Ali

Ali Louis Bourzgui scored an upset win for performance by an actor in a featured role in a musical for originating the role of David in the musical adaptation of the cult vampire horror film, “The Lost Boys.”

As viewers scrambled to keep their score cards straight — André De Shields was favored to take the trophy for his work in “Cats: The Jellicle Ball” — the 26-year-old Bourzgui went on to deliver the night’s most impassioned, and pointedly political speech.

He began by noting that, “Vampires represent those who have shunned their own humanity in order to achieve a non-existent sense of superiority. The billionaires will never find happiness from their money. The colonizers will never find fulfillment from the land and lives they steal. The fascists will never find meaning from their conformity, not in this lifetime or eternity.”

Through the cheers of an invigorated audience, Bourzgui went on to talk about how “theater is one of the last places people can come to worship the power of true collective human presence.”

At its best, he said, theater helps us see ourselves in a stranger’s story.

“This is dedicated to the beautiful tapestry of immigrant families who make this country really special. May you one day not have to audition for the empathy that should be freely given by this country that benefits from your beauty, for the queer and trans communities who will exist, no matter what people in power try to take away from them.”

Bourzgui, whose father immigrated to America from Morocco, went on to pay tribute to Palestine and his own Arab heritage.

“For the people of Palestine, who deserve a free life, a full life without occupation, for Arabs and their makers and artists, may we continue to tell our stories and show our faces. Our humanity becomes undeniable, and our families can no longer be written off as merely collateral damage, may they know the beauty of our kisses upon his cheek and the romance of a language rooted in passion for love and life itself.”

He wrapped up this speech with a plea for love and empathy.

“If there’s one thing we can learn from vampires, it’s that life is short, but that’s it’s a gift. Find beauty in the ephemeral and gratitude in what is not promised, and always invest in the people that want to see you blossom into your truest self, and hold that space for them in return.”

Muhammad Ali’s legacy extends far beyond his world titles and Olympic gold, his widow has said, as his hometown prepares to mark 10 years since the boxing icon’s death with a global “Day of Compassion”.

Ali, who died on June 3, 2016, after a long battle with Parkinson’s disease, is being honored this week at the Muhammad Ali Center in Louisville, which is encouraging people worldwide to mark Wednesday’s anniversary with acts of service and care.

“He transcended boxing into every space you can imagine,” Lonnie Ali said in an interview at the centre. “Muhammad lived by this mantra: Service to others is the rent we pay for our room here on Earth.

“He showed up every day with kindness and empathy in his heart for people who are in need.”

Known in his hometown as the “Louisville Lip”, Ali rose from a modest background to become a three-time heavyweight champion and 1960 Olympic gold medallist.

As his fame grew in the 1960s, he became an outspoken voice on civil rights and the Vietnam War, cementing his status as one of the most influential athletes of all time.

The Ali Center, where Lonnie Ali serves as lifetime director, hopes the “Day of Compassion” will grow into an annual event highlighting volunteerism and service.

“The day will focus on one of the core values that made up Muhammad Ali,” she said, warning that the United States is “losing touch with our humanity and with each other”.

“We’re becoming increasingly polarised and separated, and sort of retreating to people who think like us, look like us – and not really reaching out,” she added.

Lonnie Ali also challenged political leaders to “lead with compassion”, criticising moves that have weakened the landmark 1965 Voting Rights Act. “We should always be thinking about how we can uplift a community, not how we can make it harder for them.

“You can’t have equal representation when you’re denying people voting rights,” she said.

She said she still draws hope from how Louisville came together during a weeklong celebration of Ali’s life in 2016, when thousands lined the streets as his funeral procession passed his childhood home and millions watched the service online.

A decade later, Ali’s face now appears on a US postage stamp – another sign, she said, that his message of courage, faith, and service still resonates “from kings and princes to ordinary fans who never met him, but felt they knew his heart”.

“Hell’s Kitchen,” the Alicia Keys musical that has landed at the Hollywood Pantages Theatre in a blaze of rousing sound, deploys the R&B star’s glorious treasure trove of work in the service of a semi-autobiographical version of her coming-of-age story in the Manhattan neighborhood that gives the show its title.

The Hell’s Kitchen of Alicia Keys’ story, set in the 1990s, isn’t the gang-ridden Hell’s Kitchen of West Side Story, set in the 1950s. Keys grew up in Manhattan Plaza, a federally subsidized residential complex that provides affordable housing for artists. But for a teenager in rebellion from her watchful mother, the vibrant, music-filled street life comes with its share of dangers.

Kennedy Caughell as Jersey and Maya Drake as Ali in the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

Ali (Maya Drake, who’s making her professional debut in this North American tour production) is a 17-year-old ready to break out of the cage her mother, Jersey (Kennedy Caughell), has placed her in. Jersey, a single mom, isn’t a tyrant. She just doesn’t want to see her daughter make the same mistakes that she did, namely get pregnant at a young age before she’s had a chance to realize her own dreams.

The book by playwright Kristoffer Diaz (“The Elaborate Entrance of Chad Deity”) is structured around a loving but combustible mother-daughter relationship amid the creative ferment of New York. This artistic neverland is crystallized in the apartment building that has music pouring out of every floor when Ali rides the elevator.

Maya Drake as Ali and the company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

The story isn’t the strong suit of “Hell’s Kitchen,” which is powered by Alicia Keys’ versatile catalog, which has been supplemented with original material. The hits — “You Don’t Know My Name,” “Girl on Fire,” “Fallin’,” “If I Ain’t Got You,” “Like You’ll Never See Me Again,” “No One” and “Empire State of Mind,” among them — reverberate inside the Pantages with a thrilling exuberance.

What’s most impressive, however, is the way these tracks have been arranged both musically and dramatically. Jukebox musicals are notorious for shoe-horning in beloved songs without regard for storytelling integrity. “Mamma Mia!,” which crammed in as many ABBA hits as possible, hardly even bothered to find pretext for their inclusion. The lucrative example paved the way for more than two decades of musical theater shamelessness.

The company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

“Hell’s Kitchen,” directed by Michael Greif, takes a more dignified approach, raiding Keys’ greatest hits in a way that doesn’t cause dramatic offense and better yet, adds a layer of surprise to music that is so well known.

The songs are allocated in unexpected ways. Numbers that you might think belong to Ali are divided among the company. Jersey is first in line, and Caughell makes the most of her opportunities. But sharing in the bounty are Davis (Desmond Sean Ellington), Ali’s mostly absent and chronically unreliable father; Knuck (Jonavery Worrell), Ali’s forbidden love interest; or Miss Liza Jane (Roz White), a pianist who lives in the building and becomes Ali’s formidable mentor.

There are other characters who offer luminous assistance, but these are the principals in a musical tale built around Ali’s central relationships. Keys’ origin story is more dynamic on an atmospheric than dramatic level. A mother having difficulty with her boy-crazy teenage daughter isn’t exactly breaking any ground, and Diaz avoids venturing into more turbulent territory. Ali’s divided identity, stemming in part from an all-too-present white mother and all-too-missing Black father, sets up issues that are touched on but never deeply engaged.

Desmond Sean Ellington as Davis and Kennedy Caughell as Jersey and the company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

Miss Liza Jane spots Ali’s musical gift right away and fills her with a sense of pride and responsibility in her Black heritage. But her character’s role is somewhat earnestly compartmentalized. Knuck recognizes that Ali’s fascination with him stems in part from the way she sees him, much as her mother does, as a “thug.” But their tentative affair is secondary to the complex bond between Ali and Jersey, whose troubled connection with Davis helps Ali understand why her mother is so paranoid about her romantic choices.

But these concerns fall away when the performers start singing. Drake has a beautiful voice, but her Ali is slighter than that of Maleah Joi Moon, who won a Tony for her Broadway debut performance. I didn’t mind that Davis sings “Fallin’,” as Ellington has a voice of luscious thunder. Worrell’s Knuck more than holds his own with his duets with Ali. (In fact, I was more taken by his velvety interpretation of “Like You’ll Never See Me Again” than Ali’s more straightforwardly pretty version.) White’s Miss Liza Jane takes the Pantages audience to church in her numbers. And when Caughell magnificently directs “No One” to Ali, I can’t imagine there’s a dry eye in the house.

Desmond Sean Ellington as Davis and Maya Drake as Ali in the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

This tour production isn’t crisp in all areas. The dancing isn’t always smooth, the costumes struck me as a road show idea of New York cool, and the acting didn’t do much to compensate for some of the book’s less subtle moments.

But the energy of the production is infectious. “Hell’s Kitchen,” a New York story of a wunderkind discovering her gift, helped me get over my allergy to the jukebox genre. The soaring quality of the orchestra and the delectable company of voices pay exhilarating homage to a singular artist, who seems right at home at the Pantages.

When Compton Unified School Board President Micah Ali checked his mailbox last week, he was in for a shock.

The school district has been making headlines as a state and national leader in student performance gains, and it has been upgrading and replacing its aging campuses to help advance that growth. Next week’s ballot includes a $360-million bond measure called CPT, which would keep that momentum going and replace badly dated Dominguez High School.

So when Ali opened a slate mailer titled “Congresswoman Maxine Waters’ Sample Ballot and Voter Recommendations,” he couldn’t believe her advice on Measure CPT.

Vote “no.”

Given Waters’ stature as a congressional representative for 35 years, Ali said, her slate mailers can swing outcomes.

“Yes, it does carry weight,” Ali said, and the thumbs-down recommendation “can literally cripple our ability to pass this bond.”

Ali was doubly surprised because the mailers went out to voters just a few weeks after Waters attended an unveiling ceremony for the new Compton High School campus. Compton High alums and hip-hop heavyweights Kendrick Lamar and Dr. Dre joined the celebration, and the latter was honored for his $10-million donation to the new performing arts center.

Lunch tables and a temporary cafeteria are set up outdoors at Dominguez High School because of a fire three years ago.

(Eric Thayer / Los Angeles Times)

A second district high school, Centennial, is being replaced with a modern campus, and district officials are hoping Measure CPT passes so Dominguez students aren’t left behind, but also because the district’s other schools would get multiple upgrades and repairs, from infrastructure to classrooms to athletic fields.

I met with Ali on Wednesday afternoon at Dominguez, along with Principal Caleb Oliver. The school turned 70 this year, and it shows. The grounds are scruffy, wiring and plumbing are outdated, the gymnasium air conditioning hasn’t worked in years. To walk the campus is to step back in time — to the Eisenhower administration.

While we were talking, Oliver called out to a senior named Angelina Ramirez, referring to her as a superstar student. I asked Angelina what kind of upgrades the campus could use.

Dominguez High School Principal Caleb Oliver.

(Eric Thayer / Los Angeles Times)

“Well, I like to use the cafeteria as an example,” she said, pointing to where it used to be.

What happened to it?

“It burned down,” she said. An electrical problem was the suspected cause, her principal added.

That was more than three years ago, and since 2023, the cafeteria has been an outdoor plaza.

“I feel like that’s affected students a lot,” Angelina said.

The big question, of course, is why Waters’ campaign committee — Citizens for Waters — recommended a no vote.

I’d like to tell you why it is that a rapper has written a $10-million check in support of Compton’s students while a congresswoman has told them to go fly a kite. But I’ve asked by phone, text and email, and I still don’t have an answer.

After contacting Citizens for Waters, which referred me to the congresswoman, I called her office and emailed her press office, which sent me this response at 7:43 p.m. Thursday:

“Per US House Ethics rules, we are unable to respond to your request.”

I don’t know what rules those are, but the rulebook needs some rewriting if a congresswoman can’t answer a simple question about why her campaign mailer recommends a no vote on a school bond measure.

“We have no idea, and we’re baffled,” Ali said. “Who would oppose the construction of a new school in a community like Compton?”

In the working-class community, the student population is roughly 84% Latino and 14% Black.

I suggested that Ali consider having students march over to Waters’ district office and ask for an explanation.

“We’d rather have these children’s butts in seats and learning,” Ali said, adding that “we need … to continue driving up these test scores.”

Compton school board candidate Tana McCoy talks to school board President Micah Ali about the mailer.

(Eric Thayer / Los Angeles Times)

It’s not as if there is no reasonable opposition to Measure CPT. These kinds of bonds cost taxpayers real money over the course of many years, and CPT would add about $60 per $100,000 of assessed property to annual tax bills.

That would hit working folks and retirees with an added tax burden of between a few hundred and several hundred dollars a year. And taxpayers have been paying off two previous school improvement bond issues, one passed in 2015 and one in 2022.

In addition to the financial burden, according to district parent Anthonia Limon, who wrote the statement against CPT for the L.A. County sample ballot, safety issues have undermined community trust in district leadership.

“Infrastructure alone does not create safe schools,” Limon wrote.

If Waters has similar concerns, that would be one thing. But to my knowledge, and to Ali’s, there has been no public explanation for recommending a no vote. And when you read the fine print on the slate mailer, which advises voters to “take Congresswoman Maxine Waters’ recommendations with you to vote,” it only raises more questions.

“This document was prepared by Citizens for Waters, not an official party organization. Appearance in this mailer does not necessarily imply endorsement of others appearing in this mailer nor does it imply endorsement of, or opposition to, any issues set forth in this mailer,” it says.

Huh?

Are they endorsements or aren’t they?

The Times reported in 2004 that the rep’s daughter, Karen Waters, “has charged candidates for spots on her mother’s ‘slate mailer,’ a sample ballot that many voters in South Los Angeles use to guide their choices.” Last year, the Waters campaign paid a $68,000 fine for campaign finance law violations following a Federal Election Commission investigation that involved Citizens for Waters.

Rep. Maxine Waters’ slate mailer.

(Eric Thayer / Los Angeles Times)

Also in the fine print on the current mailer:

“Appearance is paid for and authorized by each candidate and ballot measure which is designated by” an asterisk.

So are these endorsements or paid advertisements? There’s an asterisk on nearly every endorsement in the mailer, from city council to governor to judgeships to Measure CPT. The way I read this is that various parties paid for endorsements, but the mailer does not reveal who paid, or how much they ponied up. Such mailers, by the way, are not uncommon in California, according to election law experts.

“I think this is misleading for voters,” said Erwin Chemerinsky, dean of the UC Berkeley law school. Although he thinks the endorsements are a form of protected free speech, he said this “reflects a very deep problem in our elections with dark money, when we don’t know where the money is coming from.”

On Thursday, I visited Tana McCoy, a Compton High grad and retired city employee who is running for Compton Unified school board. She showed me the slate mailer delivered to her home, but said she’s going to vote yes on CPT despite Waters’ recommendation.

“Children need to feel good about their environment, because that’s all part of their mental health,” McCoy said.

At Dominguez, where graduates have a 96% college acceptance rate, according to district officials, junior Zaiden Ross gave me a tour that included a stop at a gymnasium fountain that he said hasn’t worked in years. Some fountains are dirty, he added, “and some of the pipes on campus produce water that has, like, extremely high amounts of lead and magnesium.”

Student Zaiden Ross demonstrates a nonworking sink in a bathroom on the campus of Dominguez High School in Compton.

(Eric Thayer / Los Angeles Times)

Zaiden took me to a classroom to show me water samples he’s still testing. Then we visited the robotics classroom, where he turned on a faucet, and the flow was closer to the color of apple juice than water. The air conditioner was rattling, and teacher G.C. Esiobu, who runs the engineering and robotics club, said there had been an “emergency” fix for a busted system. Zaiden gave me a quick rundown of dated computers and other equipment students use to design drones and robots.

And yet despite all that, a display case was filled with trophies. At competitive meets, Esiobu said, “we have been winning with little or nothing.” With equipment upgrades, she added, “just imagine the level we will go.”

There’s still time, before Tuesday’s election, for Waters to visit Dominguez High and maybe get a tour from Zaiden and Esiobu.

If she does, she might rethink that endorsement.

steve.lopez@latimes.com

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