advocacy organization Cultural Landscape Foundation noted that the rendering in NPS’ presentation and the illustrated “Pledge Agreement” from the National Garden of American Heroes Foundation contain similarities that “go way beyond coincidental.”
“Each includes a great lawn, a giant oval/circle, an amphitheater, a fountain, and a staircase to the Potomac River,” Charles A. Birnbaum, founding president and chief executive of the foundation, wrote in an email.
“In addition, the new design shown Monday amputates part of the FDR Memorial to accommodate the Oval. This is intentional. Clearly the Oval is meant to host something else or it would be re-scaled so as not to interfere with the FDR Memorial,” the email continued.
If this is the case, the strategy of downplaying or downright denying an intention to work on a Trump-backed project is eerily reminiscent of the strategy government lawyers used in a recent, highly publicized court battle over the removal of dozens of trees from a golf course that Trump is trying to transform into a premiere golfing destination.
In that instance lawyers repeatedly said there were no plans to renovate the golf course (thus preventing U.S. District Judge Ana Reyes from issuing an injunction against said renovations), only to chop down hundreds of trees on the course with no notice over a holiday weekend. Reyes was irate and sources familiar with the feud say that the judge expects the case to go all the way to the Supreme Court.
Meanwhile, as of 2 p.m. PDT, Thursday, opponents of Trump’s arch have filed a motion for an injunction on the possible Nov. 5 construction, arguing that Congress needs to approve any plan moving forward. This head-snapping whirlwind of motions and counter motions is expected by critics to continue to be the norm as Trump tries to push through as many of his D.C.-based renovations as possible before a new Congress is seated in January.
“What better way to celebrate the nation’s 250th anniversary than to shut down the legally required review process, ignore some 100,000 negative public comments, and fast track the construction of a bloated and deeply unpopular monument that the president claims is for him,” wrote the Landscape Foundation’s Birnbaum in a statement about the arch.
I’m Arts editor Jessica Gelt pitching preservationists for my personal garden of heroes. This is your arts and culture news for the week.
The week ahead: A curated calendar
FRIDAY
American Sound Takes Flight
MUSE/IQUE explores the nation’s music from Aaron Copland to Paul Simon in a concert setting infused with storytelling and cultural context. Featuring Brandon Victor Dixon, Liv Redpath and the MUSE/IQUE Orchestra, led by Artistic and Music Director Rachael Worby.
7:30 p.m. Friday, 2:30 and 7:30 p.m. Saturday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Bach to Broadway
The 31st annual concert, featuring Pueri Cantores SGV, the St. Andrew School Choir, Los Angeles Children’s Chorus and members of the L.A. Opera and L.A. Master Chorale benefits the restoration of historic St. Andrew Church.
7:30 p.m. St. Andrew Church, 311 N. Raymond Ave., Pasadena. saintandrewpasadena.org
Ballet Festival: Jerome Robbins at the Ahmanson Theatre
(Steven Pisano / The Joyce Theater Foundation)
Ballet Festival: Jerome Robbins
Three programs of the choreographer’s masterworks, curated by New York City Ballet principal dancer Tiler Peck, with dancers from New York City Ballet, Paris Opera Ballet and other major companies performing to live chamber music
7:30 p.m. Friday, 7:30 p.m. Saturday, 2 p.m. Sunday. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. musiccenter.org
Andrew Bird
The acclaimed multi-instrumentalist and songwriter joins with the Los Angeles Philharmonic to mark the 20th anniversary of his album, “The Mysterious Production of Eggs,” with orchestral arrangements, plus popular songs from his catalog.
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Aymeric Hainaux and François Chaignaud
The musician and choreographer team up for “Mirlitons,” a marathon vocal and dance duet.
8 p.m. Friday and Saturday. The Nimoy, 1262 Westwood Blvd. cap.ucla.edu
Museum on Haunted Hill: A Celebration of Vincent Price
The institution pays homage to its original patron, the noted actor, art collector, advocate and historian, with an evening of after-hours access to exhibitions, casual screenings of classic Price films, drinks and snacks, music, a photo booth and haunted decor.
5-8 p.m. Vincent Price Art Museum, East Los Angeles College, 1301 Avenida Cesar Chavez, Monterey Park. vpam.org
PLAY: A Play
EmIly Mast’s unscripted conceptual performance features six players, guided by a coach, working against a clock and an evolving set of rules to examine “the invisible systems that govern power, behavior and care.” With Hugo Armstrong, Gregory Barnett, Chu-Hsuan Chang, Jessica Emmanuel, Jessica Hemingway, Aramazd Stepanian and Maxwell Transue.
7:30 p.m. Friday-Saturday, 4:30 p.m. Sunday. The Geffen Contemporary at MOCA, 152 N. Central Ave., Little Tokyo. moca.org
Sinners: Sounds That Summon
This exhibition examines the standout Club Juke scene in Ryan Coogler’s Oscar-winning 2025 film focusing on the guitar played by the character Sammie Moore (Miles Caton), costumes, objects and archival material.
Through March 14, 2027. California African American Museum, 600 State Drive, Exposition Park. caamuseum.org
SATURDAY
Grand Ave Arts: All Access
Tenth annual celebration of L.A. downtown cultural corridor with free exhibitions, tours, performances, family-friendly activities and more from participating organizations including the Broad, Center Theatre Group, Colburn School, Classical California, Dataland, Gloria Molina Grand Park, Grand Performances, L.A. Opera, L.A. Phil, Los Angeles Central Library, Metro Art, MOCA, the Music Center and REDCAT.
11 a.m.-4 p.m. Grand Ave., between Temple and 6th Streets, downtown L.A. grandavearts.org
Kabuki in Motion: The Lion Returns
U.S. Kabuki Ken Kyu Kai presents this program of kabuki dance, Nihon buyō (Japanese classical dance), and live koto and shamisen music featuring artists from Japan and California.
4:30 p.m. The Huntington, Rothenberg Hall, 1151 Oxford Road, San Marino. huntington.org
Picasso Ceramics From the Rosenbaum Collection
The exhibition presents 63 original prints and limited-edition ceramics, including vessels, plates, pitchers and sculptural forms created by the artist after 1947.
Through Feb. 28, 2027. Bowers Museum, 2002 N. Main St., Santa Ana. bowers.org
SUNDAY
Lucile Dollat
The French organist performs music from the 16th century to the present.
7:30 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
TUESDAY
Jason Moran Presents Duke Ellington: My Heart Sings
The pianist and composer performs with members of the Pacific Symphony to engage with Ellington’s work through a contemporary frame.
8 p.m. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org
The Music Man
Meredith Willson’s Tony Award-winning musical comedy brings smooth-talking con man Harold Hill to River City, where his schemes are curtailed when he falls for Marian, the local librarian.
Through Nov. 8. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. centertheatregroup.org
Orchestre Symphonique de Montréal with Rafael Payare
The Canadian ensemble and its charismatic Venezuelan conductor (who also leads the San Diego Symphony) perform Dmitri Shostakovich’s “Symphony No. 10 in E minor, Op. 93,” plus Felix Mendelssohn’s “Violin Concerto in E minor, Op. 64” with Leonidas Kavakos.
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
The 39 Steps
Patrick Barlow’s adaptation of Alfred Hitchcock’s 1935 spy thriller (itself an adaptation of a novel by John Buchan) about an ordinary man entangled in international intrigue. Directed by Hunter Foster.
Through Nov. 22. Laguna Playhouse, 606 Laguna Canyon Road, Laguna Beach. lagunaplayhouse.com
The Who’s Tommy
The band’s 1969 rock opera featuring “I’m Free,” “See Me, Feel Me,” “Sensation” and, of course, “Pinball Wizard,” is transformed into a Broadway musical by composer Pete Townshend and original director Des McAnuff.
Through Nov. 15. Hollywood Pantages Theatre, 6233 Hollywood Blvd. broadwayinhollywood.com
WEDNESDAY
Nedra Ryan Taylor and Sarah Scott Davis in the play “Confederates.”
(Davis Northern)
Confederates
Institutional racism, as experienced in two different eras by Black women, is the subject of Dominique Morisseau’s 2022 dramatic comedy. Best known for her three-play cycle “The Detroit Project” as well as the book for the musical about the Temptations “Ain’t Too Proud,” Morisseau juxtaposes the plight of an enslaved rebel and Union spy during the Civil War with that of a contemporary political science professor facing a threatening work environment. Fountain Artistic Director Raymond O. Caldwell directs this sharp-eyed satire examining an unbroken thread of racial and gender bias in American history. (Charles McNulty)
Previews, 8 p.m. Wednesday-Thursday, play runs through Dec. 13. Fountain Theatre, 5060 Fountain Ave. fountaintheatre.com
THURSDAY
Seasons of America With Teddy Abrams & Ray Chen
The world premiere of Abrams’ L.A. Phil commission, written especially for violinist Chen, along with Julia Perry’s “A Short Piece for Orchestra.” Charles Ives’ “Three Places in New England, S. 7” and George Gershwin’s “An American in Paris.”
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Sasha Velour: Travesty
The Season 9 winner of “RuPaul’s Drag Race” performs a new solo work that spans queer history through lip-sync performances embodying various personas including a witch burned in a field, a clown who builds a theater and patrons of an underground gay bar.
7:30 p.m. Thursday-Oct. 30. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
The SoCal scene
Katie Folger gets ready at her home before her performance of “Getting in Bed With the Pizza Man” at the Elysian Theater.
(Carlin Stiehl / For The Times)
ICYMI, the best of this week’s L.A. Times arts coverage:
Katie Folger moved to L.A. hoping to make it for the third time in nine years. She created a one-woman show and sold it out. Will the TV pilot sell next?
Former Times arts columnist Carolina A. Miranda wrote a fantastic profile of Todd Gray as he opens a new solo show at the Brick.
The Broad announced that it’s shipping 164 works to Fondation Louis Vuitton in Paris for its most extensive exhibition ever mounted outside Los Angeles, timed to coincide with the most extensive phase of construction on its expansion.
Reggie Burrows Hodges, “Blackness in the Looking Glass and the Images of Currency: Carriage,” 2022.
(Reggie Burrows Hodges / Karma)
Artist Reggie Burrows Hodges has three concurrent shows in L.A. at the Getty, Art + Practice and California African American Museum. He prefers a low profile, but contributor Tara Anne Dalbow penned this lovely profile.
Latino Theater Company’s production of “Yamel Cucuy” is the story of a 13-year-old girl, ICE and Mexican folkloric monsters.
Times theater critic Charles McNulty headed to New York to review Billy Crystal’s “tremendously moving new Broadway show” “860.”
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Culture News
Ahmanson Theatre.
(Ryan Miller / Capture Imaging)
Center Theatre Group and the YMCA of Los Angeles this week announced a new partnership called “Every Age. Every Stage,” with the aim of making live theater more accessible to a larger swath of city residents. The program includes free ticket offers for Y members as well as theater workshops and career mentorship.
A marble torso sculpted during the early Roman Empire set a new world record for ancient classical sculpture at auction earlier this week when it sold at Sotheby’s New York for $34.3 million. That was almost three times more than its pre-sale estimate of between $8 million and $12 million.
— Jessica Gelt
And last but not least
California has an adults-only train car featuring stiff drinks and great views of the redwoods.