dance

On the lamp-lit steps of a sombre gothic church, a young woman stands before a microphone. Beside her, a man plucks a slow melody from his guitar. Arrayed on chairs and cobblestones in front of them, a large crowd sits in an expectant silence. From a nearby balcony, laundry sways in the sultry Calabrian breeze.

The guitar quickens, and the woman issues a string of tremulous notes with all the solemnity of a muezzin. She clutches a hand drum, beating out a rhythm that draws the crowd to its feet. As people surge forward, stamping and whirling around the square, the singing intensifies and the drum’s relentless thud deepens. The festival of Sustarìa has begun.

“Sustarìa is a word in the dialect of Lago,” says Cristina Muto, who co-founded the festival in summer 2020. “It is a creative restlessness, which doesn’t let you sit still.” We’re speaking at a drinks party the evening before the annual event, on a terrace overlooking Lago’s clay-tiled roofs, when her brother Daniele appears with a jug of local wine in hand. “Welcome to Lagos Angeles, Calabrifornia,” he winks, pouring me a cup.

Lago is a hilltop village in the province of Cosenza, overlooking the Mediterranean. It’s surrounded by sprawling olive groves and small plots where families cultivate figs, chestnuts and local grains. Cristina and Daniele were born and raised in this grey-stoned hamlet, a medieval outpost of the Kingdom of the Lombards. Although their pride in Lago is palpable, few of the Laghitani I meet live here all year round. Like many young people from southern Italy, they have left in search of opportunities that are scarce in Calabria.

It’s against this backdrop that Cristina co-founded Sustarìa. “The trend is longstanding and severe,” she tells me, “but people still live here, and there are communities that thrive despite the problems. If more people stay or return, things will get better.” By spotlighting the allure of the region’s heritage, she hopes to play a part in this.

With agriculture historically shaping Calabria’s economy and its inhabitants’ daily lives, many traditions have agrarian roots. The dance that erupted on the festival’s first night was the tarantella. It features distinctive footwork, with dancers kicking their heels rapidly. “It’s a dance of the field workers,” Cristina says. “Some say it began as a way to sweat out venom from spider bites during harvests; others say tired workers in need of a creative outlet danced slowly and just with their feet, and over time the pace and range of movement increased.”

The vocals on display that night told of another aspect of the region’s history: its frequent colonisation. Calabria was variously conquered by Greeks, Romans, Byzantines, Normans, Arabs, Lombards and Bourbons. The folk songs we heard were replete with Greek scales and Arabic cadences, a melting pot of Mediterranean timbres.

After the concert, the crowd migrated to a field by a small waterfall on the outskirts of Lago for dinner featuring regional dishes: rosamarina (the pescatarian version of nduja, known as “Calabrian caviar” made from tiny fish); fried courgette flowers; cipolla rossa di Tropea (red onions from the popular beachtown of Tropea); and pecorino crotonese, a sheep’s cheese from the Crotone province.

Over dinner I spoke with two other festival organisers, Claudia and her husband Alberto. Claudia, a Lago native, returned permanently, after a career in aerospace engineering, to run the B&B Agriturismo Cupiglione with Alberto. Nestled in woodland a few kilometres from Lago, Cupiglione was founded 25 years ago by Claudia’s parents as a restaurant with guest rooms. After closing during the pandemic, it was renovated and reopened in 2023 as a B&B with seven rooms for up to 18 guests (doubles from €40). The change in direction paid off, and Cupiglione has since welcomed hundreds of visitors to the area, evenly split between Italian and international travellers.

During my stay, I’m lodging in a house on the edge of Lago, thanks to the Sustarìa team. Hospitality runs deep during the festival; organisers open up their homes and those of their relatives to anyone who enquires through social media. Other options abound during the festival and year-round, including B&Bs such as Cupiglione and A Casa di Ely (doubles from €60), a short walk from where I stayed.

The following afternoon, I return to the field before aperitivi, where I meet up with Cristina, who explains the growth of her initiative: “Initially, it was just locals who came to Sustarìa, but then people from other parts of Italy and even other countries started coming. Every year it grows.” This year, there are nearly 600 people in attendance.

Eric, a Londoner studying in Zurich, is one such international guest. Eric also attended Felici & Conflenti, a festival in late July hosted by friends of the Sustarìa team, which focuses on preserving and reviving the region’s ancient music. It has held 11 editions over as many years, each one featuring a winter and summer instalment, to which more people flock each year. It takes place in Conflenti, a small inland village nestled at the foot of the Reventino mountain, at the confluence of two small rivers (hence its name).

“Thanks to their work and research, instruments that were becoming extinct, like the zampogna [Italian bagpipe], are finding new life,” Cristina says.

The three of us sit chatting over plates of crisp taralli (wheat crackers) as twilight fades, and a reedy piping starts up from across the field. I stroll over, and catch sight of someone playing the zampogna, which looks like a set of bagpipes improvised from foraged materials, and is truly ancient – it counts the Roman emperor Nero among its historical admirers.

The next morning, we head to the hilltop town of Fiumefreddo Bruzio, a short drive from Lago and officially recognised as one of “Italy’s most beautiful villages”. Clinging to the western slopes of the Apennines, this medieval village offers panoramic views of the swelling coastline, which traces the Tyrrhenian Sea. Its narrow, meandering streets are lined with squat houses made of the local grey stone, quarried from the surrounding mountains. We wander around Il castello della Valle, a sprawling 13th-century Norman castle partly destroyed by Napoleonic troops, but retaining a splendid portale Rinascimentale – or Renaissance gate – still in excellent condition.

At Palazzo Rossi, on the edge of town, we take a seat at a cafe and sip local craft beer as we admire the view of the active volcano Mount Stromboli, across the water.

“You should see it in the winter,” Cristina says. “The air is cooler, so it becomes even clearer. Everything here is completely different in the winter, but most people don’t see it as visitors come mainly in the summer,” she adds with a note of regret.

The sun starts to sink into the horizon. In the square, a band starts setting up for an evening gig. A waiter brings over a plate of bread and olives to our table, on the house. “Things are quieter but not empty. There are almost as many events as in summer. And you get to see how the locals live during the rest of the year.” Cristina tears off a piece of bread. “And, of course, the hospitality never changes – people are always welcomed with open arms.”

Sustarìa will return to Lago for its sixth instalment on 1-3 August 2026. There is a winter edition of Felici & Conflenti in Calabria on 27-29 December 2025; its next summer instalment is in July 2026

President Trump’s favorite musical is, famously, “Les Misérables,” but few fans have been storming the barricades to get into the Kennedy Center this season.

The Washington Post reports that sales for the current season of music, dance and theater at the Washington, D.C., cultural institution have declined dramatically since the president’s inauguration and his subsequent takeover of the Kennedy Center’s leadership.

The Post cites data showing the Kennedy Center has sold only 57% of its tickets from September to mid October, many of which are believed to be comped giveaways. That contrasts with a 93% ticket sale rate through the same period last year.

The venues surveyed include the Opera House, the Concert Hall and the Eisenhower Theater, with performances by the National Symphony Orchestra, touring Broadway musicals and dance troupes. Out of 143,000 possible seats for the current season, 53,000 have not yet sold. When fans have bought tickets, they’ve spent less than half as much money from September to the first half of October 2025 compared with the same time last year — the lowest total since 2018 other than the height of the 2020 pandemic.

After Trump’s election, he appointed Republican diplomat and former State Department spokesperson Richard Grenell to lead the Kennedy Center, whose board elected Trump as its president. The new leadership fired several longtime staffers, and prominent board members and leaders like Ben Folds left the organization.

““I couldn’t be a pawn in that,” Folds told The Times. “Was I supposed to call my homies like Sara Bareilles and say, ‘Hey, do you want to come play here?’”

Artists that do perform at the Kennedy Center have noted a change in the audience. Yasmin Williams, a singer-songwriter who performed in September after a contentious email exchange with Grennell, said that “During my Kennedy Center show on Thursday night, a group of Tr*mp supporters boo’d me when I mentioned Ric Grenell and seemed to be there to intimidate me,” yet “playing that Malcolm X video in that space and forcing this current administration to reckon with the damage they’ve caused, while also promoting joy and the power of music to the audience … this is why I do what I do.” (Kennedy Center spokesperson Roma Daravi told the Post that “This is an absolutely ridiculous claim.”)

Grennell, for his part, said on X that that “We are doing the big things that people want to see. We are seeing a huge change because people are recognizing that they want to be a part of something that is common-sense programming.” In August, Trump announced his picks for Kennedy Center honors, including actor and filmmaker Sylvester Stallone, glam-rockers KISS, singer Gloria Gaynor, country music star George Strait and English actor and comedian Michael Crawford.

Karen Hauer has hit back at the judges after her Argentine tango split the panel on last week’s heat of Strictly Come Dancing where she set an Argentine tango to an Usher track

Karen Hauer has hit back at the judges after her Argentine tango split the panel on last week’s Strictly Come Dancing. The professional dancer, 43, crafted a routine set to Usher track Caught Up and it received a mixed reaction from Shirley Ballas, Craig Revel Horwood, Motsi Mabuse and Anton Du Beke.

During an appearance with celebrity partner Harry Aikines-Aryeetey, who is known for starring on BBC’s Gladiators, on Friday’s Halloween edition of It Takes Two, Karen was asked if she will be avoiding the dance from now on. She joked: “”Probably! That’s fine.”

The star then insisted that she really enjoyed doing it and she ‘got the assignment‘ and did what she was asked to do even though it is ‘a shame’ how it all turned out.

READ MORE: Claudia Winkleman’s horrific Halloween as daughter’s dress caught fireREAD MORE: Amber Davies faces major blow as family set to miss rest of Strictly journey

She added: “No, do you know what? I absolutely loved that and it’s just a shame sometimes. If you want me to do an Argentine classical, then give me the music and I’ll do it. I got the assignment!”

“That was the assignment! Literally. I was just a bit like…we had a really beautiful balance. The judges have a really hard job to do, I just wish they liked it!”

During the live show, Craig claimed that the couple, who eventually received a combined score of 30 for their efforts. seemed to simply be ‘walking’ the routine. He said: “I felt like you were walking through it, standing, placing, standing, placing and not actually dancing step to step.

“And I wasn’t entirely fond of throwing all the groove stuff in there.”

But Harry was not afraid to hit back at the comments as they happened. He said: “I was given a task to do an Argentine tango to Usher. I took it on, I done it to the best of my ability and that’s all I can do.” The dance was all done as part of Icons week, and big music names like Dolly Parton, Spice Girls and Johnny Cash were also honoured, amongst a whole host of others.

Fans at home rushed to social media to defend Harry and Karen amid the negative feedback. One said: “Why have an Icons week, make the celebs dance to music that’s not really suited to the dance then criticise them for bringing a bit of the icon’s style into the dance? Bal and Harry especially.”

Another said: “what are they even talking about obviously an argentine tango to USHER is gna be a little different #Strictly” and a third added: “I dont get the “whyd you add groove/ bump n grind” comments… you gave the guy Usher to mimic?? with an argentine tango?? so like what was he supposed to do.”

Harry has already had a taste of Strictly before making his debut as a contestant on this year’s series. He appeared on last year’s Christmas special where he was partnered with professional dancer Nancy Xu.

The sports star bagged one of the highest scores in the episode but lost to RuPaul’s Drag Race UK star Tayce, who had danced with Kai Widdrington.

Announcing his return for the new series, Harry Aikines-Aryeetey said: “After the Christmas Special, it was so nice I just had to do it twice! I’m so excited to be part of the Strictly family this series and I’m ready to give it all I’ve got.

“I’ll be bringing tons of energy to light up the dance floor. Let’s hope I’m as quick picking up the routines as I am on the track.”

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Why Innsbruck makes the perfect winter base

Innsbruck offers lots of options for a winter holiday. I found it’s a place where you don’t have to hurtle down ski slopes or dance like crazy at après-ski parties. In fact I was amazed when I took the 20-minute cable car from the city centre up 2,000 metres to an area where locals were sitting in deckchairs on the snow reading books and sipping hot chocolate in the strong Tirolean sunshine. You can ski to your heart’s content on slopes just half an hour from the famous Imperial Palace in the city centre. The city authorities provide some guided free walks and winter activities, including a cross-country skiing taster if you have a Welcome Card provided by your hotel. Then again, you can just sit and sample strong Austrian coffee or Gerschtnsuppe (soup with barley, smoked meat and vegetables) at riverside cafes and pubs.
Gina

Ski and hit the beach in one day in Andalucía

The Sierra Nevada range is just 17 miles south of Granada in Andalucía, making the beautiful city a viable place to stay if visiting these high mountains. For skiers the resort village of Pradollano is at 2,100 metres, from which cable cars and chairlifts reach up close to the 3,000-metre summits. It’s a fantastic ski resort, Europe’s most southerly, but is still very much under most people’s radar. There are 112km of pistes and 134 slopes, most of which are well above 2,000 metres so snow is fairly reliable. This year it’s opening on 29 November with ski passes from €38. It’s little more than an hour’s drive to Motril and the Mediterranean. You really can ski in the morning and go to the beach in the afternoon.
Stephen McCann

Peaks of the Balkans, Albania and Montenegro

Last year I enjoyed a brilliant winter trip in the Albanian Alps and in Montenegro. Highlights included the walk to and from the spectacular Grunas waterfall in Theth national park in Albania, and the hike to 1,970-metre Hrid lake in Montenegro’s Prokletije national park. We skied and walked a section of the 120-mile Peaks of the Balkans trail and spent some time in the lively town of Plav, which included a folk song and karaoke night with some locals where I taught one group a version of Last Christmas to great applause.
Nick

The Alps in infrared, Austria

We stayed at the lodge Jagdhaus (€220 a night, sleeps up to 6) at Furx in western Austria. This wonderful place has a sauna, an infrared chamber and an external hot tub from which to enjoy special views towards the Alps. There are any amount of scenic walks on your doorstep and, 100 metres below, there is the Peterhof restaurant with remarkably low prices for such a high standard of cuisine.
Kevin Hill

Twinkling lights in Poland’s Tatra mountains

I first discovered the Tatra mountains on a day trip from Kraków some years ago and returned for a mountain break last February, staying in Zakopane, which is a great base for skiers and anyone who enjoys winter mountain activities. It’s affordable (my chalet for a week was just €400) and has lovely traditional wooden and stone houses, cafes and cheap restaurants serving tasty Polish stews and filled pierogis, which kept us warm throughout. We hired snow shoes to explore the foothills by day and at dusk the twinkling lights of the mountain villages came on, adding to the wonderful scene of lakes, mountains and forests. We also enjoyed sleigh rides and husky-driven carriages through the silent forests to magical ice mazes.
Yasmin

The amazing light of Eryri, north Wales

Our favourite winter break is at Llanberis in Eryri national park (Snowdonia). It’s peaceful, dramatic, and full of charm without Alpine crowds. We love the cozy log fires, hikes up the mountain passing waterfalls and the choice of yurts and eco-lodges to stay in. It’s particularly stunning in cold weather when kissed with snow or frost. The amazing light on the Llyn Padarn recreates a mirror in a breathtaking landscape dominated by Yr Wyddfa (Snowdon). A special treat is the authentic Welsh community of makers and local craftspeople. Music, food and friendliness make this a more delightful experience than going abroad.
David Innes-Wilkin

Adrenaline-fuelled days in Austria

Kreischberg in the state of Styria is a medium-sized resort with log cabins and a James Bond-style restaurant in which to dine in style. We stayed at the base of the mountain in the Ferienpark cabins; each with log burners to cosy up beside. When it comes to skiing, take the long telecabin up the Kreischberg and explore blues, reds and blacks. For the best slopes head to Rosenkranzhöhe, where there are sweeping reds and blacks with expansive views over the Alps. After an adrenaline-fuelled morning, and for the best restaurant views, head to the Eagle, styled like a Bond villain’s lair.
Mark

Winning tip: Ice age roots in Sweden

There are mountain areas in Sweden where some of the oldest living things in Europe survive. When the ice retreated from Scandinavia 9,000 years ago, various isolated elevated areas were left frozen, and the root systems of ice age trees live on. Sonfjället national park in the empty Härjedalen region of central west Sweden is one such area, where the spruce Old Rasmus, grown from 9,500-year-old roots, can be found. The park is also known for its high density of bears. I return to the mountains in summer, autumn or winter. I find them incredibly peaceful; you can experience absolute silence and often you can gaze at the northern lights.
Lars

Craig Revel Horwood nearly slipped and fell on Saturday’s Strictly Come Dancing as he attempted his favourite routine and fans at home flooded social media with their reaction

Craig Revel Horwood nearly slipped and fell on Saturday’s Strictly Come Dancing. The professional dancer, 60, was back in his seat on the judging panel alongside Shirley Ballas, Motsi Mabuse and Anton Du Beke where he had spent much of the evening dishing out his typically-acerbic critique to celebrities like Thomas Skinner, Vicky Pattison and Ross King.

Just before Balvinder Sopal, who is known to fans of BBC soap EastEnders for playing Suki Panesar on the long-running programme, took to the stage, Craig leapt out of his seat once it became apparent that his ‘favourite’ routine was about to be performed. The TV star is a huge fan of the Charletson, and excitedly skipped around in front of the cameras.

Tess Daly was just about to introduce Balvinder to the stage, and laughed as Craig excitedly performed a few seconds of the famous routine. But the move didn’t necessarily go down too well with viewers at home as they noticed straight away that he almost lost his footing.

READ MORE: Strictly Come Dancing chaos as Stefan Dennis falls and Dianne Buswell catches himREAD MORE: Strictly Come Dancing viewers divided as La Voix makes savage dig towards at co-stars

One fan wrote on X: “Craig being iconic but also nearly slipping there,” whilst another said: “Craig nearly slipping lmfaoooo” A third simply asked: “What the hell was that Craig?” whilst a fourth said: “Thought i was about to watch Craig faceplant onto the floor there for a sec.” Another added: “What was that all about with Craig? Really cringe & annoying,get back in your box mate!”

Balvinder then took to the stage alongside her professional partner Julian Caillon to perform the dance, all set to Been Like This by Meghan Trainor. They received a score of 30, made up of two sevens and two eights.

But Craig’s dancing moment wasn’t the only thing fans issued a complaint over during the second live show of this year’s series. As soon as the programme began, viewers took issue with the fact that presenters Claudia Winkleman and Tess Daly do not get their own introduction, even though the judges do.

One wrote: “Okay…..no intros for Tess and Claudia” and another said: “So Tess and Claudia don’t get introduced anymore” In agreement, a third viewer said: “I hate the way Tess and Claudia don’t get an intro now but the judges do!”

It was Amber Davies‘ night in the end, though, as the former Love Island winner and musical theatre star topped the leaderboard with a score of 56, when combining her scores from this week and the first week of the show.

To make things extra special for the West End actress, she celebrated her 29th birthday on Saturday and was surprised with a cake that came with a picture of her and her professional partner Kai Widdrington printed onto it. Just hours before the show, he surprised her with a large bouquet of flowers along with a Happy Birthday balloon.

The moment was captured on video, and Amber, who will star as Elle Woods in next year’s UK tour of Legally Blonde: The Musical, captioned the Instagram post saying: “Little me would never believe I would be celebrating my last birthday in my twenties on the Strictly ballroom dancefloor.”

She added: “Golden star for the most fab pro partner ever @nikita__kuzmin !!! He remembered guys best birthday EVER !!!! @bbcstrictly (he did infact say happy 40th birthday whilst handing me this gift..) Thank you so much for all the birthday love, time to celebrate with a SAMBAAAAA.”

And friends and family wasted no time in sending their best wishes to Amber. One person wrote: “Happy birthday beautiful!!! What a special day it’s going to be! The last year of your twenties is going to be the best

Meanwhile, It Takes Two’s roving reporter and former Strictly finalist Tasha Ghouri wrote: “Happy birthday lovely!! ” And Sue Davies, Amber’s mother, penned: “A very special birthday my girl love you so much .”

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Karen Carney shot to the top of the leaderboard on Strictly Come Dancing this weekend, with fans surprised by the footballer’s dance skills. Now it has been revealed Karen has a secret dance past

Footballer Karen Carney left Strictly Come Dancing fans stunned with her performance on the weekend. Karen and professional dance partner Carlos Gu’s Jive to One Way or Another wowed the audiences in the studio and at home.

However, fans of the BBC show may not know that Karen has a huge dance past – and actually danced for years as a child, before turning to her beloved football and progressing in her sports career.

In an old interview with the FA, she said: “I enjoyed football when I was a kid and had loads of kickabouts but I didn’t join my first club until I was 11. Until then, it was all about dancing for me.”

As part of her dance training, Karen would perfect her routines for three hours every Saturday and also revealed she took part in “big events” on a Sunday whilst she was at school in the week.

“When I got a bit older and my football matches switched to a Sunday, I had some choices to make,” she said, “I decided to give up dancing when I was 15. My agility, my strength, my power and how I move my feet during a match are all definitely down to dancing, 100 per cent. I was quite little but I was quite strong and that was because all the dancing made my muscles stronger.”

In an exclusive interview with OK!, Karen revealed she was keen to show a different side of her.

She said: “The challenge for me will be trying to show the real version of me, and not getting shy or awkward, or insular. A lot of people will have seen me in the football environment, and it’s quite intense. My feeling is that people perceive me in a certain way — that I’m very… serious. But that’s not really accurate!

“I want people to see the warm side of me. The kind, caring team player. I’m actually quite awkward, and nervous. But I’m also really daft and funny, and I probably just want to bring the other version of Karen, not the footballer Karen.

“Everyone I know who’s been on Strictly has told me not to be too hard on myself. If it was football, I’d be absolutely critical of myself, but this isn’t my thing, it’s the pros’ thing — and I’m humbled and privileged to be on the show.”

Karen has also become firm friends with her fellow Strictly stars, including Vicky Pattison. She revealed: “It’s just a lovely bunch this year. Vicky is so down-to-earth and she’s got really good energy,” she grins. “She always comes to me and says, ‘Are you OK?’ and I’m like, ‘Yes I’m OK, but are you OK?!’

“Ross King also cracks me up. He asked me to bring in a ball, so I said I’d bring in a mini ball, because it’ll keep me calm too, so we’ll be messing around and playing football when we can.”

Karen is now one of the favourites to win, with odds for the footballer rising from 16/1 to 5/1.

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STRICTLY Come Dancing is already in a fix row midway through the launch show.

The complaints from fans come after one of the star’s YEARS of dance experience was revealed.

Emmerdale actor Lewis Cope isn’t just good at acting, because he is an experienced dancer too.

He previously competed in a dancing world championship final three times.

The soap hunk has been dancing since the age of 10-years-old and has appeared on TV before.

Reacting to Lewis’ prior dancing experience, one fan said: “I need lewis to stop pretending he’s not a trained dancer.”

“Another Billy Elliot ex-pro dancer. tut tut,” penned a second.

A third then wrote: “Just give lewis the trophy now. He looks the part without seeing him move.”

While a fourth said: “Lewis is such a natural mover. His theatre experience will really help him as well. He’s definitely making that final I can feel it.”

“How will Lewis Cope on the dancefloor? I reckon he’ll be just fine,” said a fifth.

A sixth then penned: “the way lewis is blatantly gonna win is p***ing me off.”

While a seventh said: “So lewis is a dancer.”

Lewis previously spent eight years in the dance group, Ruff Diamond who were runners up in Sky TV’s Got to Dance competition.

When he was 18-years-old, Lewis found himself performing in front of judges Ashley Banjo, Kimberly Wyatt and Aston Merrygold.

The group also appeared on Children in Need where they danced
with the cast of EastEnders and they were twice voted as UK Hip Hop Champions.

They also represented the UK at the 2013 World Hip Hop Dance Championships in Las Vegas.

Lewis quit Ruff Diamond in 2015 at the age of 20 so he could study at the Royal Welsh College of Music and Drama.

TORONTO — The smile is beatific, blissed out, even at an ungodly hour on our Zoom call from France. A week later, when I finally meet 43-year old filmmaker Oliver Laxe in person at a private Toronto celebration for his new movie “Sirât,” he radiates serenity. He’s the happiest (and maybe the tallest) person in the room.

“One of the first ideas that I had for this film was a sentence from Nietzsche,” he says. “I won’t believe in a God who doesn’t dance.”

Laxe goes to raves — “free parties,” he clarifies, indicating the ones you need to hear about via word of mouth. He’s thought deeply about what they mean and what they do to him. “We still have a memory in our bodies of these ceremonies that we were doing for thousands of years, when we were making a kind of catharsis with our bodies.”

It’s almost the opposite of what you expect to hear on the fall festival circuit, when directors with big ideas make their cases for the significance of the art form. But the body, the return to something purely sensorial, is Laxe’s big idea.

Steadily, “Sirât” has become, since its debut at Cannes in May, a growing favorite: not merely a critic’s darling but an obsession among those who’ve seen it. (The film will have an awards-qualifying run in Los Angeles beginning Nov. 14.) A dance party in the desert set at some vaguely hinted-at moment of apocalypse, the movie is something you feel, not solve. Its pounding EDM beats rattle pleasurably in your chest (provided the theater’s speakers are up to snuff). And the explosions on the horizon shake your heartbeat.

“I really trust in the capacity of images to penetrate into the metabolism of the spectator,” Laxe says. “I’m like a masseuse. When you watch my films, sometimes you’ll want to kill me or you’ll feel the pain in your body, like: Wow, what a treat. But after, you can feel the result.”

An image from the movie “Sirât,” directed by Oliver Laxe.

(Festival de Cannes)

Laxe can speak about his influences: cosmic epics by the Russian master Andrei Tarkovsky or existential road movies like “Zabriskie Point” and “Two-Lane Blacktop.” But he is not a product of a typical grad-school trajectory. Rather, it’s his escape from that path after growing up in northern Spanish Galicia and studying in Barcelona (he tried London for a while) that’s fascinating.

“I was not good,” he recalls. “I didn’t find I had a place in the industry or in Europe. I was not interested. I had bought a camera, a 16-millimeter Bolex, and I knew I was accepting that my role was to be a kind of sniper that was working in the trenches but making really small films.”

At age 24, Laxe moved to Tangier, Morocco, where he would live for 12 years at a monastic remove from the glamour of the movies, collaborating with local children on his films. The experience would grow into his first feature, 2010’s “You Are All Captains,” which eventually took him all the way to the prize-winning podium at Cannes, as did his second and third films, all of which came before “Sirât,” his fourth.

“Slowly, the things we were making were opening doors,” he says. “In a way, life was deciding, telling me: This is your path.”

Path is what “Sirât” means in Arabic, often with a religious connotation, and his new movie takes a unique journey, traversing from the loose-limbed dancing of its early scenes to a train’s tracks stretching fixedly to the end of the line. There’s also a quest that gets us into the film: a father and son searching among the ravers for a missing daughter, potentially a nod to “The Searchers” or Paul Schrader’s “Hardcore,” but not a plot point that Laxe feels especially interested in expounding on.

“Obviously I have a spiritual path and this path is about celebrating crisis,” he says. “My path was through crisis. It’s the only time when you connect with your essence. I just want to grow. So that’s why I jump into the abyss.”

“My path was through crisis,” says director Oliver Laxe of his steady rise. “It’s the only time when you connect with your essence. I just want to grow.”

(Christina House / Los Angeles Times)

Laxe tells me he didn’t spend years perfecting a script or sharpening dialogue. Rather, he took the images that stuck with him — trucks speeding into the dusty desert, fueled by the rumble of their own speaker systems — and brought them to the free parties, where his cast coalesced on the dance floor.

“We were telling them that we were making ‘Mad Max Zero,’ ” he recalls, but also something “more metaphysical, more spiritual. A few of them, I already knew. There are videos of us explaining the film in the middle of the dance floor with all the people dancing around. I mean it was quite crazy. It’s something I would like to show to film schools.”

Shot on grungy Super 16, the production drove deep into craggy, sandblasted wastelands, both in Morocco and mountainous Spain, where the crew would make hairpin turns along winding cliff roads that would give even fans of William Friedkin’s legendary 1977 misadventure “Sorcerer” anxiety.

“It was my least dangerous film,” Laxe counters, reminding me of his “Fire Will Come,” the 2019 arson thriller for which he cast actual firefighters. “We were making the film in the middle of the flames, so I don’t know. I’m a junkie of images and I need this drug.”

There is a Herzogian streak to the bearded Laxe, a prophet-in-the-wilderness boldness that inspires his collaborators, notably longtime writing partner Santiago Fillol and the techno composer Kangding Ray, to make the leap of faith with him. But there also seems to come a point when talking about “Sirât” feels insufficient, as opposed to simply submitting to its pounding soundscapes, found-family camaraderie and (fair warning) churning moments of sudden loss that have shaken even the most hardy of audiences.

“The film evokes this community of wounded people,” he says. “I’m not a sadistic guy that wants to make a spectator suffer. I have a lot of hope. I trust in human beings, even with their contradictions and weaknesses.”

For those who wish to find a political reading in the movie, it’s there for them, a parable about migration and fascism but also the euphoria of a headlong rush into the unknown. “Sirât” is giving odd comfort in a cultural moment of uncertainty, a rare outcome for a low-budget art film.

Its visionary maker knows exactly where he is going next.

“I got the message in Cannes,” Laxe says. “People want to feel the freedom of the filmmaker or the auteur. What they appreciate is that we were jumping from a fifth floor to make this film. So for the next one —”

Our connection cuts out and it’s almost too perfect: a Laxian cliffhanger moment in which ideas are yanked back by a rush of feeling. After several hours of me hoping this was intentional on his part, the director does indeed get back to me, apologetically. But until then, he is well served by the mystery.

Where: Carpenter Performing Arts Center
When: Nov. 8, 8 p.m.
Price: Starting at $38.75

Graham Greene, the Oscar-nominated actor who helped open doors for Indigenous actors in Hollywood, died on Monday in Toronto after battling a long illness, Deadline and others report. The Canadian actor was 73.

Born in Ohsweken, on the Six Nations Reserve, Greene saw his Hollywood profile catapult after Kevin Costner cast him as Kicking Bird (Ziŋtká Nagwáka) in 1990’s “Dances With Wolves,” which won the Academy Award for best picture and earned Greene an Oscar nomination for best supporting actor.

During his screen career, which began with the 1979 Canadian drama series “The Great Detective,” Greene was cast in more than 180 films and TV shows. His first movie role was in 1983’s “Running Brave.”

He went on to star in several other high-profile films including “Maverick,” “The Green Mile,” “Die Hard With a Vengeance” and “The Twilight Saga: Breaking Dawn — Part 2.” The actor also appeared in “Tulsa King,” “Riverdale” and as Maximus in the final season of the Emmy-nominated show “Reservation Dogs,” which was among his final roles.

Graham Greene, right, and Kevin Costner in “Dances With Wolves.”

(Courtesy of Orion Pictures Corp.)

At the time of his death, he had eight upcoming projects, including the Stefan Ruzowitzky-directed thriller “Ice Fall,” which he had completed filming with Joel Kinnaman and Danny Huston. It’s scheduled to be released in October.

“He was a great man of morals, ethics and character and will be eternally missed,” Greene’s agent Michael Greene (no relation) said in a statement released to several outlets, including Deadline and TMZ. “You are finally free. Susan Smith is meeting you at the gates of heaven,” he added, referring to the actor’s former agent, who died in 2013.

Graham Greene and Molly Kunz in a scene from the 2021 drama “The Wolf and the Lion.”

(Emmanuel Guionet / Courtesy of Blue Fox Entertainment)

Outside of his acting career, Greene won a Grammy in 2000 for best spoken word album for children for his work on “Listen to the Storyteller.” He is also a Gemini and Canadian Screen Award winner and an Independent Spirit nominee. In 2021, he was immortalized with a star on Canada’s Walk of Fame, and earlier this year, he received the Governor General’s Performing Arts Award in his native country.

Graham Greene in 2022 at the unveiling of his commemorative plaque for Arts & Entertainment on Canada’s Walk of Fame at Beanfield Centre in Toronto.

(Mathew Tsang / Getty Images)

In 1991, Greene told The Times that “Dances With Wolves” “was certainly the biggest film I’ve done. It’s made definite changes in my life — I’m more popular with the media, scripts are being offered to me from people I’ve never heard of. On the other hand, I’m being inundated. It’s good in a way. I shouldn’t complain.”

Greene is survived by his wife of 35 years, Hilary Blackmore; daughter Lilly Lazare-Greene; and grandson Tarlo.

The heart and soul of suites by Bach and Handel are often found in the slow, central sarabande, said to be a dance of Spanish origin. In Bach’s cello suites, the sarabande stops time. Watch Yo-Yo Ma play a sarabande. His eyes seem to recede under his eyelids, as though entering a profound state of hypnosis. He can make a Bach sarabande work anywhere, including on a river rafting trip with a background of gurgling water on his latest Bach recording.

The sarabande from Handel’s D-Minor Keyboard Suite is well known as the theme from “Barry Lyndon,” about to thrill Stanley Kubrick fans all over again with the new 50th anniversary 4K restoration screening Saturday night at the Egyptian.

That Handel sarabande was one of the catchy opening numbers of “Sarabande Africaine,” Ma’s joint appearance with Afropop singer-songwriter Angélique Kidjo at the Hollywood Bowl on Thursday night. Ma and Kidjo met seven years ago at an event in Paris commemorating the end of the World War I. That led him to look a little deeper into music he had been playing since he was a young boy and was by now ingrained in his DNA.

And it led him to loudly exclaim, before playing the sarabande from Bach’s Second Solo Cello Suite in his short solo set, “Who knew?”

Musicologists have discovered the origin of the rhythmic patterns of what became this Baroque era vehicle for the transmigration of souls in dances carried by enslaved Africans to 16th century Spain. The church banned the sarabande for its perceived lusty eroticism. But when the dance later reached the hands of a certain German father of 20 children, Bach made sarabandes of such mystical serenity that eros equaled the sacred miracle of new life.

That Ma, an old Silk Road musical warrior, and the multifaceted Kidjo bonded is hardly surprising. But that they could put on a show with a fabulous family of African drummers, Caribbean piano and percussion, and assorted electric guitars and brass and dancers in which all the world — not just Bach but Philip Glass, Dvorak, Gershwin, Ravel, you name it — seemed to be just waiting for the right African accent, and that traditional African music needed no translation at all for some 17,000 at a near full Bowl, that was something.

Even so, Kidjo and Ma are an odd couple. Kidjo proudly transforms anything she comes into musical contact with. To hear “Summertime” in Swahili, a beautiful language for song, is indescribably touching. Kidjo added words to “Bolero.” They were not translated and didn’t need to be. Ravel’s rhythms had a riveting new freshness.

Ma’s cello, on the other hand, fits in, often remaining in the background, though not a distant background. He got into playful duets with drummers and a moving one with Kidjo as an intro to “Summertime.”

There was talk of peace, a better world where we understand each other, by both Ma and Kidjo. They demonstrated how that might work, with Kidjo commanding the stage, brilliantly dressed, while Ma, seated and in a sport coat for the first part, speaking a different yet compatible musical language. Even so, it was the big, crowd-pleasing Kidjo numbers that ultimately sent the audience home dancing.

There was, however, one particularly fascinating area of communality. Glass has written important pieces for both. Ma is featured in Glass’ 2002 score to “Naqoyqatsi,” the third in the “Qatsi” trilogy of silent documentary films by director Godfrey Reggio. Although the least known, “Naqoyqatsi” has an antiwar theme that would have fit right in with “Sarabande Africaine.”

Glass also fell under Kidjo’s spell, first composing three enchanted “Yoruba” songs for the singer, and then his Symphony No. 14 (“Lodger”) for her and premiered by the Los Angeles Philharmonic in 2019. The third in another Glass trilogy, this of symphonies based on David Bowie albums, “Lodger” consists of seven Bowie songs sung by Kidjo with new music by Glass.

For “Sarabande Africaine,” Kidjo sang the first of the songs in the symphony, “Move On,” arranged for cello, piano and percussion. Ma carried the main orchestral melodic lines. Bowie, who sometimes felt the need to move on, could well have written the song for Kidjo, with lines like, “Somewhere, someone’s calling me.”

The two-hour “Sarabande Africaine,” without intermission, could get a tad preachy. The evangelical mixing of musical genres and geography had its touristy elements; however engaging and engrossing the wonder-making, it was always fleeting.

But, ironically, “Move On,” in its new setting, had the powerfully intimate feel of stopping and reflecting. This was the one composer Kidjo and Ma both knew personally. They were equals and equally at home with his style, and the movement put the moving on, the “drifting like a leaf,” “feeling like a shadow,” stumbling “like a blind man,” in revealing relief.

“Move On” ends with Ma tracing a haunting, fleeing cello response to Kidjo singing “Can’t forget you / Can’t forget you” She might have been speaking for how her audience hears her, but also of the forgetful nature of the history of music, in which we are maybe not meant to remember. You hear something, make it your own and move on.

Stability is a thing of the past at the John F. Kennedy Center for the Performing Arts, which this past week fired its director of dance programming, Jane Raleigh, as well as two other full-time dance programmers, Mallory Miller and Malik Burnett.

A few days later, the center announced its new dance director — a young Washington Ballet dancer named Stephen Nakagawa, who, according to the New York Times, sent a letter to the center’s president, Richard Grenell, lamenting “radical leftist ideologies in ballet.”

Nakagawa also wrote that he was “concerned about the direction the ballet world is taking in America,” that he was upset by the “rise of ‘woke’ culture,” at various dance companies and that he “would love to be part of a movement to end the dominance of leftist ideologies in the arts and return to classical ballet’s purity and timeless beauty.”

If “woke” is a MAGA dog whistle for diversity, equity and inclusion, then restoring “purity” to classical ballet could lead to a regressive whitewashing of the art form.

“With God, all things are possible,” Nakagawa wrote in a social media post announcing his appointment. “I am excited and honored to begin working with the incredible Kennedy Center and this amazing administration.”

The Kennedy Center did not respond to a request for comment about how its dance programming might change now that Nakagawa has taken over, but a person close to the situation, who declined to be identified said, “The [terminated] individuals were given multiple opportunities to come up with new ideas and failed to offer any.”

In interviews following their dismissal, Miller and Burnett said they had attended a meeting with Grenell in which he told them that they needed to prioritize “broadly appealing” programming in order to attract corporate sponsorship. Grenell reportedly used the reality TV competition “So You Think You Can Dance” as an example of what he had in mind.

What Grenell seems to be missing is that, under Raleigh, dance programming at the Kennedy Center was among the best in the nation — with broad appeal. The current season, which had been programmed before Raleigh and the others were fired, included some of the country’s most vaunted and popular companies including Martha Graham Dance Company, American Ballet Theatre and New York City Ballet.

The Kennedy Center also commissioned great work, including Mark Morris’ “Moon,” which staged its world premiere at the center in April. Times classical music critic Mark Swed caught the show at an “unusually quiet” venue shortly after President Trump staged his February takeover of the center.

“‘Moon,’” Swed told me, “served as a marvelous example of how [the] dance series already provides what both its audiences and new administration want. It celebrates American greatness, representing the historic Moonshot and Voyager space missions through wondrous dance, sanguine 1930s swing music and cavorting spacemen. There is even bit of cheerful conspiracy theory with the help of a cuddly alien or two.”

It doesn’t take a MAGA apparatchik to know that’s a winning formula.

I’m arts and culture writer Jessica Gelt, dancing my way to a better tomorrow. Here’s your arts news for the week.

Best bets: On our radar this week

Prince on his 1987 Sign O’ The Times tour at the Palais Omnisports in Paris.

(FG/Bauer-Griffin/Getty Images)

Prince – Sign O’ The Times
The purple one’s 1987 film featuring live performances of songs from his ninth studio album gets the Imax treatment this weekend. Neither a commercial nor critical success upon its original release, interest in the project has only increased as the artist’s stature continued to rise, even after his death from an accidental overdose in 2016. Ranking Prince’s singles in 2021, Times pop music critic Mikael Wood wrote, “Inspired in part by the bad news he saw splashed across the front page of the Los Angeles Times one summer day in 1986, the title track of Prince’s magnum opus addresses AIDS and the crack epidemic in language as haunted and unsparing as the song’s rigorously pared-down groove.” The movie opens Thursday in limited theatrical release; check theaters for showtimes. www.imax.com/prince

“Villagers on Their Way to Church from Book of Hours,” c 1550, by Simon Bening (Flemish, about 1483 – 1561) Tempera colors and gold paint Getty Museum Ms. 50 (93.MS.19), recto

(J. Paul Getty Museum)

Going Places: Travel in the Middle Ages
As we wrap up our own summer excursions, what better time to vicariously explore how it was done in medieval times through this exhibition of Getty Museum manuscripts illustrating the subject, augmented by an interactive component inspired by early 8-bit arcade video games. Times art critic Christopher Knight has described Northern European manuscripts as “one unmistakable strength of the Getty’s collection.” The show opens Tuesday. 10 a.m.-6:30 p.m. Tuesday–Friday and Sunday; 10 a.m.-9 p.m. Saturday; closed Monday, through Nov. 30. J. Paul Getty Museum, 1200 Getty Center Drive. getty.edu

Violinist Anne Akiko Meyers performs Arturo Márquez’s concerto “Fandango” with the LA Phil at the Hollywood Bowl in 2021.

(Jason Armond / Los Angeles Times)

Márquez’s Fandango & Shostakovich’s Fifth
Violinist Anne Akiko Meyers performs Arturo Márquez’s Latin Grammy-winning composition with the L.A. Phil, conducted by Giancarlo Guerrero, Tuesday night at the Hollywood Bowl. The orchestra will also perform the Mexican composer’s “Danzon No. 2” and Shostakovich’s popular “Symphony No. 5.” When “Fandango,” commissioned by the L.A. Phil and written for Meyers, had its world premiere in 2021, Times classical music critic Mark Swed called it “substantial. It is based on the Mexican fandango Márquez grew up with in Sonora. His instrument is the violin, and his father was a mariachi violinist. But Márquez’s goal in the concerto was to use his folk and dance roots in a formal classical way, taking as his example such European composers as Manuel de Falla and Isaac Albéniz. In Márquez’s concerto, he allows Meyers to revel in her virtuosity. He writes melodies that sound old and worth keeping. Dance rhythms do what they’re supposed to, making feet tap and nerves tingle.” The gates open at 6 p.m. with the music scheduled to start at 8 p.m. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

The week ahead: A curated calendar

FRIDAY
🎭 Masala Dabba
Food, cooking and the titular spice box are central to playwright Wendy Graf’s world-premiere drama about an Indian/African American family directed by Marya Mazor.
7:30 p.m. Thursday-Saturday, 2 p.m. Sunday, through Sept. 14. International City Theatre, 330 E. Seaside Way, Long Beach. InternationalCityTheatre.org.

🎭 NOIR!
A Hollywood thriller is the milieu for a new immersive theatrical experience from the creators of “It’s Alive” and “The Assassination of Edgar Allan Poe.”
7:50 p.m. Friday-Sunday, Sept. 6, 13 and 20. Heritage Square Museum, 3800 Homer St. downtownrep.com

SATURDAY
🎥 Barry Lyndon
The American Cinematheque marks the 50th anniversary of Stanley Kubrick’s visually sublime adaptation of William Makepeace Thackeray’s novel about an 18th century English rogue, starring Ryan O’Neal and Marisa Berenson, with the L.A. premiere of a new 4K restoration.
7 p.m. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com

🎥 Drop Dead Gorgeous
Actor Denise Richards will be in person for a 35 mm screening of the 1999 small-town beauty pageant mockumentary, a darkly comedic cult favorite written by Lona Williams, directed by the State’s Michael Patrick Jann and co-starring Kirstie Alley, Ellen Barkin and Kirsten Dunst.
7:30 p.m. Academy Museum, 6067 Wilshire Blvd., Los Angeles. academymuseum.org

🎭 Just Another Day
“Wonder Years” dad Dan Lauria wrote this romantic comedy on the enduring nature of love and stars with Academy Award nominee Patty McCormack (“The Bad Seed”) as a septuagenarian couple who meet every day on a park bench to verbally spar and reminisce.
8 p.m. Friday and Saturday, 2 p.m. Sunday, through Sept. 28, with 8 p.m. Wednesday shows on Sept. 17 and 24. Odyssey Theatre Ensemble, 2055 S. Sepulveda Blvd. odysseytheatre.com

🎨 Rising Sun, Falling Rain: Japanese Woodblock Prints
An exhibition exploring the growth of Edo-period ukiyo-e printmaking and the later shin-hanga movement through more than 80 works from the Grunwald Center for the Graphic Arts features work by Katsukawa Shunshō, Utagawa Toyokuni, Katsushika Hokusai, Utagawa Hiroshige, Tsukioka Yoshitoshi and Kawase Hasui.
11 a.m.-8 p.m. Friday, 11 a.m.-6 p.m. Saturday–Sunday and Tuesday–Thursday, closed Monday, through Nov. 30. UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. hammer.ucla.edu

🎨 Martin Wittfooth: Deus ex Terra
The Canadian artist examines the repeating patterns of nature and the ways it serves as both muse and a mirror of the human soul in this solo exhibition.
Opening reception, 7 p.m. Saturday; noon-6 p.m. Tuesday-Saturday. Corey Helford Gallery, 571 S. Anderson St., Los Angeles. coreyhelfordgallery.com/

SUNDAY

The cast of “One Man, Two Guvnors” at a Noise Within: Trisha Miller, from left, Kasey Mahaffy, Ty Aldridge and Cassandra Marie Murphy.

(Daniel Reichert)

🎭 One Man, Two Guvnors
Richard Bean’s swinging ’60s British farce won James Corden a Tony Award and largely introduced him to American audiences. The show, based on “The Servant of Two Masters” by Carlo Goldoni, is directed by A Noise Within producing Artistic Directors Julia Rodriguez-Elliott and Geoff Elliott, with songs by Grant Olding.
Previews: 2 p.m. Sunday; 7:30 p.m. Wednesday-Sept. 5; opening night: 7:30 p.m. Sept. 6; 2 p.m. Sunday, 7:30 p.m. Wednesday-Friday; 2 and 7:30 p.m. Saturday, through Sept. 28. A Noise Within, 3352 E. Foothill Blvd., Pasadena. anoisewithin.org

TUESDAY
🎥 Who Killed Teddy Bear?
The Los Angeles premiere of a newly struck 35 mm print presents Joseph Cates’ uncensored director’s cut of his 1965 neo-noir thriller starring Sal Mineo, Juliet Prowse, Jan Murray and Elaine Stritch with footage seen for the first time in six decades.
7 p.m. Los Feliz Theatre, 1822 N. Vermont Ave. americancinematheque.com

WEDNESDAY
🎭 Am I Roxie?
Written-actor Roxana Ortega’s one-woman comedy is a wild ride through her mother’s mental decline. Directed by Bernardo Cubría.
7:30 p.m. Wednesday-Thursday; 8 p.m. Friday; 3 and 8 p.m. Saturday; 2 p.m. Sunday, through Oct. 5. Geffen Playhouse, 10886 Le Conte Ave., Westwood. geffenplayhouse.org

THURSDAY
🎭 Oedipus the King, Mama!
Troubadour Theater, a.k.a. the Troubies, applies its brand of commedia dell’arte-inflected slapstick to Sophocles’ classic Greek tragedy, infused with the music of Elvis Presley.
8 p.m. Thursday-Saturday, through Sept. 27. The Getty Villa, 17985 Pacific Coast Highway, Pacific Palisades. getty.edu

🎼 Mozart’s Requiem
Conductor James Gaffigan leads the L.A. Phil in the composer’s final, uncompleted Mass, with the Los Angeles Master Chorale, preceded by Ellen Reid’s “Body Cosmic” and Brahms’ “Song of Destiny.”
8 p.m. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

Culture news and the SoCal scene

Danielle Wade as Maizy, left, and Miki Abraham as Lulu in the North American Tour of “Shucked” at the Hollywood Pantages Theatre.

(Matthew Murphy and Evan Zimmerman)

If you’re a sucker for puns, you’ll love “Shucked,” the musical comedy running through Sept. 7 at the Hollywood Pantages Theatre. The show, writes Times theater critic Charles McNulty, “never met a pun it didn’t like.” But there’s more to the folksy tale of mixed-up love in a place called Cob County — “Shucked” is a “folksy farcical riot, wholesome enough for widespread appeal but with just enough flamboyant oddity to tickle the funny bone of urban sophisticates.” The actors are also top-notch, including Danielle Wade, who plays the female lead Maizy. Wade, writes McNulty, “sounds like an ingenue Dolly Parton, exquisite to listen to, especially when her heart is in play.”

The Los Angeles County Museum of Art’s annual Art+Film Gala returns for its 14th year. This year’s honorees are filmmaker Ryan Coogler and Light and Space artist Mary Corse. The elaborate dinner — which always attracts a high-powered Hollywood crowd — is co-chaired by LACMA trustee Eva Chow and Leonardo DiCaprio. It’s scheduled to take place on Nov. 1 and will be the last such event to occur before the museum opens its new Peter Zumthor-designed building next spring.

Tyrone Huntley, an usher at the Hollywood Bowl.

(Jason Armond / Los Angeles Times)

Remember the fabulous actor who played Simon in the Hollywood Bowl’s unforgettable “Jesus Christ Superstar”? The one who also served as an understudy for Cynthia Erivo’s Jesus? His name is Tyrone Huntley, and his story is similar to those of countless working actors in L.A. Namely that he also has a day job. Only in Huntley’s case, his day job is working as an usher at the Hollywood Bowl. One day he was onstage in one of the season’s hottest shows, and the next he was showing people to their seats at the very same venue. Read all about it here.

A scene from the 2022 documentary “¡Viva Maestro!”: Gustavo Dudamel smiles as he wraps up Encuentros performance in Palacio de Bellas Artes.

(Gerardo Nava / The Gustavo Dudamel Foundation)

Gustavo Dudamel is still the music director of the Los Angeles Philharmonic, but he’s already got one foot in New York City, where he is scheduled to become the music director of the New York Philharmonic in September 2026. This week the N.Y. Phil issued a news release highlighting Dudamel’s presence in its 2025-26 season. As the orchestra’s music and artistic director designate, Dudamel will lead six weeks of subscription programs, as well as the season-opening concerts. Next month he will conduct the world premiere of Leilehua Lanzilotti’s “of light and stone.”

Almost two years ago, Holocaust Museum LA broke ground on a $65-million expansion. It is now a less than a year out from opening at its new Jona Goldrich campus, which includes a 200-seat multipurpose theater, a 3,000-square-foot gallery, two classrooms, an interactive theater featuring a virtual Holocaust survivor, a pavilion with an authentic boxcar, a gift shop and a coffee shop, as well as a variety of outdoor community spaces. Designed by architect Hagy Belzberg, it will double the museum’s footprint in Pan Pacific Park.

The Consortium of Asian American Theaters & Artists issued a news release voicing concern “over the recent and evolving casting decisions in the Broadway production of ‘Maybe Happy Ending’,” created and written by Hue Park, with music by Will Aronson. The Michael Arden-directed Broadway adaptation won six Tony Awards this year, including for best musical, direction of a musical and lead actor in a musical (Darren Criss). However, after the award wins, Criss, who is of Filipino descent, took a leave of absence from the show and was replaced by a white actor, Andrew Barth Feldman. “This is not just about one casting decision, even if only momentary. It reflects a longstanding pattern of exclusion, whitewashing, and inequity that AAPINH and global majority artists have confronted for decades in U.S. theater,” the news release said.

— Jessica Gelt

And last but not least

Ojai’s Hotel El Roblar, which first welcomed guests in 1919, has officially reopened. The newest hotel in Ojai is now also its oldest, writes Times Travel writer Christopher Reynolds. See you there!

Everyone can use an editor, and Shakespeare is no exception. Fortunately, he married one.

Tired of being cooped up with the kids in Stratford-upon-Avon, Anne (Teal Wicks), wife of the great playwright, pops down to London to see the first performance of “Romeo and Juliet.” The new tragic ending that Shakespeare (Corey Mach) proudly previews to the company strikes her as completely wrongheaded.

“What if … Juliet doesn’t kill herself?” she proposes. As strong-willed as her husband, she doesn’t wish to argue the point. She merely wants to put her idea to the test.

Behold the premise of “& Juliet,” the euphoric dance party of a musical that updates Shakespeare with a dose of 21st century female empowerment. The production, which opened Friday at the Ahmanson Theatre under the fizzy direction of Luke Sheppard, reimagines a new post-Romeo life for Juliet while riding a magic carpet of chart-toppers from juggernaut Swedish producer Max Martin, who has spun gold with Katy Perry, Britney Spears and the Backstreet Boys, among other pop titans.

Teal Wicks, left, and Rachel Webb in the North American Tour of “& Juliet.”

(Matthew Murphy)

This good-time jukebox musical relies as much on its wit as on its catalog of pop hits. The show’s music and lyrics are credited to Max Martin and friends — which sounds like a low-key cool table at the Grammy Awards. The clever book by Emmy winner David West Read (“Schitt’s Creek”) creates a world that can contain the show’s musical riches without having to shoehorn in songs in the shameless fashion of “Mamma Mia!”

Take, for instance, one of the early numbers, “I Want It That Way,” a pop ballad made famous by the Backstreet Boys. Anne starts singing the song when Shakespeare initially resists her idea of giving Juliet back her life. She wants him to go along with her suggested changes not because she’s sure she’s right but because she wants him to trust her as an equal partner. The song is redeployed in a way that has little bearing on the lyrics but somehow feels coherent with the original emotion.

Obviously, this is a commercial musical and not a literary masterpiece on par with Shakespeare’s tragedy of ill-starred lovers. “& Juliet” would have trouble withstanding detailed scrutiny of its plot or probing interrogation of Juliet’s character arc. But Read smartly establishes just the right party atmosphere.

Juliet (a vibrant Rachel Webb), having survived the tragedy once scripted for her, travels from Verona to Paris with an entourage to escape her parents, who want to send her to a nunnery for having married Romeo behind their backs. Her clique includes Angélique (Kathryn Allison), her nurse and confidant; May (Nick Drake), her nonbinary bestie; and April, her newbie sidekick out for fun who Anne plays in disguise. Shakespeare casts himself as the carriage driver, allowing him to tag along and keep tabs on the cockeyed direction his play is going.

In Paris, the crew heads directly to the Renaissance Ball, which has the look and feel of a modern-day mega-club. Entry is barred to Juliet, but not because she’s ridiculously underage. Her name isn’t on the exclusive guest list. So through the back door, Juliet and her traveling companions sashay as the production erupts in “Blow,” the Kesha song that encourages everyone to get their drink on and let loose.

Rachel Webb and the North American Tour Company of “& Juliet.”

(Matthew Murphy)

The dance setting — kinetically envisioned by scenic designer Soutra Gilmour, lighting designer Howard Hudson, sound designer Gareth Owen and video and projection designer Andrzej Goulding into a Dionysian video paradise — provides the all-purpose license for Martin’s music. It’s the atmosphere and the energy that matter most. Paloma Young’s extravagant costumes raise the level of decadent hedonism.

In this welcoming new context — imagine “Moulin Rouge! The Musical” suffused with girl power — there’s never anything odd about the characters grinding and wailing like karaoke superstars. The ecstatic motion of Jennifer Weber’s choreography renders dramatic logic irrelevant.

But love is the name of the game, and both Juliet and May fall for François (Mateus Leite Cardoso), a young musician with a geeky sense of humor who’s still figuring out his identity. May doesn’t expect romance to be part of their fate. In the Spears song “I’m Not a Girl, Not Yet a Woman,” they give powerful expression to an inner confusion this musical romance is determined to sort out with an appropriate partner.

Unlike for the original characters, a happy ending is no longer off-limits. Shakespeare and Anne wrestle to get the upper hand of a plot that seems to have a mind of its own. Shakespeare pulls a coup at the end of the first act that I won’t spoil except to say that what’s good for the goose proves dramaturgically viable for the gander.

Teal Wicks, left, Rachel Webb, Nick Drake and Kathryn Allison in the North American Tour of “& Juliet.”

(Matthew Murphy)

This spirited competition stays in the background, but their marital happiness matters to us. Mach’s Shakespeare has the cocky strut of a rapper-producer with a long list of colossal hits. Wicks gives Anne the heartfelt complexity of one of her husband’s bright comic heroines. There’s a quality of intelligent feeling redolent of Rosalind in “As You Like It” in Wicks’ affecting characterization and luscious singing.

But the musical belongs to Juliet, and Webb has the vocal prowess to hijack the stage whenever she’s soaring in song. If Juliet’s character is still a work in progress, Webb endows her with a maturity beyond her years. She makes us grateful that the Capulet daughter is getting another crack at life. When the big musical guns are brought out late in the second act (“Stronger,” “Roar”), she delivers them as emancipatory anthems, fueled by hard-won epiphanies.

Allison’s Angélique is just as much a standout, renewing the bawdy earthiness of Shakespeare’s nurse with contemporary sass and rousing singing. If the supporting cast of men doesn’t make as deep an impression, the festive comic universe is nonetheless boldly brought to life.

“& Juliet” bestows the alternative ending everyone wishes they could script for themselves — a second chance to get it right. This feel-good musical is just what the doctor ordered in these far less carefree times.

Glorya Kaufman, the philanthropist who transformed dance in Los Angeles through the establishment of an eponymous dance school at USC as well as a prominent dance series at the Music Center, among many other initiatives, has died. She was 95.

Kaufman’s death was confirmed by a representative for the Music Center, which was the recipient in 2009 of a $20 million gift from Kaufman that established Glorya Kaufman Presents Dance at the Music Center. The money, which represented the largest donation in L.A.’s dance history, went toward the ongoing staging of appearances by some of the world’s most well-known dancers, troupes and companies, including the Joffrey Ballet, American Ballet Theatre, the Royal Ballet, Alvin Ailey American Dance Theater and Ballet Hispánico.

“Her gift to the Music Center has made it possible for us to bring the joy and beauty of dance into the hearts, minds and souls of countless Angelenos and visitors from around the world,” Music Center President and Chief Executive Rachel Moore said in a statement. “As a result of Glorya’s significant visionary leadership and generosity, Glorya Kaufman Presents Dance at the Music Center today stands as a vital part of Los Angeles’ cultural fabric.”

Kaufman also donated an undisclosed sum to create and endow the USC Kaufman School of Dance, and to build its home, the Glorya Kaufman International Dance Center. When it launched in 2012, the program was the first new school to be established at the university in 40 years. It opened in 2015 with 33 students and has nurtured the talents of dancers who went on to work with internationally recognized companies and artists including Alonzo King LINES Ballet, Staatsballett Berlin and Ballet Jazz Montreal.

In a tribute published by USC staff on the university’s website, USC Interim President Beong-Soo Kim said, “Glorya’s love for dance was contagious, and she spread that love by creating opportunities for people everywhere to experience the transformative impact and joy of the arts.”

“We have so much [dance] talent here in L.A.,” Kaufman told The Times in 2012 when the gift to USC was first announced, “and there’s no place for them to go. We want to get the best students, the best teachers, and the kids, when they graduate, will be able to make a living right away.”

Later that year, The Times described Kaufman’s importance to the dance world:

“The new biggest name in dance is Glorya Kaufman, who shook up the arts world last month when she gave the University of Southern California a gift that despite its undisclosed amount, has been called one of the largest donations in dance history.”

USC was not the first L.A.-area institution of higher learning to benefit from Kaufman’s largess. In 1999 she gave $18 million to fund the restoration of the UCLA Women’s Gym — now called Glorya Kaufman Hall. The Times wrote that her donation was, “the largest individual gift the university has received outside of the health sciences area, and the largest arts donation ever in the University of California system.”

Kaufman also gave money to schools in New York City, including four lifetime endowments for undergraduates at Alvin Ailey American Dance Theater. A 2,300-square-foot dance studio at the Juilliard School, which she funded, is also named after her.

Although dance was her primary focus, Kaufman’s influence was felt across L.A.’s cultural landscape. She was a founding member of the Los Angeles Museum of Contemporary Art and also gave to the Los Angeles County Museum of Art. In addition, she was a founding trustee of the Geffen Playhouse and donated money to build an outdoor reception area at the theater.

Kaufman believed that dance should be experienced by as many people as possible and was committed to helping less advantaged students gain access to programs in their communities. She created an endowment for a dedicated dance teacher at Inner-City Arts in East L.A. and provided funds for more than 17,000 kids to take free dance classes there each year.

The Glorya Kaufman Performing Arts Center — a 299-seat, multi-use performing arts space, including classrooms, rehearsal rooms and a theater — opened two years ago at Vista Del Mar Child and Family Services, a nonprofit that provides mental health services for neurodivergent children and those experiencing behavioral disorders. Kaufman’s gift came with the launch of three new community-focused programs: a USC Alumni Residency, an L.A. Independent Choreographer Residency and UniverSoul Hip Hop Outreach.

The Glorya Kaufman Performing Arts Center at Vista Del Mar was founded with the announcement of three new programs: a choreography residency, a USC alumni residency and a partnership with UniverSOUL Hip Hop.

(Nic Lehoux)

Glorya Kaufman was born in Detroit to Samuel and Eva Pinkis. Her father was the production manager of Automotive News and her mother was a homemaker who held leadership roles at various charities within the Jewish community. In interviews throughout her life, Kaufman recalled early memories of dancing while standing on her father’s toes. She also loved to go to Detroit’s many jazz clubs, which informed her lifelong love of music and dance.

Kaufman was diagnosed with strabismus as a child. The condition — which causes one eye to look in a different direction than the other — and her early experiences trying to correct the issue, along with her struggles with poor vision, contributed to her interest in helping those with disabilities.

In 1954 Kaufman married Donald Bruce Kaufman, a builder and entrepreneur who in 1957 partnered with businessman and prominent philanthropist Eli Broad to co-found a homebuilding company called Kaufman & Broad (now KB Home). In 1963 the Kaufman family moved to Huntington Harbour after the company expanded to California. Three years later, they again moved to Beverly Hills. In 1969 the Kaufmans relocated to a 48-acre Brentwood ranch they called Amber Hill.

In 1983, Donald died in a plane crash with the couple’s son-in-law Eyal Horwitz while piloting an experimental biplane. To deal with her loss, Glorya threw herself into philanthropy. She created the Glorya Kaufman Foundation and dedicated its first major project — the 10,000-square-foot Donald Bruce Kaufman Brentwood Branch Library — to her late husband, a prolific reader.

Kaufman is survived by her four children, Curtis, Gayl, Laura and Zuade; 10 grandchildren; and 13 great-grandchildren.

Just in case anyone might have wondered whether there was any lingering animosity between Coco Gauff and Aryna Sabalenka after their French Open final, the two tennis stars offered proof that all is well by dancing together at Wimbledon and posting videos on social media.

A day after dancing together on the  Centre Court, the two tennis players faced more questions on Saturday about the aftermath of Sabalenka’s comments right after the final, when she said her loss had more to do with her own mistakes than Gauff’s performance.

The Belarusian later said her comments were “unprofessional”, but not before she faced some major backlash from fans and pundits, especially in the United States.

“TikTok dances always had a way of bringing people together,” Sabalenka wrote on her Instagram feed below a clip of the duo showing off their moves on the Centre Court grass to the strains of the 1990 hit Gonna Make You Sweat (Everybody Dance Now) by C+C Music Factory.

Gauff, a frequent TikTok user, put up a video of the pair standing together and mouthing along to a track with the words: “OK, guys, we’re back. Did you miss us? ’Cause we missed you.”

“The olive branch was extended and accepted! we’re good so you guys should be too,” she wrote.

Pretty iconic 😎#Wimbledon | @SabalenkaA | @CocoGauff pic.twitter.com/biHPvsSaBR

— Wimbledon (@Wimbledon) June 27, 2025

‘Hakuna Matata and be happy’

Now, with Wimbledon about to start, Gauff is hoping everyone else can also forget what the top-ranked Sabalenka said.

“I’m not the person that will fuel hate in the world,” said Gauff, who opens her Wimbledon campaign against Dayana Yastremska on Tuesday. “I think people were taking it too far … It was just really targeting and saying a lot of things that I felt were not nice. I didn’t want to fuel that more.”

Sabalenka, who faces Carson Branstine on court number one on Monday, said she hopes the TikTok video shows that all is well between the two.

“We are good, we are friends,” the three-time major winner said. “I hope the US media can be easy on me right now.”

Sabalenka reiterated that she never meant to offend Gauff.

“I was just completely upset with myself, and emotions got over me,” she said. “I just completely lost it.”

Gauff did acknowledge that she was initially tempted to hit back publicly at Sabalenka, who said the American “won the match not because she played incredible, just because I made all of those mistakes from … easy balls.”

Gauff also said she was slightly surprised that it took a while for Sabalenka to reach out to apologise. But once that happened, the American was quick to bury any grudge.

“I preach love, I preach light,” Gauff said. “I just want us to be Kumbaya, live happily, Hakuna Matata [“no worries” in Swahili], and be happy here.”

Other players were also pleased to see the top two women’s players getting along again.

“I’m happy to see that they turned the page about it,” said Frances Tiafoe, who is seeded 12th in the Wimbledon men’s bracket. “That’s the biggest thing, because they’re the best players in the world. So those relationships you kind of need.”

Then the American added with a laugh, “But also it wouldn’t be too bad if they were also back-and-forth. That’d kind of be cool if they kind of didn’t like each other.”

Gauff vs Sabalenka head-to-head

Three-time Grand Slam champion’s loss to Gauff in Paris followed her loss to the American in the US Open final in 2023, and she trails their head-to-head 6-5.

Asked whether she would relish the chance to avenge the loss by beating Gauff in the Wimbledon final, she sounded unsure.

“I don’t know, in this case, maybe I don’t want to see Coco if I make it to the finals. But if she’s going to be there, I’m happy because I want to get the revenge!”

A jovial Sabalenka was joined for the last minute of her media address by seven-time Wimbledon champion Novak Djokovic, with whom she said she had a long chat this week after hitting with the Serb on the grass.

“Novak is the best. First of all, I was able to hit with him. Then you can chat with him. He will give his honest advice,” she said. “It’s amazing to hear the opinion of such a legend. We were just chatting about stuff that I’m struggling a little bit [with]. I’m really thankful for the advice he gave me.”

Like most busy working mothers who struggle with work-life balance, three-time Grammy Award winner Victoria Monét cherishes spending time with her 4-year-old daughter, Hazel, who she shares with ex-boyfriend fitness trainer John Gaines.

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

Known for writing hits like Ariana Grande’s “Thank U, Next,” Blackpink and Selena Gomez’s “Ice Cream” and Chloe x Halle’s “Do It,” in addition to “On My Mama” from her debut album “Jaguar II,” the L.A.-based R&B singer-songwriter recently penned something for younger audiences: the heartwarming children’s picture book “Everywhere You Are,” due out June 24.

In a recent interview, Monét revealed the inspiration behind her book. (She will discuss her new book at Malik Books on Saturday and the Reparations Club along with moderator Gabrielle Union on Sunday. Tickets are required.)

“As a parent, it’s hard to miss those pivotal moments,” she said of the separation anxiety that many children feel when their parents are working and unavailable. “It’s important for children to know that there is a purpose behind them. I wanted to offer assurance and relay an important message: Everything will be OK.”

Despite her demanding schedule, Monét always finds a way to make quality time for Hazel. In 2023, Hazel, then 2, became the youngest Grammy nominee in history when she was nominated for her vocals in “Hollywood” alongside her mother. And when Beyoncé kicked off her “Cowboy Carter” tour at Sofi Stadium in Inglewood last month, Monét took Hazel to her first concert. Their ideal Sunday in L.A., which Monét fondly calls “me time,” would involve playing outdoors, enjoying a visit to a family fun center, indulging in vegan sweet treats and reading “Everywhere You Are” to one another before bed. Here, Monét shares a joy-filled Sunday spent with her daughter.

This interview has been lightly edited for length and clarity.

8:30 a.m.: Awake with gratitude

On Sundays, me and Hazel wake up later than usual because we probably stayed up late the night before if I didn’t have to work. We normally start our day by doing our gratitude journaling, where she doodles and I write. Then we do our self-care, where we brush our hair and teeth. I will then go downstairs and make her character pancakes with chocolate chips or Fruity Pebbles cereal.

After that, we may make some art. She loves to draw, and we have a nice art section in the house featuring everything from crayons to markers, scratch-off art, watercolors and rainbow paints.

10 a.m.: Dance, dance, dance!

Hazel is active and enjoys doing things, but on the weekends, we have instructors come to the house for dance lessons. So far, she has taken ballroom dance, ballet and tap. She was in gymnastics for a while. We’re looking forward to taking ballet and tumbling at To The Pointe Dance and Pilates Centre.

She loves being outside and enjoys riding her bike or visiting the park. During the week, she plays soccer twice a week. She loves it because it isn’t serious yet. It’s more about giving them a chance to have fun. They do drills on how to kick and run at the same time. It’s hard when you think about it.

12 p.m.: Indulge in fresh pasta at Uovo

Hazel loves pasta, so we often go to Uovo Pasta, which has several locations in Los Angeles. Their handmade al dente noodles are perfect — they overnight them from Italy. We would get the pomodoro and make sure that it’s not too spicy. Their cacio e pepe is great, but that’s a once-in-a-blue-moon thing for me because I’m [mostly] plant-based. Hazel usually gets what I get. When I was pregnant with her, I ate Flamin’ Hot Cheetos all the time, and now she likes them too. After lunch, I’d have to bring her home because she naps around 1 p.m.

2:30 p.m.: Jump for joy at Off the Wall

After her nap, we’ll hit Off the Wall in Woodland Hills. It’s trampoline heaven, where you can catapult higher than you intended to. There are rock climbing walls, an arcade and food. They have an air-filled basketball court that’s on a soft floor and there are birthday party rooms in the back. Hazel loves that place, especially the trampoline. She likes me to chase her, so I get a workout while we are there. I’ll literally be sweating when we leave.

4 p.m.: Sample sweet treats at Happy Ice or Magpies

For a sweet treat, Happy Ice is a favorite. It’s the best-tasting slushy snow cone, especially during the summer when it’s hot. They have locations in Northridge and Hollywood, but they also have a truck [at Smorgasburg on Sundays in downtown L.A.]. For Hazel’s birthday party, we had the truck come to our house. I usually get the Rainbow Rocket, which is a mix of all their Italian ice flavors, and Hazel gets the same thing I do. She is happy to get anything, frankly. Magpies Softserve is another one of our favorites. Their vegan honeycomb soft serve is so good. Hazel likes their soft-serve pies.

6 p.m.: Tapas-style dining at Joey

Hazel is newly picky, but if she were to go out to dinner with me, she would love Joey in Woodland Hills, which offers a wide-ranging menu. They check off a box for everybody. I’m a tapas-style girl, so I like to order a variety of different dishes: guacamole, tuna and avocado crunch roll and Korean fried cauliflower. I’ll order the sake-glazed Chilean sea bass and pasta for Hazel.

We’re homebodies, so another dinner option would be spending time together at home, cooking and playing in the pool. We enjoy making veggie and tofu tacos together. Things you can eat with your hands are always fun with kids. That’s one reason they like s’mores so much. Occasionally, we’ll make something pescatarian like grilled salmon or other fish.

8 p.m.: Watch “Moana 2” … again

At night, we would watch a movie and wind down with some Skinny Pop popcorn. Hazel would probably watch “Moana 2” again right now. We saw it in the theaters, and she goes through phases where she wants to watch different things, but she recently said that she wants a “Moana 2” party for her fifth birthday. I thought she’d like something else by then. But then, she thinks there will be 20 Moanas.

10 p.m.: Read “Everywhere You Are” before bed

Before bed, Hazel often asks me to read “Everywhere You Are” to her. She loves to read and enjoys being read to. I’ve read it to her so many times that she can read it back to me. She recorded a segment of the audiobook with me and was excited to hear herself when she recorded it in the studio. Reading the book to her, I realized that missing a parent is a lot like losing a loved one. You can still feel their presence even though they’re not around. Love binds people together despite physical distance. Even when they don’t see you, children need to know that you’re still there and that you’ll always be with them.

Los Angeles is neither a dance center nor a dance desert. We don’t have much of a history of nourishing major ballet companies. We do have a plethora of smaller companies — modern, classical and international.

You may have to look for it, but somewhere someone is always dancing hereabouts for you.

I sampled three very different dance programs last weekend at three distinctive venues in three disparate cities and for three kinds of audiences. The range was enormous but the connections, illuminating.

At the grand end of the scale, Miami City Ballet brought its recent production of “Swan Lake” to Segerstrom Hall in Costa Mesa — beginning a run of varied versions of Tchaikovsky’s beloved ballet this summer. It will be Boston Ballet’s turn at the Music Center this weekend. San Francisco Ballet gets in the act too, dancing excerpts at the Hollywood Bowl as part of this year’s Los Angeles Philharmonic “Tchaikovsky Spectacular.”

On a Television City soundstage in the Fairfax district, American Contemporary Ballet, a quintessential L.A. dance company that explores unusual sites around town, is presenting George Balanchine’s modernist classic “Serenade,” along with a new work by the company’s founder, choreographer Lincoln Jones. Meanwhile, on Saturday night, violinist Vijay Gupta and dancer Yamini Kalluri mingled Bach and Indian Kuchipudi dance tradition at the 99-seat Sierra Madre Playhouse.

Miami City Ballet has attracted attention for mounting what is being called a historically informed “Swan Lake” by the noted Bolshoi-trained choreographer Alexei Ratmansky. He has done his best to re-create the 1895 production at the Mariinsky Theater in Ratmansky’s hometown of St. Petersburg.

Historically informed performance, or HIP, is a loaded term, and “Swan Lake” is a loaded ballet. HIP came about when the early music movement discovered that trying to re-create, say, the way a Handel opera might have sounded in the 18th century by using period instruments with what was believed to be period practice techniques proved deadly boring. Eventually, the movement realized that using the old instruments in sprightly, imaginative and contemporary ways instead made the music sound newly vital, and even more so when the staging was startlingly up to date.

Ratmansky’s reconstructed “Swan Lake” does much the opposite with modern instruments and old-fashioned ballet, and it got off to a disorienting start Sunday night. Tchaikovsky’s introduction was played glowingly by the Pacific Symphony in a darkened hall meant to prepare us to enter a different world. But the modern orchestra and distractingly bright audience phones only served to remind us that it is 2025.

The orchestras of the late 19th century had lighter, more spirited-sounding instruments, a quality that matched the choreography of the time. But when Sunday’s curtain rose to archaic scenery, costumes, choreography and acting, it felt, in this context, like wandering into a tacky antique shop.

That said, Ratmansky has a lot to offer. Going back to 1895 can, in fact, signal newness. There is no definitive version of “Swan Lake.” Tchaikovsky revised it after the first 1877 version but died before finishing what became the somewhat standard version in 1895. Even so, choreographers, dancers, producers and even composers have added their two cents’ worth. The ballet can end in triumph or tragedy. Siegfried and his swan-bride Odette may, individually or together, live or drown. “Swan Lake” has become so familiar that modern embellishments become just a lot more baggage.

In this sense, Ratmansky’s back-to-the-future compromise with modernity is an excellent starting place for rethinking not just an iconic ballet but ballet itself and the origins of its singular beauty. The two swan acts display an unfussy delicacy.

Cameron Catazaro, a dashing and athletic Siegfried, and Samantha Hope Galler, a sweetly innocent Odette and vivacious Odile, might have been stick figures magically wondrous once in motion. Meaning was found in Siegfried’s impetuous leap and the Black Swan’s studied 32 fouettés. All else was distraction.

That is precisely the next step Balanchine took 40 years later, in 1935, with his “Serenade,” which uses Tchaikovsky’s “Serenade for Strings,” written just after he composed “Swan Lake.” In Balanchine’s first ballet since arriving in the U.S. in 1933, the Russian-Georgian choreographer wanted to create a new kind of ballet for a new world — no story, just breathtaking design.

Although ACB made no mention of the fact, Balanchine moved to L.A. in 1938, three years after the American premiere of “Serenade,” to a house just a few blocks up Fairfax Avenue from Television City. In the few years he spent in Hollywood, he played a significant role in making dance for the movies that entranced the world.

ACB, though, did seem to have movies on its mind in the darkened soundstage with the dancers lit as though in a black-and-white film. But with the audience on bleachers very close to the makeshift stage, the musicians unseen behind the seats and the dancers up close, there was also a stark intimacy that exposed the exacting effort in re-creating the beauty of Balanchine’s steps. The effect was of being in the moment and, at the same time, going into the future.

“Serenade” was preceded by the premiere of “The Euterpides,” a short ballet with a score by Alma Deutscher. The 20-year-old British composer, pianist, violinist and conductor wrote her first opera, “Cinderella,” which has been produced by Opera San José and elsewhere, at 10. “The Euterpides” is her first ballet, and it offers its own brand of time travel.

Each variation on a Viennese waltz tune for strings and piano represents one of the classical Greek muses. The score sounds as though it could have been written in Tchaikovsky’s day, although Deutscher uses contemporary techniques to reveal each muse’s character. “Pneume,” the goddess of breath, gets an extra beat here and there, slightly skewing the rhythm.

Jones relies on a dance vocabulary, evolved from Balanchine, for the five women, each of whom is a muse, as well as the male Mortal employed for a final pas de deux. History, here, ultimately overwhelms the new staging in a swank contemporary environment.

Gupta makes the strongest conciliation between the then and the now in his brilliant “When the Violin.” On the surface, he invites an intriguing cultural exchange by performing Bach’s solo Violin Partita No. 2 and Sonata No. 3 with Kalluri exploring ways in which she can express mood or find rhythmic activity in selected movements. She wears modern dress and is so attuned to the music that the separation of cultures appears as readily bridgeable as that of historic periods.

Well known in L.A., having joined the Phil in 2007 at age 19, Gupta has gone on to found Street Symphony, which serves homeless and incarcerated communities, and to become an inspirational TED talker. He is a recipient of a MacArthur fellowship and, since leaving the Phil, a regular performer around town in chamber programs and plays a Baroque violin in the L.A.-based music ensemble Tesserae.

For “When the Violin,” Gupta employs a modern instrument in a highly expressive contemporary style, holding notes and expanding time as though a sarabande might turn into a raga. He pauses to recite poetry, be it Sufi or Rilke. His tone is big, bold and gripping, especially in the wonderful acoustics of this small theater. The Bach pieces are tied together by composer Reena Esmail’s affecting solo for “When the Violin,” in which the worlds of Bach, Indian music and Kuchipudi dance all seem to come from the same deep sense of belonging together and belonging here and now.

It took only a violinist and a dancer to show that no matter how enormous the range, the connections are, in such a dance, inevitable.

Airbnb wants to do your hair, cook your dinner, massage your back and possibly photograph your honeymoon. All these services, and several more, are part of a new bid by the company to further expand beyond its roots as a lodging broker.

The company unveiled Airbnb Services — which includes 10 initial categories — while relaunching its experiences program and introducing a new app design at a media event in Los Angeles on Tuesday. Rather than heavily emphasizing lodging, the redesigned app more strongly integrates all of its offerings and encourages more interaction among guests and hosts.

This new approach opens new possibilities for the company and its customers, who could order services and experiences from home or on the road. But this step depends on a lot of behind-the-scenes work. The new services menu — which went live Tuesday with 10,500 offerings — will be offered in 260 cities, and Airbnb vows to protect consumers by carefully vetting those legions of service providers.

Airbnb, born in 2007, grew to challenge the hotel industry and became a giant in the world of hospitality. It first launched its Airbnb Experiences program in 2016, serving as a matchmaker between travelers and people offering their services as specialized tour guides and teachers. But that effort sputtered.

By 2022, many critics on Reddit and elsewhere were complaining that Airbnb experiences were unreliable, and industry website Skift reported that Airbnb had stopped adding new experiences and reduced emphasis on them on its homepage. With this relaunch, company representatives said, Airbnb is aiming to focus more narrowly on distinctive experiences that have been more closely vetted. The company also said it would include more experiences focused on meeting or spending time with celebrities.

To start, Airbnb would offer about 22,000 experiences in 650 cities in 22 categories. To announce the new moves, Airbnb co-founder and Chief Executive Brian Chesky convened hundreds of influencers, podcasters and media in a special-event space in Boyle Heights.

“What if you could Airbnb more than a place to stay?” Chesky asked the audience. “Today we are changing travel again.”

For instance, Chesky said, “Now you can book a professional chef to come right to your home.” The same goes for photographers, personal trainers, massage and spa treatments, hair-styling, makeup and nails. Moreover, “you don’t need to stay at an Airbnb to book these services. You can book them in your own city.”

Chesky said he expects to add thousands of more services over the course of 2025.

In the case of Airbnb Experiences, “we’ve learned a lot about how to make them better,” said Chesky, tacitly acknowledging the feature’s uneven history. As before, the goal is to give travelers an experience that reaches beyond the usual photo-op spots and bus-tour stops.

Stressing small groups, specific themes, Chesky said the new experiences will fall into five categories: history and culture; food and drink; nature and outdoors; art and design; and fitness and wellness. He encouraged anyone who is an expert in their city and has something to share to apply to be a host. Airbnb representatives said the vetting process, which can take up to two weeks, includes online scrutiny of a host’s work history, licensing, education and any awards — along with ongoing attention to guest reviews.

The renewed program also includes about 1,000 Airbnb Originals — adventures in the company of “the world’s most interesting people.” As examples, Chesky cited a mezcal-tasting session in Mexico City with an expert, a class with a ramen master in Tokyo, a dance with a K-pop performer in Seoul and a visit to Notre Dame with an architect who worked on the cathedral’s restoration.

Those offerings feature at least a few celebrity options, which include spending a Sunday with Kansas City Chiefs quarterback Patrick Mahomes, “learning to throw the perfect spiral” or an anime-intensive encounter called “Become an Otaku Hottie with Megan Thee Stallion.” Airbnb said those initial celebrity experiences are free, offered as a promotion, with guests chosen from applicants.