existential questions

Édouard Manet’s “Execution of Maximilian” will go on view at Pasadena’s Norton Simon Museum next week, marking the first time the painting has been exhibited on the West Coast. The historic canvas, on loan from London’s National Gallery, has a fascinating backstory and represents a key moment in French political history, making its arrival shortly after this country’s stunning midterm election particularly auspicious.

The painting is the second of five versions Manet created (circa 1867-68) shortly after the shocking execution of Austrian archduke Ferdinand Maximilian, who briefly served as the emperor of Mexico after being encouraged to do so by the French emperor Napoleon III. In 1867, Maximilian — along with his generals Tomás Mejía and Miguel Miramón — faced a firing squad made up of soldiers loyal to former Mexican President Benito Juárez, who had been forced out of Mexico City in 1863 when French forces descended on the capital. Maximilian’s ouster and death stunned many Europeans, who blamed Napoleon III for the bloodshed.

Manet’s monumental canvas is cold and unyielding in its impersonal depiction of the violent episode, and in many ways helped birth the modern historical political painting. Through Manet’s eyes, political violence is not heroic, but pedestrian, benign even. It contains echoes of another famous political painting: Francisco de Goya’s “The Third of May, 1808,” which also depicts death by firing squad — this time the execution of civilians by French troops during Napoleon’s notorious occupation of Spain.

The canvas coming to the Norton Simon was long neglected and is thought to have been discarded by Manet when he became dissatisfied by discrepancies in the size of the figures he painted. His family cut the canvas into four pieces after his death and sold them separately. It was saved from oblivion by Manet’s friend Edgar Degas, who managed to get a hold of all the fragments. The painting was acquired by the National Gallery in 1918 at Degas’ studio sale, and the painting was pieced together again in the late 1970s.

“Manet’s Execution of Maximilian is not only an icon within the history of nineteenth-century art, but also a profound reflection on the ways in which images shape our understanding of political events and collective memory,” said Emily Talbot, vice president of collections and chief curator at the Norton Simon in a news release. “By bringing this extraordinary painting together with historical materials that document the French intervention in Mexico, we invite visitors to consider how history is constructed in visual form.”

The painting will be on view at the Norton Simon from Nov. 14 to March 1, 2027.

I’m Arts editor Jessica Gelt ready for a jubilant walk through a museum on the heels of a roller coaster of an election. This is your arts and culture news for the week.

[Update: A previous version of this story said Manet’s “Execution of Maximilian” had not been shown in the U.S. for 20 years. It has not been shown on the West Coast before, but was shown in New York in 2024.]

The week ahead: A curated calendar

FRIDAY

LA Phil’s incoming music director Daniel Harding conducting at the Hollywood Bowl in 2025.

(Etienne Laurent/For The Times)

Daniel Harding Leads Bernstein & Brahms
The Los Angeles Philharmonic’s incoming music director leads the orchestra for Leonard Bernstein’s “Symphony No. 1,” with mezzo-soprano Avery Amereau, and is joined by Norwegian pianist Leif Ove Andsnes for Johannes Brahms’ “Second Piano Concerto.”
8 p.m. Friday-Saturday, 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Idina Menzel
The Broadway star joins with the Pacific Symphony, led by conductor Enrico Lopez-Yañez, for a night of hits.
8 p.m. Friday-Saturday. Renée and Henry Segerstrom Concert Hall, Segerstrom Center for the Arts, 300 Town Center Drive, Costa Mesa. scfta.org

NOW 2026
REDCAT’s New Original Works Festival features a different program each week over three weekends. First up, Alfonso Abraham Cervera and Irvin Manuel Gonzalez’s “las cosas que enter(r)amos,” a mix of Latinx American social and folk dance, storytelling, and contemporary dance; Scottie Harvey’s “Hole Gazers,” a comedic satire about fantasy, surveillance and life online; and Jeonghyeon Joo’s “how to bathe properly,” a solo work for haegeum, a two-string instrument, performed in a staged Korean sauna.
8 p.m. Thursday-Saturday, through Nov. 21. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

Radio Galaxy
Joey McIntyre, Lesli Margherita, Sendhil Ramamurthy, Meera Simhan, Rishi Golani and Jordyn Rahman star in a new play by Michèle Aldin Kushner about a New Jersey teen who dreams of becoming an astronomer. Directed by Kimberly Senior.
Through Nov. 22. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

Sable Elyse Smith
“Sky Fence Ground” features new woven works on paper, a recent video work and a monumental kinetic sculpture by the multimedia artist.
Opening reception, 6-8 p.m. Friday, exhibit runs through Dec. 19. Regen Projects, 6750 Santa Monica Blvd., Los Angeles. regenprojects.com

SATURDAY

Angela Anh Nguyen
Los Angeles Nomadic Division (LAND) presents the artist’s “Entropy,” a site-specific installation that addresses the collective experience of the 2025 Eaton and Palisades fires through social media, monitoring apps, and other forms of digital communication.
Opening reception, 1-4 p.m., exhibit runs through Dec. 13. Old Fire Station No. 6, 534 E. Edgeware Road, Angelino Heights. nomadicdivision.org

Takes Care of Them
Four large-scale prints by artist Dyani White Hawk (Sicangu Lakota) each depict a dress adorned differently to reflect on the roles of Lakota women in four areas: Wówahokuŋkiya (Lead); Wókaǧe (Create); Nakíčižiŋ (Protect); and Wačháŋtognaka (Nurture).
Autry Museum of the American West, 4700 Western Heritage Way, Griffith Park. theautry.org

SUNDAY

Billie Holiday and The Blues
L.A.’s Marlonius Jazz Orchestra, led by virtuoso bassist and composer Marlon Martinez, is joined by Brooklyn vocalist Mara Kaye for this tribute to Holiday and deep blues cuts.
8 p.m. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

Camerata Pacifica
The November program includes a world premiere by Niloufar Nourbakhsh, Mozart’s “Quintet for Piano and Winds in E-flat Major,” alongside contemporary chamber works by Michael Daugherty, Missy Mazzoli and the late Sarah Gibson.
3 p.m. Sunday. Bank of America Performing Arts Center, Janet & Ray Scherr Forum Theatre, 2100 Thousand Oaks Blvd., Thousand Oaks; 7:30 p.m. Tuesday. The Huntington, Rothenberg Hall, 1151 Oxford Road, San Marino; 8 p.m. Thursday. The Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A.; and 7 p.m. Friday. Music Academy of the West, Hahn Hall, 1070 Fairway Road, Santa Barbara. cameratapacifica.org

Romeo and Juliet: Time Enough for Love
Open Fist Theatre Company presents a new age-reversed adaptation conceived and directed by Christian Lebano.
Previews, 7:30 Sunday, Wednesday and Thursday, play runs Nov. 13-Dec. 19. Atwater Village Theatre, 3269 Casitas Ave. openfist.org

Sage Ni’Ja Whitson: Revival_ _Revival
A free processional performance across the once predominantly Black community of Santa Monica, visiting sacred historic sites lost to time and gentrification, with a live score of gospel, house, hip hop, and voice. Audience members are invited to wear white clothing and white masks, and the procession closes with a fellowship meal at Ocean Bay Beach.
2 p.m. First AME Church, 1823 Michigan Ave., Santa Monica. 18thstreet.org

WEDNESDAY

Destiny of Desire
Karen Zacarías’ smart and fearless homage to telenovelas yields an epic, twisting yarn, full of coincidences and cliff-hangers, mistaken identities and gobsmacking revelations. It’s invigorating fun but also radiant with insight into the age-old debate between nature and nurture. When I first saw the play at South Coast Repertory in 2016, I was seduced by the production’s Brechtian energy. And I’m eager to see what fresh light director Marcela Lorca sheds on a play that my students at CalArts one year claimed as their favorite of the semester — and they have excellent taste. (Charles McNulty)
Through Dec. 20. Mark Taper Forum, 135 N. Grand Ave., downtown L.A. centertheatregroup.org

LaTanya Richardson Jackson, from left, Kara Young, Glenn Davis and Jon Michael Hill in the Broadway/Steppenwolf Theatre Company production of “Purpose.”

(Marc J. Franklin)

Purpose
The original Steppenwolf Theatre Company cast of the Broadway production of Branden Jacobs-Jenkins’ Pulitzer Prize- and Tony-winning drama reassembles at the Geffen Playhouse for the most anticipated dramatic event of the season. The play, about a prominent Black Chicago family headed by a civil rights icon with skeletons in his closet, has the scope, heft and flamboyant idiosyncrasy of the landmark American domestic dramas of the past. Under the assured direction of Phylicia Rashad, the actors brought the characters so richly to life in New York that I can’t wait to experience their ensemble alchemy in L.A. (Charles McNulty)
Through Dec. 13. Geffen Playhouse, 10886 Le Conte Ave., Westwood. geffenplayhouse.org

THURSDAY
The Heiress
Theater 40 presents the classic American romantic drama, adapted by Ruth Goetz and Augustus Goetz from Henry James’ novel “Washington Square.” Directed by Ann Hearn Tobolowsky.
Through Dec. 13. Beverly Hills High School, Mary Levin Cutler Theatre, 241 S. Moreno Drive. theatre40.org

Kafka’s Letter to His Father
Keeping things in weird perspective, CAP UCLA, in collaboration with Brightwork Ensemble, presents a production of Czech composer Jiri Trtik’s opera “Letter to His Father.” About Kafka’s artistic liberation from paternal authority, it is produced by and stars the most transformative tenor of our time, Timur. (Mark Swed)
8 p.m. Thursday-Nov. 14. UCLA Nimoy 1262 Westwood Blvd. cap.ucla.edu

Las Migas
The Spanish Latin Grammy-winning all-women quartet melds traditional flamenco with contemporary stylings to reimagine the classic art form.
7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

Orpheus Chamber Orchestra with Isata Kanneh-Mason
The New York-based classical ensemble is joined by the British pianist for a program featuring Mozart, Handel, Haydn and Welsh composer (and New York transplant) Katie Jenkins.
7:30 p.m. Broad Stage at Santa Monica College Performing Arts Center, 1310 11th St., Santa Monica. broadstage.org

Dispatch: A harrowing exhibition of Iranian art in Chinatown

“Lunch,” by BSisters (Behnaz and Baharak Khaleghi), on view at the Fellows of Contemporary Art gallery in Chinatown.

(Fellows of Contemporary Art)

“Lunch,” a centerpiece installation at Fellows of Contemporary Art’s new exhibition centered on the works of Iranian-born women artists in California, is an upsetting sculpture that’s as soft and intimate as a pillow.

The piece, by the Bay Area duo BSisters (Behnaz and Baharak Khaleghi), riffs on the myth of Zahāk — a vain tyrant with snakes around his head that eat human brains to keep him alive. It’s a tale from the Shahnameh, a 1,000-year-old Persian epic poem. BSisters have rendered it here in cozy pastel fabrics and gauzy spilled cotton, materials that speak to how women activists in Iran have been brutalized and consumed by the fundamentalist regime there. The sculpture — very funny and unnerving at once — also evokes the strange mix of distance and intimacy of Iranian immigrants to the U.S., watching the current conflict curdle their hopes for change into deeper worry.

It’s one of several affecting pieces on display at FOCA’s Chinatown gallery as part of “I Saw a Woman, Pounding Light into Mortar,” an exhibition in which six California-based Iranian women artists grapple with distance and helplessness, amid a conflict where both governments seem driven by an almost cannibalistic consumption of people and resources.

“Growing up in Iran, political repression was never something distant from our everyday lives. It shaped our childhood, our experiences as women, and the ways we learned to express ourselves,” said Katayoun Bahrami, the exhibit’s curator. “Living in the United States now, I feel a constant tension between building a life here and remaining deeply connected to what is happening back home. This past year has been especially painful. After the deadly crackdown on protesters in January and the war that followed, hope and anger have been hard to separate. Watching from thousands of miles away, unable to do much, has brought a sense of helplessness that is difficult to describe.”

Much of the work here is quietly devastating in evoking absence, fear and exile. Shaghayegh Cyrous’s video installation “Reenacting the Future” is a mirror image of a mother and daughter, filmed over 12 years in the U.S. and Iran, a visual echo cleaved by exile. Narges Poursadeqi’s sculpture “Between Dots of Blindness” could fit in a desk drawer, but the braille poem it spools through a music box feels like the last thing you would shove in a suitcase, fleeing for a new country.

“This exhibition was born during the internet and phone shutdowns in Iran, when we had no way to reach our families or know whether they were safe. That silence was terrifying,” Bahrami said. “Bringing these artists together became deeply personal for me. I recognize parts of my own fears, memories, and longing in their work. Through their art and our conversations, I’ve found ways to process feelings that are difficult to carry alone. Curating this exhibition has helped me turn some of that helplessness into something meaningful. It has also reminded me how much we need one another, especially when we feel powerless to change what is happening.”

“I Saw a Woman, Pounding Light into Mortar” at FOCA-LA through Nov. 28; 970 N. Broadway, Suite 208, Los Angeles 90012.

— August Brown

Culture news and the SoCal scene

Director Zhailon Levingston sits outside before the rehersal of “Passing Strange” at the Pasadena Playhouse.

(Carlin Stiehl / For The Times)

“Passing Strange,” a 20-year-old musical that takes place in downtown L.A. and went to Broadway, has never been performed here — until now. Pasadena Playhouse hosts its SoCal premiere.

The Los Angeles Philharmonic is shaking things up. This week it announced a slew of new leadership positions that will go into effect alongside incoming music director Daniel Harding. The orchestra’s post-Dudamel future is shaping up to be quite interesting.

Times contributor Shana Nys Dambrot immersed herself in the world of L.A. galleries to prove that although many high-profile galleries have closed, plenty of new ones are also opening. Here is a handy guide for your next art adventure.

On election day we ran a piece about the possibility of patriotic orchestral music in deeply divided times. Martin Sheen told us why hope is more important than ever.

Former Times classical music critic Mark Swed returned for the first in an ongoing series of monthly columns. Up first: A look at orchestral democracy session across the globe, including one in Boston aided by AI.

The most anticipated play of the season is about to open as “Oh Mary!” heads for the Ahmanson. Ticket sales have been so brisk that Center Theatre Group has already booked the show again for next season.

“Richard Avedon: Hollywood” opens at Gagosian featuring more than 120 iconic photos of of celebrities and other cultural power brokers.

A “Do Not Enter” sign hangs on the fence at the John F. Kennedy Center for the Performing Arts on Sept. 25 in Washington.

(Manuel Balce Ceneta / AP photo)

The Kennedy Center may be closed indefinitely for renovations, but that did not stop its Trump-anointed leaders from announcing who would be recognized at this year’s Kennedy Center Honors — to be held by necessity at the Capital One Arena in Washington, D.C., on Dec. 7. Honorees include singer-songwriter Paul Anka, music producer David Foster, actor Andy Garcia, playwright David Mamet and country singer Barbara Mandrell.

— Jessica Gelt

And last but not least

It’s always fun with Times columnist Mary McNamara writes about Holland Taylor.

Just in time for next week’s midterms, Brooklyn-based artist Phil Buehler has unveiled another one of his series of public art installations critiquing modern politics on a stretch of chain link fence between a coffee shop and a bar in Bushwick. The 50-foot-long, 10-foot-high piece, “Wall of Crazy,” features 1,516 of President Trump’s social media posts — selected from more than 70,000 — and arranged chronologically, with color-coded statement categories aligning with the American Psychiatric Assn.‘s Diagnostic and Statistical Manual of Mental Disorders, fifth edition.

These include: social-emotional incongruity (“Happy Thanksgiving to all including the racist and incompetent Attorney General of New York State”); divine favor/ magical thinking (an AI photo of Trump seated beside Jesus Christ in court); catastrophizing (“This miscarriage of justice will destroy America if they don’t change their absolutely insane decision”); contradictions and reversals (a 2019 post calling Atty. Gen. Bill Barr “fair and reasonable” vs. a 2023 post calling him “dumb, weak, slow moving, lethargic, gutless and lazy”); hostility, humiliation and threats (calling Tucker Carlson a “very low IQ individual. He could barely get out of college and maybe he didn’t.”); grandiosity (“I am far healthier than Clinton, Bush, Obama, Biden, but especially, Kamala”); extraordinary and implausible claims (“The U.S.A. is locked and loaded and ready to go against the Islamic Republic of Iran at levels of military strength and power not seen since World War II”); persecution and victimhood (“Only 25 percent want the president impeached, which is pretty low considering the volume of fake news coverage, but pretty high considering the fact that I did nothing wrong”); and conspiracy thinking (“Wayne County (Detroit) Michigan is one of the most corrupt voting areas in the United States, if not the world”).

In a recent phone interview, Buehler said he made the wall over a period of months beginning in July, using his day-job background in market research and data analysis and statistics to search for patterns in large amounts of data in order to distill it down to something simple. Buehler’s first foray into making a wall of public art came in 2020 with the “Wall of Lies,” which documented more than 20,000 false or misleading claims made by Trump.

A detail shot of the “Wall of Crazy” by Brooklyn-based artist Phil Buehler, featuring 1,516 of Donald Trump’s social media posts.

(Photo from Phil Buehler)

At that time, he said, he was struck by the massive volume of falsehoods. “I wanted to dramatize that in a way that brought the sheer scale of it to life,” he said, noting that the same objective holds true for the “Wall of Crazy.” People have known that Trump tells lies since the 2020 presidential election, Buehler said, adding that it’s a story that is continuously told and has simply become part of the daily news cycle that people move on from.

“Making something into a public artwork brings it back into that cycle because I think it comes into people’s heads in a different way,” Buehler said. Plus, because it’s sandwiched between a coffee shop and a bar, it gets both the thinking morning crowd and the more raucous and celebratory evening crowd. The piece, which is being presented by the independent community radio station Radio Free Brooklyn, has been up for about two days, but will be officially unveiled during a modest neighborhood ceremony today at noon EDT.

“The scale of it is important,” Buehler said. “By attracting your eye and attention and then allowing you to walk up to it and read … Trump’s posts.”

In photos Buehler shared, people are doing just that. Some pass by quickly, others stay immersed for quite some time.

The “Wall of Crazy” is the fifth such collaboration between Buehler and Radio Free Brooklyn. After the “Wall of Lies” came the “Wall of Liars and Deniers” (2022), “featuring 381 Republican election-denying candidates”; then the “Wall of Shame” (2025), “documenting 1,575 January 6 defendants pardoned by Trump”; and “Wall of Tears” (2026), “memorializing 18,457 children documented killed in Gaza.”

The “Wall of Lies” was extensively vandalized by Proud Boy protesters, but the others have been mostly left alone, Buehler said.

“The Wall of Crazy shows how Buehler and Radio Free Brooklyn use public art to spotlight our political climate. Calling out the inflammatory, incoherent, divisive and obscene rhetoric under this administration is critical to democracy,” said Orie Givens, president of the Radio Free Brooklyn Board, in a news release. “Like earlier walls, it captures our political culture and urges action before Election Day: voters can change the country’s direction. And it shows why we must support free media — especially independent outlets — that expose this administration’s actions and impact nationwide.”

I’m Arts editor Jessica Gelt, wishing us all a peaceful and sane midterm election and a Happy Halloween. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Singer Lila Downs.

(Berenice Bautista / AP Photo)

Lila Downs
The singer blends Mexican tradition with jazz, cumbia, folk and contemporary rhythms in a celebration of Día de Muertos, featuring Ballet Folklórico de Los Ángeles and songs from Downs’ new album “Cambias mi Mundo.”
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Hercules vs. Vampires
LA Opera presents a musical reimagining of Mario Bava’s 1961 cult film “Hercules in the Haunted World,” starring Reg Park and Christopher Lee, with an original score by Patrick Morganelli, conducted by Blair Salter.
8 p.m. Friday-Saturday. United Theater on Broadway, 929 S Broadway, downtown L.A. laopera.org

Kiki Smith
“Untethered Journey,” the artist’s first solo show in L.A. in 30 years, includes historical and recent works.
Opening reception, 6-8 p.m. Friday; exhibit continues through Jan. 23. Jeffrey Deitch, 925 N. Orange Drive. deitch.com

SATURDAY

Dr. Jekyll and Mr. Hyde
Organist Brett Valliant performs the score live with John S. Robertson’s 1920 silent horror film starring John Barrymore.
3 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Día de los Muertos
Forest Lawn celebrates the Mexican holiday at four of its locations, with marigolds, handcrafted Catrina and alebrijes (spirit guide) artworks and brightly colored community ofrendas (altars), plus folklorico dance and mariachi music performances, arts & crafts, face painting, food and refreshments. A free family-friendly event.
Noon-3 p.m. Sunday. Forest Lawn Covina Hills, 21300 Via Verde Drive, Covina, Forest Lawn Cypress, 4471 Lincoln Ave., and Forest Lawn Glendale, 1712 S. Glendale Ave.; 5-8 p.m. Monday. Forest Lawn Cathedral City, 69855 E. Ramon Road. forestlawn.com

Harriet Sansom Harris in “Werewolf by Night.”

(Marvel Studios)

Werewolf by Night & Headless
Michael Giacchino hosts an evening featuring the premiere of “Headless,” a musical by the Academy Award-winning composer and collaborators Elyssa Samsel and Kate Anderson, based on “The Legend of Sleepy Hollow,” followed by a live-to-picture screening of his 2022 film “Werewolf by Night,” with Sarah Hicks conducting the Los Angeles Philharmonic.
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

SUNDAY

Building Bridges: The Master Chorale in Concert With the National Chorus of Korea
Two world-class choral organizations team up for a cross-cultural program uniting more than 100 singers.
7 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org

Family Fest: Día de los Muertos
A free event featuring activities, festive music, dance and foods.
11 a.m.-2 p.m. The Wallis, 9390 N. Santa Monica Blvd, Beverly Hills. thewallis.org

TUESDAY

Singer Lyle Lovett.

(Allen J. Schaben / Los Angeles Times)

Lyle Lovett and His Small Large Band
The four-time Grammy-winning Texan performs his greatest hits.
8 p.m. Cerritos Center for the Performing Arts, 18000 Park Plaza Drive. ccpa.cerritos.gov

WEDNESDAY

Daniel Passer direct “The Farce Awakens: Ferdeau x 2” at Odyssey Theatre Ensemble.

(Odyssey Theatre Ensemble)

The Farce Awakens: Feydeau x 2
Cirque du Soleil clown Daniel Passer directs “Going to Pot” and “Stark Naked,” two one-acts by Georges Feydeau.
Through Jan. 17, 2027. Odyssey Theatre, 2055 South Sepulveda Blvd. odysseytheatre.com

The Laugh Track
Playwright Wendy MacLeod’s comedy goes behind the scenes of “I Love Lucy,” the groundbreaking 1950s sitcom starring Lucille Ball and Desi Arnaz. Directed by Brian Shnipper.
Through Nov. 22. International City Theatre, 330 E. Seaside Way, Long Beach. ictlongbeach.org

The SoCal scene

The Endeavour shuttle is on display in launch position at the Samuel Oschin Air and Space Center in Exposition Park.

(Allen J. Schaben / Los Angeles Times)

ICYMI: The best of this week’s L.A. Times arts coverage.

The Samuel Oschin Air and Space Center opens next month, and the Arts team put together a great package including an architecture review of the new $450-million addition to the California Science Center; an Endeavour shuttle walk-through with an astronaut; a list of noteworthy artifacts in the museum; a list of exciting interactive experiences; and a fun fast-facts sheet.

In theater news, critic Charles McNulty gave a mixed review to the Latino Theatre Company production of playwright Luis Alfaro’s “Speaking in Tongues,” at the Los Angeles Theatre Center; and issued an indictment of Center Theatre Group’s decision to stage a non-Equity touring production of “The Music Man.” McNulty reserved words of praise for an Antaeus Theatre Company revival of George Bernard Shaw’s “Heartbreak House.”

Artist Barry McGee poses for a portrait at Jeffrey Deitch gallery.

(Jason Armond / Los Angeles Times)

San Francisco artist Barry McGee is back in L.A. after February’s wild takeover of a 99 Cents Only Store. This time he’s staging a show called “Another Round” at Jeffrey Deitch gallery on Santa Monica Boulevard.

The Times’ Features section ran a piece of commentary about the lack of a true native plant habitat at the Lucas Museum of Narrative Art, calling it a “missed opportunity.”

Culture news

Branden Jacobs-Jenkins poses in the press room with the award for best revival of a play for “Appropriate” during the 77th Tony Awards.

(Evan Agostini / Invision / AP)

London’s Royal Court Theatre announced that playwright Branden Jacobs-Jenkins’ 2025 Tony Award and Pulitzer Prize-winning “Purpose,” directed by Phylicia Rashad, will launch its new season in January, marking the hugely successful Broadway show’s first staging outside of the U.S. (“Purpose” opens at Geffen Playhouse next month.)

— Jessica Gelt

And last but not least

The desert just keeps on giving — including an upcoming “sandlocked yacht club” in Joshua Tree.

On the same week that a court filing showed that construction on President Trump’s hotly contested triumphal arch could begin as soon as Nov. 5, another less reported development pointed to the possibility that the government might be misrepresenting its plans for Trump’s National Garden of American Heroes in West Potomac Park.

On Monday, the National Park Service held a meeting about a proposed redesign to the park, which is part of the National Mall and also where Trump wants to put his Garden of Heroes featuring more than 250 statues ranging from Humphrey Bogart to Kobe Bryant to Benjamin Franklin. Trump first proposed the idea in 2020, but it wasn’t until his second term — when he began a crusade to remake much of Washington, D.C.’s historic core according to his own predilections — that the plan looked as if it might manifest. The One Big Beautiful Bill Act even appropriated $40 million for the project.

The Garden of Heroes has remained largely in the background while preservationists focused on the demolition of the White House East Wing and the construction of a massive ballroom in its place, as well as the botched painting of the Reflecting Pool, and, of course, the gigantic triumphal arch.

But Monday’s NPS meeting about plans for West Potomac Park rang alarm bells for some when Judy Chesser, chair of the nonprofit conservation and preservation group the Committee of 100 on the Federal City, asked, “How does this relate to the Garden of Heroes that is being discussed in West Potomac?” to which the NPS spokesperson replied, “This is just an update to the tidal basin master plan we started before. This is not the Garden of Heroes.”

However, the Washington, D.C.-based education and advocacy organization Cultural Landscape Foundation noted that the rendering in NPS’ presentation and the illustrated “Pledge Agreement” from the National Garden of American Heroes Foundation contain similarities that “go way beyond coincidental.”

“Each includes a great lawn, a giant oval/circle, an amphitheater, a fountain, and a staircase to the Potomac River,” Charles A. Birnbaum, founding president and chief executive of the foundation, wrote in an email.

“In addition, the new design shown Monday amputates part of the FDR Memorial to accommodate the Oval. This is intentional. Clearly the Oval is meant to host something else or it would be re-scaled so as not to interfere with the FDR Memorial,” the email continued.

If this is the case, the strategy of downplaying or downright denying an intention to work on a Trump-backed project is eerily reminiscent of the strategy government lawyers used in a recent, highly publicized court battle over the removal of dozens of trees from a golf course that Trump is trying to transform into a premiere golfing destination.

In that instance lawyers repeatedly said there were no plans to renovate the golf course (thus preventing U.S. District Judge Ana Reyes from issuing an injunction against said renovations), only to chop down hundreds of trees on the course with no notice over a holiday weekend. Reyes was irate and sources familiar with the feud say that the judge expects the case to go all the way to the Supreme Court.

Meanwhile, as of 2 p.m. PDT, Thursday, opponents of Trump’s arch have filed a motion for an injunction on the possible Nov. 5 construction, arguing that Congress needs to approve any plan moving forward. This head-snapping whirlwind of motions and counter motions is expected by critics to continue to be the norm as Trump tries to push through as many of his D.C.-based renovations as possible before a new Congress is seated in January.

“What better way to celebrate the nation’s 250th anniversary than to shut down the legally required review process, ignore some 100,000 negative public comments, and fast track the construction of a bloated and deeply unpopular monument that the president claims is for him,” wrote the Landscape Foundation’s Birnbaum in a statement about the arch.

I’m Arts editor Jessica Gelt pitching preservationists for my personal garden of heroes. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

American Sound Takes Flight
MUSE/IQUE explores the nation’s music from Aaron Copland to Paul Simon in a concert setting infused with storytelling and cultural context. Featuring Brandon Victor Dixon, Liv Redpath and the MUSE/IQUE Orchestra, led by Artistic and Music Director Rachael Worby.
7:30 p.m. Friday, 2:30 and 7:30 p.m. Saturday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

Bach to Broadway
The 31st annual concert, featuring Pueri Cantores SGV, the St. Andrew School Choir, Los Angeles Children’s Chorus and members of the L.A. Opera and L.A. Master Chorale benefits the restoration of historic St. Andrew Church.
7:30 p.m. St. Andrew Church, 311 N. Raymond Ave., Pasadena. saintandrewpasadena.org

Ballet Festival: Jerome Robbins at the Ahmanson Theatre

(Steven Pisano / The Joyce Theater Foundation)

Ballet Festival: Jerome Robbins
Three programs of the choreographer’s masterworks, curated by New York City Ballet principal dancer Tiler Peck, with dancers from New York City Ballet, Paris Opera Ballet and other major companies performing to live chamber music
7:30 p.m. Friday, 7:30 p.m. Saturday, 2 p.m. Sunday. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. musiccenter.org

Andrew Bird
The acclaimed multi-instrumentalist and songwriter joins with the Los Angeles Philharmonic to mark the 20th anniversary of his album, “The Mysterious Production of Eggs,” with orchestral arrangements, plus popular songs from his catalog.
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Aymeric Hainaux and François Chaignaud
The musician and choreographer team up for “Mirlitons,” a marathon vocal and dance duet.
8 p.m. Friday and Saturday. The Nimoy, 1262 Westwood Blvd. cap.ucla.edu

Museum on Haunted Hill: A Celebration of Vincent Price
The institution pays homage to its original patron, the noted actor, art collector, advocate and historian, with an evening of after-hours access to exhibitions, casual screenings of classic Price films, drinks and snacks, music, a photo booth and haunted decor.
5-8 p.m. Vincent Price Art Museum, East Los Angeles College, 1301 Avenida Cesar Chavez, Monterey Park. vpam.org

PLAY: A Play
EmIly Mast’s unscripted conceptual performance features six players, guided by a coach, working against a clock and an evolving set of rules to examine “the invisible systems that govern power, behavior and care.” With Hugo Armstrong, Gregory Barnett, Chu-Hsuan Chang, Jessica Emmanuel, Jessica Hemingway, Aramazd Stepanian and Maxwell Transue.
7:30 p.m. Friday-Saturday, 4:30 p.m. Sunday. The Geffen Contemporary at MOCA, 152 N. Central Ave., Little Tokyo. moca.org

Sinners: Sounds That Summon
This exhibition examines the standout Club Juke scene in Ryan Coogler’s Oscar-winning 2025 film focusing on the guitar played by the character Sammie Moore (Miles Caton), costumes, objects and archival material.
Through March 14, 2027. California African American Museum, 600 State Drive, Exposition Park. caamuseum.org

SATURDAY

Grand Ave Arts: All Access
Tenth annual celebration of L.A. downtown cultural corridor with free exhibitions, tours, performances, family-friendly activities and more from participating organizations including the Broad, Center Theatre Group, Colburn School, Classical California, Dataland, Gloria Molina Grand Park, Grand Performances, L.A. Opera, L.A. Phil, Los Angeles Central Library, Metro Art, MOCA, the Music Center and REDCAT.
11 a.m.-4 p.m. Grand Ave., between Temple and 6th Streets, downtown L.A. grandavearts.org

Kabuki in Motion: The Lion Returns
U.S. Kabuki Ken Kyu Kai presents this program of kabuki dance, Nihon buyō (Japanese classical dance), and live koto and shamisen music featuring artists from Japan and California.
4:30 p.m. The Huntington, Rothenberg Hall, 1151 Oxford Road, San Marino. huntington.org

Picasso Ceramics From the Rosenbaum Collection
The exhibition presents 63 original prints and limited-edition ceramics, including vessels, plates, pitchers and sculptural forms created by the artist after 1947.
Through Feb. 28, 2027. Bowers Museum, 2002 N. Main St., Santa Ana. bowers.org

SUNDAY

Lucile Dollat
The French organist performs music from the 16th century to the present.
7:30 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

TUESDAY

Jason Moran Presents Duke Ellington: My Heart Sings
The pianist and composer performs with members of the Pacific Symphony to engage with Ellington’s work through a contemporary frame.
8 p.m. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org

The Music Man
Meredith Willson’s Tony Award-winning musical comedy brings smooth-talking con man Harold Hill to River City, where his schemes are curtailed when he falls for Marian, the local librarian.
Through Nov. 8. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. centertheatregroup.org

Orchestre Symphonique de Montréal with Rafael Payare
The Canadian ensemble and its charismatic Venezuelan conductor (who also leads the San Diego Symphony) perform Dmitri Shostakovich’s “Symphony No. 10 in E minor, Op. 93,” plus Felix Mendelssohn’s “Violin Concerto in E minor, Op. 64” with Leonidas Kavakos.
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

The 39 Steps
Patrick Barlow’s adaptation of Alfred Hitchcock’s 1935 spy thriller (itself an adaptation of a novel by John Buchan) about an ordinary man entangled in international intrigue. Directed by Hunter Foster.
Through Nov. 22. Laguna Playhouse, 606 Laguna Canyon Road, Laguna Beach. lagunaplayhouse.com

The Who’s Tommy
The band’s 1969 rock opera featuring “I’m Free,” “See Me, Feel Me,” “Sensation” and, of course, “Pinball Wizard,” is transformed into a Broadway musical by composer Pete Townshend and original director Des McAnuff.
Through Nov. 15. Hollywood Pantages Theatre, 6233 Hollywood Blvd. broadwayinhollywood.com

WEDNESDAY

Nedra Ryan Taylor and Sarah Scott Davis in the play “Confederates.”

(Davis Northern)

Confederates
Institutional racism, as experienced in two different eras by Black women, is the subject of Dominique Morisseau’s 2022 dramatic comedy. Best known for her three-play cycle “The Detroit Project” as well as the book for the musical about the Temptations “Ain’t Too Proud,” Morisseau juxtaposes the plight of an enslaved rebel and Union spy during the Civil War with that of a contemporary political science professor facing a threatening work environment. Fountain Artistic Director Raymond O. Caldwell directs this sharp-eyed satire examining an unbroken thread of racial and gender bias in American history. (Charles McNulty)
Previews, 8 p.m. Wednesday-Thursday, play runs through Dec. 13. Fountain Theatre, 5060 Fountain Ave. fountaintheatre.com

THURSDAY

Seasons of America With Teddy Abrams & Ray Chen
The world premiere of Abrams’ L.A. Phil commission, written especially for violinist Chen, along with Julia Perry’s “A Short Piece for Orchestra.” Charles Ives’ “Three Places in New England, S. 7” and George Gershwin’s “An American in Paris.”
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Sasha Velour: Travesty
The Season 9 winner of “RuPaul’s Drag Race” performs a new solo work that spans queer history through lip-sync performances embodying various personas including a witch burned in a field, a clown who builds a theater and patrons of an underground gay bar.
7:30 p.m. Thursday-Oct. 30. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

The SoCal scene

Katie Folger gets ready at her home before her performance of “Getting in Bed With the Pizza Man” at the Elysian Theater.

(Carlin Stiehl / For The Times)

ICYMI, the best of this week’s L.A. Times arts coverage:

Katie Folger moved to L.A. hoping to make it for the third time in nine years. She created a one-woman show and sold it out. Will the TV pilot sell next?

Former Times arts columnist Carolina A. Miranda wrote a fantastic profile of Todd Gray as he opens a new solo show at the Brick.

The Broad announced that it’s shipping 164 works to Fondation Louis Vuitton in Paris for its most extensive exhibition ever mounted outside Los Angeles, timed to coincide with the most extensive phase of construction on its expansion.

Reggie Burrows Hodges, “Blackness in the Looking Glass and the Images of Currency: Carriage,” 2022.

(Reggie Burrows Hodges / Karma)

Artist Reggie Burrows Hodges has three concurrent shows in L.A. at the Getty, Art + Practice and California African American Museum. He prefers a low profile, but contributor Tara Anne Dalbow penned this lovely profile.

Latino Theater Company’s production of “Yamel Cucuy” is the story of a 13-year-old girl, ICE and Mexican folkloric monsters.

Times theater critic Charles McNulty headed to New York to review Billy Crystal’s “tremendously moving new Broadway show” “860.”

Culture News

Ahmanson Theatre.

(Ryan Miller / Capture Imaging)

Center Theatre Group and the YMCA of Los Angeles this week announced a new partnership called “Every Age. Every Stage,” with the aim of making live theater more accessible to a larger swath of city residents. The program includes free ticket offers for Y members as well as theater workshops and career mentorship.

A marble torso sculpted during the early Roman Empire set a new world record for ancient classical sculpture at auction earlier this week when it sold at Sotheby’s New York for $34.3 million. That was almost three times more than its pre-sale estimate of between $8 million and $12 million.

— Jessica Gelt

And last but not least

California has an adults-only train car featuring stiff drinks and great views of the redwoods.

Remember Edward Warchoki? The Polish humanoid robot that went viral in April for chasing wild boars through a parking lot in Warsaw? Even late-night comedian John Oliver did a bit on him, calling Warchoki “a pretty canny PR campaign for anthropomorphic robots. All I’m saying is, ‘That is a nice way to get us all used to him before he’s inevitably one day used as a weapon of war.’ ”

Warchoki has not yet turned into a weapon of war — unless you consider being an online influencer a form of digital warfare. As the first robot influencer, Warchoki has his own social media accounts and appeared at Poland’s parliament. Last week he entered the art world when he was among the first visitors to what looks to be a fascinating exhibition, “How to Feel Real. Art, Technology and Us,” at MO Museum in Vilnius, Lithuania. The show is a collaboration of the modern art museum with ZKM | Center for Art and Media Karlsruhe, which specializes in media art.

According to a news release, the show “explores questions that are becoming increasingly urgent in a world shaped by technology: How do we feel real, and what does it mean to be alive?” Apparently Warchoki was there to address the issue head on.

“People keep asking me if I’m real, so when I heard about an exhibition asking what ‘real’ actually means, I thought: Finally, someone is asking the right question. I’m coming to the beautiful Vilnius to see what the artists have to say — and, of course, to check whether they think I’m real,” Warchocki said in the release.

A number of works in the exhibit explore artificial intelligence, automation, “and the ways machines are increasingly taking on roles we once considered distinctly human,” said MO Museum director Milda Ivanauskienė. “Bringing Edward into the museum is a playful extension of this idea, as his deliberately human-like and slightly absurd persona makes the questions raised by the exhibition tangible — inviting us to wonder why we are so eager to find the human in a machine.”

I am intrigued by this last question and wonder about it myself: Why exactly are we so quick to anthropomorphize AI? Every time I’ve interacted with a chatbot I feel the urge to be polite in my dealings, to say “please” and “thank you” when I ask questions. I certainly don’t do that with a Google search. And once, when I saw a delivery robot hopelessly stuck in a pothole, I felt genuinely bad for it. “Poor little guy,” I thought. I imagine if I met Warchoki, I’d react the same way.

I’m glad MO Museum is exploring these impulses by using artist’s thoughts and interpretations as a way to offer answers to an issue that is not going away — but only growing more powerful and omnipresent by the day.

I hope Warchoki 2.0 isn’t used as a future ICE agent, but I also hope we are not at the dawn of the rise of the robot influencer. Warchoki already has his own line of super gross-looking flavored drink concentrates, as well as snacks like an ice cream, chocolate and popcorn popsicle. This is going nowhere good fast.

I’m Arts editor Jessica Gelt and I’ve got a pickle-kimchi lollipop to sell you. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Elim Chan conducts the L.A. Phil in 2024.

(Gina Ferazzi/Los Angeles Times)

Elim Chan Conducts the L.A. Phil
It will be a busy couple of weekends in L.A. for the San Francisco Symphony music director-designate. First up is a program featuring Dongshoon Shin’s “Dance Card,” Franz Liszt’s “Piano Concerto No. 2 in A major, S. 125” with pianist Yefim Bronfman, and Pyotr Ilyich Tchaikovsky’s suite from “Swan Lake.” Next week will be “A Symphonic Ballet,” with Claude Debussy’s “Prelude to the Afternoon of a Faun, L. 86,” Karen Gomyo premiering Samuel Adams’ “Violin Concerto No. 2 (The Wheel),” and Igor Stravinsky’s “Petrushka (1947).”
“Swan Lake,” 8 p.m. Friday-Saturday, 2 p.m. Sunday. “Symphonic Ballet,” 8 p.m. Thursday, 2 p.m. Oct. 17-18. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Kuniko Kato Presents Reich90
The North American tour of the Steve Reich Project, conceived and produced by Japanese percussionist Kato arrives downtown in honor of the composer’s 90th birthday.
7:30 p.m. Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A. colburnschool.edu

Victoria Marks : A Deer Walks into a Dance
The award-winning choreographer and four performers (Rian Alcid, Maya Billig, Karen Chuang and Aaron Mason) explore the idea connection in a world of division via movement, text and the deconstruction of a (bad) joke.
8 p.m. Friday-Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd., Westwood. cap.ucla.edu

SATURDAY

L.A. Opera’s new music director, Domingo Hindoyan, conducts a dress rehearsal of “Carmen.”

(Jason Armond / Los Angeles Times)

Carmen
Los Angeles Opera’s new music director, Venezuelan conductor Domingo Hindoyan, opens the company’s season with a new production of Bizet’s “Carmen.” It stars mezzo-soprano Rihab Chaieb, who has dazzled in Mozart at L.A. Opera. The Spanish gothic new production is by director/designer Thaddeus Strassberger and choreographer Antonio Najarro. (Mark Swed) The season-opening performance will be broadcast live in high definition, free of charge, at Steinmetz Park in Hacienda Heights and at the Santa Monica Pier.
Through Nov. 7. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. Free simulcast, 6 p.m. Saturday, Santa Monica Pier and Steinmetz Park, 545 S. Stimson Ave., Hacienda Heights. laopera.org

Strauss, Ravel, Beethoven
Music Director Jaime Martín conducts the Los Angeles Chamber Orchestra in Richard Strauss’ “Metamorphosen,” Maurice Ravel’s “Piano Concerto in G Major” with Conrad Tao, and Ludwig van Beethoven’s “Symphony No. 3 in E-flat Major (Eroica).”
7:30 p.m. Saturday. Zipper Hall, 200 S. Grand Ave., downtown L.A.; 4 p.m. Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laco.org

SUNDAY

Dale Brockman Davis, Alonzo Davis and David Hammons.

(Museum Associates)

The Brockman Gallery: Los Angeles,1967-1990
For more than two decades, the Leimert Park gallery, founded by Alonzo and Dale Davis, served as a vital cultural hub, staging exhibitions, festivals, concerts, literary events and more. Named after the brothers’ maternal grandmother, born enslaved, the Brockman Gallery was a flourishing, ongoing act of self-determination in the wake of the 1965 Watts Rebellion. It showcased Black artists whose opportunities were severely limited at mainstream, white-run institutions and galleries: David Hammons, Suzanne Jackson, John Outterbridge, Elizabeth Catlett, Betye Saar, Carrie Mae Weems, Senga Nengudi, Noah Purifoy and many more. More than 60 works by artists associated with the gallery will be included in this first full-scale consideration of the Brockman’s scope and impact. (Leah Ollman)
Through Jan. 24. Los Angeles County Museum of Art, 5905 Wilshire Blvd. lacma.org

Pacific Jazz Orchestra: A Tribute to Quincy Jones
Led by Chris Walden, and featuring vocalists Nayanna Holley and Adam ‘Aejaye’ Jackson, the ensemble performs early work by the late producer/composer. Presented by Ventura Music Festival,
3 p.m. Sunday. Rancho Campana Performing Arts Center, 4235 Mar Vista Drive, Camarillo. pacificjazz.org

TUESDAY

Mendelssohn & Brahms
Members of the Los Angeles Philharmonic perform a program of chamber works from Joseph Haydn, Felix Mendelssohn and Johannes Brahms.
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Ulysse Marion
A new work by choreographer Dimitri Chamblas, created with former Paris Opera Ballet dancer Marion Barbeau and dancer and musician Ulysse Zangs, explores the journey of a performer throughout a life in art.
8 p.m. Tuesday-Wednesday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

THURSDAY

At the Very Bottom of A Body Of Water
The latest work by Benjamin Benne, a dramatist many have been keeping close tabs on, continues his collaboration with veteran director (and fellow L.A. native) Juliette Carrillo, and dives even further into magical realism in an unconventional work exploring the oceanic depths that grief can reveal. (Charles McNulty)
Through Nov. 29. Boston Court Pasadena, 70 N. Mentor Ave. bostoncourtpasadena.org

Judy Baca, detail from the 1960s segment of the Great Wall of Los Angeles mural.

(Judy Baca and the SPARC Archives.)

Skirball Cultural Center
Three new exhibits open: “The 1960s — A Generation on Fire: Judy Baca’s Great Wall of Los Angeles” presents new murals as part of the evolving L.A. landmark; “Patrisse Cullors: Wishes Made Material” features three new works inspired by conversations between Black and Jewish communities; and “Jenny Yurshansky: What We Carry” explores local immigration stories, memories and family history through collected objects.
Skirball Cultural Center, 2701 N. Sepulveda Blvd. skirball.org

The SoCal scene

Zoe Ryan, director of UCLA’s Hammer Museum.

(Christina House/Los Angeles Times)

ICYMI, the best of this week’s L.A. Times arts coverage:

The Hammer’s director, Zoe Ryan, is hoping to make the museum the anchor of a Westside Arts District.

Times theater critic Charles McNulty was not taken by Jaclyn Backhaus’ “Wives,” which opened Sunday at East West Players’ David Henry Hwang Theater.

At 80, artist Lita Albuquerque is not slowing down. She has two upcoming shows: one at the Palm Springs Art Museum, and an installation at A–Z West in Joshua Tree.

K-pop star and Blackpink member Rosé will perform at LACMA’s Art+Film Gala as its musical guest.

Advance reservations for the Samuel Oschin Air and Space Center will go live on Oct. 21 at 9:30 a.m., ahead of its opening on Nov. 13.

Actor Alan Mandell died Tuesday. He was 98.

(Allen J. Schaben / Los Angeles Times)

Alan Mandell, a classical actor and renowned interpreter of playwright Samuel Beckett’s work, died Tuesday at his home in Westwood at the age of 98. McNulty also penned a lovely and personal appreciation of Mandell, whom he felt lucky to have spent time with.

The 2028 Olympic and Paralympic Games are around the corner, yet serious questions remain about funding and coordination for the Cultural Olympiad.

L.A. Opera’s new music director, Domingo Hindoyan is stepping up to the podium for the first time in his new role with the opening of “Carmen.”

Culture News

Climate activists in Tallahassee this week unveiled a statue of Florida Gov. Ron DeSantis that was created to melt. “In response to the Governor’s recent ‘Don’t say climate change’ action in state law, 350Action (one of the world’s most influential climate change advocates) built quite a visual — a statue that couldn’t withstand Florida’s daily climate. It’s provocative but for a purpose, to encourage young people to vote in a few weeks for candidates that recognize the threat from climate change,” a news release noted of the “climate denial statue.”

And finally, not strictly arts related, but some Halloween fun for you: Street Food Cinema is hosting its annual Boo-ze, Bites and Frights events with some spooky horror film screenings at Heritage Square and the Ford over the next few weekends, including a Saturday showing of “A Nightmare on Elm Street,” which is a film that still genuinely terrifies me.

— Jessica Gelt

And last but not least

Speaking of robots — they are now roaming the aisles of local grocery stores.

We are weathering a truly apocalyptic heat wave in L.A., but that hasn’t stopped Halloween from sneaking up on us. For those who like to give themselves the creeps, the city has its fair share of spook shows, including Griffith Park’s Haunted Hayride and the Queen Mary’s Dark Harbor. These mainstays offer hardworking actors seasonal jobs, but usually don’t allow for any real narrative besides jump scares and chainsaws. Which is why I’m so jazzed about a new entry to the immersive Halloween show scene: “Hospital of Emotions After Dark,” with its specially ticketed basement creep-fest, “Below.”

For readers who haven’t been inundated with a million ads for “Hospital of Emotions” on your Instagram feeds, it’s an immersive art show that unspools in 80 discrete rooms over four floors of the shuttered St. Vincent’s Medical Center near downtown L.A. The 45,000-square-foot exhibition opened in late May and was supposed to close in late July, but has extended its run due to popular demand. This month that run includes an after-dark option, which features the regular show — only after-hours — with ambient lighting and roving actors who show up in the most unexpected places (I won’t spoil it, but I got one of the most serious jump scares of my life in one of the exhibit rooms).

A separate ticket (which can be purchased in a bundle with the main exhibition) gets you a ride in an elevator to the hospital’s long-abandoned basement where you are treated to an immersive theater show with a nun for a tour guide. My nun was played by Penny Wiggins, and I’m not sure I have ever witnessed such true commitment in a spook show. Wiggins sold her character — at one point with genuine tears.

I won’t give away the plot, but it’s harrowing, especially if you are someone familiar with the hospital, which opened in the late 1800s and was the first hospital in the city. I had my daughter there in 2016, so it was extra chilling to know that this basement of horrors was there even then. The show uses the building’s actual abandoned infrastructure as its framework, so guests are led through dank subterranean corridors, old examination rooms and specimen labs, as well as an autopsy room.

“Below” isn’t as viscerally gory as “Dark Harbor” or “Haunted Hayride,” but it’s more artistic. There is dancing and an actual script that features a “gotcha” twist — as well as an upsetting demon who appears out of nowhere. I applaud the commitment by the actors who, I imagine, must find it kind of scary just waiting down there for the next round of guests. Plus, it’s good fun to be in the “Hospital of Emotions” at night when everyone is a little wild and there’s a sense that something out of the ordinary might pop out at you at any minute.

I’m Arts editor Jessica Gelt begrudgingly wearing a tank top and shorts in early October. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Felipe Dulzaides / Bradley Baboc
Cuban-born artist Dulzaides uses photography, drawing, video, performance, sculpture and sound to capture the sublime nature of Havana knife sharpeners in the exhibition “Balance in Place.” L.A. painter Boboc drew on the Toy District as inspiration for a new series of paintings, “Shadoobie (Shattered).”
Opening, 6-9 p.m. Friday; 10 a.m.-4 p.m. Thursday-Sunday, through Nov. 8. Arcane Space, 324 Sunset Ave., Unit G, Venice. arcanespacela.com

Ludovico Einaudi
The popular Italian pianist and composer returns to Disney Hall for the first time since 2019 on this solo tour.
8 p.m. Friday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Mälkki Conducts Bartók
Susanna Mälkki leads the Los Angeles Philharmonic in Béla Bartók’s “Concerto for Orchestra.”
11 a.m. Friday, 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Takács Quartet with Jeremy Denk
The Grammy winning ensemble teams up with the MacArthur Grant-winning pianist for a program of chamber music featuring works by Haydn, Mendelssohn and Franck.
7:30 p.m. Broad Stage at Santa Monica College Performing Arts Center, 1310 11th Street, Santa Monica. broadstage.org

SATURDAY

Laura Andreson, 1979, Forrest L Merrill Collection, Photo by M. Lee Fatherree

(Photo by M. Lee Fatherree)

The Eternal Quality of Aesthetic Joy: Laura Andreson and Her Legacy
The artist bristled at “superfluous” decoration, favoring distilled jar, box, bowl and vase forms influenced by her love for Scandinavian and Bauhaus design. She became a wizard with glazes, conjuring lustrous surfaces resonant with elements of the Southern California landscape. This show offers a rare opportunity to savor the gorgeous purity of her work, alongside that of several of her mentors and peers, such as Gertrud and Otto Natzler and Glen Lukens, as well as some of her students, including JB Blunk and Bernard Kester. (Leah Ollman)
Noon-6 p.m. Tuesday-Saturday, Oct. 10-Jan. 9, 2027. Craft in America Center, 8415 W 3rd St. craftinamerica.org

Haunted Soiree: True Crime
An immersive theater experience inspired by the 1928 Hex Hollow murder with cocktails and curious encounters.
Selected nights through Oct. 31. Nocturne Theatre, 324 N. Orange St., Glendale. hauntedsoiree.com

Pacific Jazz Orchestra’s Benefit Concert
Songwriter and producer David Foster, singers Katharine McPhee, Joanna “JoJo” Levesque, Veronica Swift, Adam “AeJaye” Jackson, violinist Anne Akiko Meyers and pianist Emmet Cohen are the headliners for a celebration of founding Artistic Director Chris Walden’s 60th birthday, which also includes a buffet reception and dancing under the stars.
7 p.m. Private estate in Toluca Lake, address to be provided upon confirmation of attendance. pacificjazz.org

Saint Megan
Playwright Joy Gregory, inspired by the journey of the granddaughter of the founder of the controversial Westboro Baptist Church, examines the long history of American Christian zealotry.
Opening, 8 p.m. Saturday, 8 p.m. Fridays, Saturdays and Mondays, 2 p.m. Sundays through Nov. 22 (no performance Oct. 12 or Oct. 31. Rogue Machine at the Matrix Theatre, 7657 Melrose Ave. roguemachinetheatre.org

SUNDAY

Akram Khan Company
In the London-based dance troupe’s final touring production, “Thikra: Night of Remembering,” an international cast of women perform contemporary and Bharatanatyam dances.
8 p.m. UCLA, Royce Hall, 340 Royce Drive, Westwood, cap.ucla.edu

Camerata Pacifica
The chamber ensemble opens its 37th Season with Rachmaninoff’s “Variations on a Theme of Chopin, Op. 22” and Schubert’s “B-Flat Major Trio.”
5 p.m. Sunday. Bank of America Performing Arts Center, Janet & Ray Scherr Forum Theatre, 2100 Thousand Oaks Blvd., Thousand Oaks; 7:30 p.m. Tuesday. The Huntington, Rothenberg Hall, 1151 Oxford Road, San Marino; 8 p.m. Wednesday. The Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A.; and 7 p.m. Thursday. Music Academy of the West, Hahn Hall, 1070 Fairway Road, Santa Barbara. cameratapacifica.org

Heartbreak House
The Antaeus Theatre Company launches its 35th season with George Bernard Shaw’s dark comedy. Directed by ATC Artistic Director Nike Doukas. The cast includes Elinor Gunn, Harry Groener, Arye Gross and Bernard Addison,
Previews, 2 p.m. Sunday, 8 p.m. Tuesday-Oct. 16; opening, Oct. 17-Nov. 16. Kiki & David Gindler Performing Arts Center, 110 East Broadway, Glendale. antaeus.org

Musical Theater Guild members Valerie Larsen and Gabriel Navarro during a reading of “The Light in the Piazza” in 2024.

(Stan Chandler)

Here’s to Us!
The Musical Theatre Guild marks its 30th anniversary with a benefit concert featuring show tunes from “Titanic,” “Fanny, “The Pajama Game” and “Sunday in the Park with George.”
7 p.m. Broad Stage at Santa Monica College Performing Arts Center, 1310 11th Street, Santa Monica. musicaltheatreguild.com

Untitled, n.d. Mavis Pusey

(Neil Lane Collection / Estate of Mavis Pusey)

Mavis Pusey
Two exhibitions this fall will help familiarize audiences with this remarkable woman. “Mobile Images” at the Hammer is a full-scale survey co-organized by the Studio Museum in Harlem and the Institute of Contemporary Art at the University of Pennsylvania, and is accompanied by a rich and thorough catalog. “Restless” also adds a Pusey publication to the shelf. The Benton show focuses mostly on Pusey’s prints, drawing exclusively from the collection of Ian White, artist, educator and son of esteemed artist Charles White. (Leah Ollman)
“Mobile Images,” through Feb. 28, 2027. UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. hammer.ucla.edu “Restless,” through Jan. 3, 2027. Benton Museum of Art, Pomona College, 120 W. Bonita Ave., Claremont. pomona.edu

MONDAY

Art Of Elan: In The Desert
Inspired by a trip to Bryce Canyon, Olivier Messiaen wrote his percussion-rich chamber music masterpiece “From the Canyons to the Stars” as a 1976 U.S. Bicentennial commission from Alice Tully Hall in New York. Replete with Messiaen’s characteristic bird calls, it’s been done out of doors before, and memorably at the Ojai Music Festival. But the San Diego imaginative new music series Art of Elan is now taking it to the desert for a special performance led by percussionist Steven Schick at an outdoor theater in Borrego Springs. (Mark Swed)
6:30 p.m. Stargazing Theater, La Casa del Zorro Desert Resort & Spa, 3845 Yaqui Pass Road, Borrego Springs. artofelan.org

TUESDAY

Angela Hewitt
The pianist performs an all-Mozart recital accompanied by Los Angeles Chamber Orchestra concertmaster and violinist Margaret Batjer for the first installment in LACO’s inaugural recital series.
7:30 p.m. Tuesday. The Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A. laco.org

WEDNESDAY

Lisa Batiashvili/Gautier Capuçon/Jean-Yves Thibaudet
The superstar violinist, cellist and pianist team up for an evening of Shostakovich, Debussy, and Dvořák.
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Joey Soloway.

(Loshara Vova)

A 1 They/Them Show
The Emmy and Golden Globe-winning creator of “Transparent” steps out from behind the camera to try out their stand-up routine in L.A. before hitting the road with a deeply personal solo comedy performance exploring family, Hollywood, gender, sex, Judaism, ambition and reinvention. A tour is expected to include a November stop in Chicago.
8 p.m. Wednesday and Oct. 28, doors open at 7 p.m.. The Virgil, 4519 Santa Monica Blvd. dice.fm

THURSDAY

Houston Ballet

(Quinn B. Wharton/Segerstrom Center for the Arts)

Houston Ballet
The Texas dance troupe brings celebrated young pianist George Li for an ode to Frédéric Chopin. Making its West Coast debut, and created by Stanton Welch AM, artistic director of the Houston Ballet, the piece, “Sons de L’âme” (Sounds of the Soul), merges choreography with a live performance of Chopin’s famed piano pieces, showcasing the talents of the nation’s fourth-largest ballet company and a rising star of classical music. (Eloise Rollins-Fife)
7:30 p.m. Thursday-Friday, 2 and 7:30 p.m. Saturday, 1 p.m. Sunday. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org

Speaking In Tongues
The world premiere of a Luis Alfaro play is always a welcome event. And his latest work, commissioned by Latino Theater Co. and developed at the theater’s Circle of Imaginistas playwriting group, resonates thematically with Alfaro’s 2023 play “The Travelers,” which LTC produced in 2023 and made my list of that year’s best theater productions. The new play, infused with Alfaro’s trademark Chicano humor, returns us to the world of California’s Central Valley and the stories of migrant farmworkers and their spiritual quests in a societal landscape transforming faster than anyone can keep up. (Charles McNulty)
Previews, 8 p.m. Thursday-Friday; opening night, 8 p.m. Saturday; 8 p.m. Thursdays-Saturdays, 2 p.m. Sundays, through Nov.. 15. Los Angeles Theatre Center, 514 S. Spring Street, downtown L.A. latinotheaterco.org

The SoCal scene

Cuban-born artist Enrique Martinez Celaya paints the new curtain for the L.A. Opera at the Dorothy Chandler Pavilion.

(Carlin Stiehl / For The Times)

ICYMI, the best of this week’s L.A. Times arts coverage:

L.A. artist Enrique Martínez Celaya hand-painted a brand new 70-foot curtain for L.A. Opera’s new season.

A documentary about Asco, the revolutionary arts group founded in the 1970s, is streaming for the first time on PBS.

Angelina Jolie and Octavia Spencer have teamed up to make sure kids have access to live theater.

Times theater critic Charles McNulty reviewed Laura Benanti’s autobiographical show, “Nobody Cares,” at the Wallis, and found it a bit too breezy.

McNulty, however, really liked the “spectacular” staging of “The Outsiders” at the Hollywood Pantages Theatre.

Read about how that staging unfolds during the epic rumble scene near the end of the show.

Love it or hate it, Erewhon is now a permanent fixture at Los Angeles County Museum of Art.

“Home of the Future” at LACMA explores the dark side of the American dream.

Culture news

As 24th Street Theatre prepares to celebrate its 30th anniversary, it has announced that it raised $3 million to officially buy the converted 1928 carriage house it’s called home for the past 29 years. It also purchased properties next door and across the street in order to expand its mission and community programming, including plans for an outdoor garden and a black box theater, which is, according to a news release, “officially named the 24th Street Black Box Theatre in honor of longtime supporter Jack Black, who is also the new venue’s first donor.” Black is set to host the theater’s gala on Oct. 18.

Tesserae — Andrew McIntosh, left, Ian Pritchard and Joshua Rubin — perform “Bowling, Animals and the Ocean” at the Sierra Madre Playhouse.

(Dania Maxwell / Los Angeles Times)

The 99-seat Sierra Madre Playhouse announced it has received $2.5 million from the State of California for a slew of exciting upgrades to its 100-year-old building — marking the largest gift in the organization’s history. The funds were secured by Pasadena Assemblymember John Harabedian, and will be used toward making the historic venue ADA-compliant, as well as to renovate lobbies and other areas open to the public. It will also help with new programming and building infrastructure.

The LA Phil and Orchestre de Paris have announced the launch of a new opportunity: the Salonen International Conducting Fellowship, which is, according to a news release, “designed to nurture and accelerate the careers of the next generation of orchestral conductors … the fellowship will offer early-career conductors unparalleled access to artistic mentorship, practical podium experience, and professional development opportunities at Los Angeles’ Walt Disney Concert Hall and the Philharmonie de Paris.” The first yearlong program will start in the 2027-28 season, and will feature two to four fellows, who will spend about six weeks working with each orchestra.

The Hammer Museum at UCLA announced this week that Eric Esrailian is succeeding Marcy Carsey as the new chair of the museum’s board (after previously serving as vice chair). Karen Hillenburg will now serve as vice chair. The Hammer also named three new members to its board: philanthropist Leslie McMorrow, attorney Alicia Miñana de Lovelace and Joan Weinstein, vice president of program planning at the Getty.

— Jessica Gelt

And last but not least

Nobody will buy the Stahl House!