group show

Today marks the end of an era. Mark Swed — the last full-time classical music critic at a major American newspaper — has retired. On Thursday, members of The Times editorial staff gathered to celebrate Swed, but the mood was somewhat somber. Although we were glad for our beloved colleague, this was not a happy milestone for journalism — or classical music.

Swed is the rarest of writers: a critic with deep empathy and encyclopedic knowledge who can turn the sonic details of an orchestra playing Mahler’s Seventh Symphony into an epic journey for readers. At a time when orchestra leaders struggle to find new audiences for the art form, Swed’s writing did the job for them.

And in an era when everybody is an expert on TikTok, Swed’s informed criticism was a life raft in a sea of slop. He told us why the music mattered — in its historical context, as it related to the modern landscape, and what it meant to him personally. He made us better listeners, and most importantly, he made us curious. After reading his take, we wanted to run out to a concert, an opera or a new music festival.

That this particular kind of writing — and of seeing and explaining the world to readers — is going away with Swed, is truly a tragedy. Thankfully he is leaving of his own accord, and will hopefully continue to write a monthly column, but his loss still stings.

Like many, I watched with sorrow in February as the Washington Post slashed its staff, including its classical music critic, Michael Andor Brodeur. That blow came a little less than a year after the New York Times shook up its culture desk and reassigned its classical music critic, Zachary Woolfe, to serve as the obituaries editor. (The paper is now actively searching for a new classical music critic.)

A number of staffers spoke at Swed’s retirement lunch, and deputy A1 editor John Penner was among them. In his touching speech, Penner noted that Swed was the last of his kind, adding, “with no full-time critic writing anywhere in any newspaper about classical music, American journalism will be poorer, and its readers less informed, inspired and enlightened.”

Penner continued, saying what all of us gathered in that conference room knew to be true, “Mark’s 30 years at The Times coincided with this city’s Golden Age of classical music — the era of Salonen and Dudamel and Disney Hall. L.A. has been the most important and exciting music capital in the country, if not the world. (Why else would New York be stealing Gustavo from us now?) And central to that excitement and importance has been Mark’s writing and criticism. For my money, even when there were many music critics writing for many publications, Mark set the standard for classical music criticism, while opening our ears to new and under-appreciated music.”

Hear, hear.

I’m Arts editor Jessica Gelt wishing Swed a happy retirement and humbly asking him to come back to us now and again. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Demand To Be Heard Festival
The Sunflower Project presents a celebration centering the voices of survivors of abuse beginning with a screening of the film “Break The Silence: The Gabby Petito Story,” followed by a panel discussion with the Gabby Petito Foundation. Saturday and Sunday is the Resident Artist Showcase, featuring the work of six survivor/artists. Also Saturday are three three arts workshops focusing on music, candle making and body movement, respectively.
Film screening, 6 p.m. Friday; 6:30 p.m. Saturday-Sunday, Resident Artist Showcase. Wisteria Theater, 7061 Vineland Ave., North Hollywood. Arts workshops, 11:30 a.m., 1 and 2:30 p.m. Art Share L.A. 801 East 4th Place, downtown L.A. towardsthesun.org

Jonah Elijah: Ambiguously Free
The first U.S. museum solo exhibition by the L.A.-based contemporary painter and mixed-media artist features work that blends personal memories with broader mythologies, religion and history to explore Black culture.
On view through December 16. Xela Institute of Art, 2176 Pacific Avenue, Long Beach. xela.art

Joshua Redman Quartet: Words Fall Short
The saxophonist performs a new program of music with his ensemble — pianist Paul Cornish, bassist Philip Norris and drummer Nazir Ebo, plus special guest Skylar Tang, an up-and-coming Bay Area-born trumpeter and composer.
7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

Melrose Gallery Walk
Gallery spaces, including Hostler Burrows, Lawson-Fenning, Meg Turner, Object, Seventh House, The Window and 22RE, open their doors to celebrate the local design community. Free and open to the public.
5-8 p.m. Hostler Burrows, 6819 Melrose Ave. hostlerburrows.com

SATURDAY

Midterms: This Will Hurt Someone
Brightwork newmusic performs a program of contemporary works inspired by civic life and social change, including Ted Hearne’s “Bye Bye Huey,” Natalie Dietterich’s “Philosophy of Furniture,” Ian Dicke’s “Get Rich Quick” (with video), Matt Marks’ “This Will Hurt Someone,” Hesam Abedini’s “What Remains” and “Frederic Rzewsk’s “Coming Together” (with video).
8 p.m. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

Aperghis Trilogy
Long Beach Opera performs three works by experimental composer Georges Aperghis: “Le corps à corps”,” Les Sept Crimes de l’amour,” “Récitations.” Directed by James Darrah Black. Christopher Rountree conducts.
7:30 p.m. The Queen Mary, 1126 Queen’s Way, Long Beach. longbeachopera.org

The Horror Show
An immersive deep dive into the movie genre presented in six themed galleries: Gothic, Psychological, Science, Slasher, Religion and Ghosts, with behind-the-scenes looks at a range of titles that includes everything from Oscar winners to drive-in classics. But first, you must pass through “The Hallway,” bwahahaha.
10 a.m.–6 p.m. Wednesday–Monday, on view through July 25, 2027. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

Senon Williams: here now, now gone, gone here
A solo exhibition of the artist’s work, in which he collects materials such as nails, slips of paper, fragments of language and industrial remnants, then uses assemblage to rearrange them and discover deeper meaning.
Noon-6 p.m. Tuesday-Friday, on view through Nov. 15. The Philosophical Research Society, 3910 Los Feliz Blvd. prs.org

Promised Lands: California’s Unratified Treaties and Native Resilience
Archival materials, contemporary objects, images and voices from local tribal communities relate the complex history of the state with its indigenous people.
10 a.m.-4 p.m. Tuesday-Friday, 10 a.m.-5 p.m. Saturday-Sunday. Autry Museum of the American West, 4700 Western Heritage Way, Griffith Park. theautry.org

Rodgers & Hammerstein’s The Sound of Music Sing-A-Long
Actor and comedian Melissa Peterman hosts the annual screening of the 1965 Oscar winner for best picture complete with a costume contest and more than a few of your favorite songs.
7:30 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

Daymé Arocena’s Alkemi
The Grammy nominee and Juno Award–winner blends Afro-Cuban beats with neo-soul, jazz and contemporary Latin pop.
7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

San Pedro Festival of the Arts
The 20th annual event, presented by Los Angeles Choreographers & Dancers, features 20 dance companies demonstrating a variety of styles and cultural traditions.
1-4:30 p.m. Peck Park, Upper Green near the Community Center, 560 N. Western Ave. triartsp.com

Tokio Ueyama: The Hollows Between Mountains
The first museum exhibition in California of the Little Tokyo-based Japanese artist (1889–1954) features his drawings, prints, photographs and paintings as well as artists he was associated with, including Diego Rivera, Tōyō Miyatake, Edward Weston and Henrietta Shore.
11 a.m.-6 p.m. Wednesday–Sunday, on view through Feb. 28, 2027. UC Irvine Langson Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. langson.uci.edu

SUNDAY

Grant Gershon conducts the Los Angeles Master Chorale at Walt Disney Hall, Nov. 16, 2025.

(David Butow/For the Times)

Brahms’ Requiem
The Los Angeles Master Chorale, led by Grant Gershon, opens its silver anniversary season with a program that also includes Bruckner’s “Te Deum.”
7:30 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org

WEDNESDAY

Rubén Blades & Roberto Delgado Big Band: Fotografías Tour
The Panamanian salsa greats perform classic Afro-Cuban music flavored with rock, jazz and Latin American influences. Silvana Estrada opens.
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

Menopause The Musical: 25th Anniversary Tour
Four women at a lingerie sale share their experiences with “the change” through parody songs of pop hits.
7:30 p.m. Bank of America Performing Arts Center, 2100 E. Thousand Oaks Blvd., Thousand Oaks. bapacthousandoaks.com

The Broadway production of “The Outsiders.”

(Matthew Murphy)

The Outsiders
The Tony Award-winning musical adaptation of S.E. Hinton’s coming-of age-novel set in 1960s Tulsa arrives with Ponyboy Curtis and his fellow greasers facing off against the upper-class Socs.
Through Oct. 18. Hollywood Pantages Theatre, 6233 Hollywood Blvd., Hollywood. Oct. 20-Nov. 1. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. tour.outsidersmusical.com

THURSDAY

Laura Benanti: Nobody Cares
The Broadway star sings original songs and shares stories with her trademark wit in this one-woman show. Directed by Annie Tippe.
7:30 p.m. Thursday-Saturday. 2 p.m. Saturday-Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

The Dance and the Railroad
Asian American theater collective Artists at Play and Latino Theater Company team up for a rare revival of an early David Henry Hwang play set during the 1867 Chinese railroad workers’ strike. Directed by Katherine Chou.
Previews, 8 p.m. Thursday and Oct. 2. 8 p.m. Thursday-Saturdays, 2 p.m. Sundays, through Nov. 1. Los Angeles Theatre Center, 514 S. Spring Street, downtown L.A. latinotheaterco.org

Mahler’s Symphony No. 2: Resurrection
Alexander Shelley conducts the Pacific Symphony with soprano Miah Persson, mezzo-soprano Dame Sarah Connolly and the Pacific Chorale.
8 p.m. Thursday-Oct. 2. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. pacificsymphony.org

The SoCal scene

Gov. Gavin Newsom mingles with guests at the Lucas Museum of Narrative Art opening party.

(Carlin Stiehl/For The Times)

I spent my Saturday night at the Lucas Museum opening party where I got to stand in the lobby by the nifty elevators watching Gov. Gavin Newsom talk to Kim Kardashian. Later, I went to Skywalker Grill and saw U.S. Rep. Nancy Pelosi sitting at a table next to Leonardo DiCaprio and his entourage. It would be an understatement to say that the night was both bizarre and memorable.

Times theater critic Charles McNulty (the paper’s only remaining arts critic) has kept exceptionally busy this fall season. Late last week he wrote a review of “The Ford/Hill Project” At REDCAT, which transforms Senate testimony from Anita Hill and Christine Blasey Ford into a docu-play that explores the details of two of history’s most consequential Supreme Court confirmation hearings. “The restraint imposed by the production adds to its power. There’s no need to editorialize. The proceedings skewer themselves,” McNulty writes.

Huguette Caland in Stone Doorway, France, 1970.

(Huguette Caland Estate)

McNulty also drove to San Diego to see the Old Globe’s world-premiere musical adaptation of John Carney’s “Begin Again,” which explores the stories of two music-industry vets who embark on a grassroots recording project. The show features a score by rocker Pat Monahan and Train. “‘Heartwarming’ is a cliche of theater reviewing that I have studiously tried to avoid, but I’m tempted to use the word in my review of ‘Begin Again’,” McNulty writes.

McNulty penned one of his harshest reviews since last year’s take down of “Hamlet” after he went to Atwater Village Theatre to see Echo Theater Company’s world premiere production of “The Peterson Show,” by Janine Nabers. “Unfortunately, the production is hamstrung by fundamental problems in the writing, directing and acting, all pointing to a failure of control. Control of the story, control of the tone and control of the cast,” McNulty wrote of the show, which is about the impact of disgraced Bill Cosby-like star on his TV family.

Meanwhile contributor Tara Anne Dalbow wrote a beautiful story about the late, great artist Huguette Caland in advance of the largest U.S. retrospective of her work, opening Sunday at the Hammer Museum.

Ernest “Ernie” Wolfe III, owner of an eponymous gallery on Sawtelle, is dying of a traumatic brain injury and his family is looking for homes for his 15,000 pieces of African Art. Contributor Jane Horowitz writes about Wolfe‘s legacy and the (sometimes controversial) origins of his collection.

I got the scoop that the Museum of Contemporary Art has appointed Jonathan Abbott as its new director and chief executive. Abbott replaces interim director Ann Goldstein, who stepped in last July after the unexpected departure of Johanna Burton. Abbott, who begins work immediately, joins the museum as its sixth director since 2008. He formerly served for 15 years as president and chief executive of the PBS-affiliated public broadcasting station GBH in Boston.

Mary Cassatt, “Summertime,” 1894-95

(Sotheby’s / Armand Hammer Collection)

As one chapter closes with Swed’s retirement, a new one begins as we welcome our new entertainment and arts reporter, Laura Zornosa, who hit the ground running by writing three great arts stories: The first is about the private art collection of Armand Hammer (including Mary Cassatt’s “Summertime,”) coming up for auction at Sotheby’s; the second, covering opening day at the Lucas Museum where Zornosa interviewed guests on their thoughts about the place; and the third is a fun news brief about how Los Angeles Chamber Orchestra commissioned fanfares from half a dozen film composers, including John Williams and Ludwig Göransson, curated by “none other than Seth MacFarlane (best known as the creator and star of “Family Guy”).”

Culture news

Coy Middlebrook has been named the new artistic director of the Wallis.

(Jeff Lorch / The Wallis)

The Wallis Annenberg Center for the Performing Arts announced the appointment of longtime creative staffer Coy Middlebrook as its new artistic director. “Coy brings an extraordinary depth of knowledge about The Wallis and its audiences, along with deep relationships throughout the performing arts nationally and internationally. He understands both the artistic possibilities of this
institution and the importance of its relationship to our community. I am excited to work with him as we build a future that is artistically ambitious, deeply connected and open to everyone,” said Wallis Executive Director and Chief Executive, Jean Davidson, in a news release.

Meanwhile Theatre Commons LA (TCLA), the nonprofit organization created and launched a year ago as part of a concerted effort by some of the city’s most prominent theater leaders to unify the city’s sprawling theater scene, has announced its first Executive Director, David E. Shane. Shane previously served as director of program services at the Alliance of Resident Theatres/New York where, according to a news release, “he set the strategic vision and goals for a robust suite of programs serving over 450 of New York’s nonprofit theaters.” He is tasked with doing the same thing in L.A. and we wish him the best of luck.

— Jessica Gelt

And last but not least

The Getty Museum has acquired the recently rediscovered 17th-century painting “Portrait of the Count-Duke of Olivares” by Spanish artist Diego Velázquez (1599-1660). It will be displayed in the museum’s East Pavilion this fall. According to ArtNews, “The acquisition means a Velázquez painting will for the first time be represented in the collection of a West Coast museum.”

Is President Trump holding the Kennedy Center hostage? The allegation has been made at least twice, most recently by John F. Kennedy’s niece Kerry Kennedy, and earlier by Rep. Joyce Beatty (D-Ohio), an ex-officio member of the board, who has sued to keep Trump’s name off the building.

The Merriam-Webster dictionary defines “hostage” as, “a person taken by force to secure the taker’s demands.” Swap, “person” for the “Kennedy Center” and “taker” for “Trump,” and you have a pretty straightforward “yes.”

The ongoing Kennedy Center dumpster fire points to an unusual presidential obsession with the nation’s premier performing arts venue that dates back to Trump’s first term when he became the first sitting president in history to twice miss the annual Kennedy Center Honors.

In his second term, Trump turned that snub upside down by firing the board and strong-arming his way into being named chairman. If he expected to be welcomed into the arts community with open arms, he was gravely mistaken. His takeover resulted in a wave of high-profile cancellations that ultimately led to a massive dip in ticket sales. The exodus became even worse when the Trump-appointed board voted to add Trump’s name to the building late last year. The reaction, it seems, injured the president’s fragile ego and incurred his wrath.

By early February the president announced he would close the center for a two-year, $257-million renovation. Calling the historic venue “dilapidated,” Trump said he would be the one to restore it to glory. Behind the scenes another story was unfolding, and six months later the Washington Post reported that “ticket sales and fundraising collapsed” after Trump’s name was added to the building, “even as the center’s leaders publicly touted a financial turnaround.”

This week saw chaos at the venue that even the most seasoned journalists struggled to keep up with as the board voted to close the building on the same day that a federal judge upheld an order that Trump’s name could not be restored to its facade after he ordered it removed in late May.

Trump took to social media to decry the decision, threatening to withhold his support for the renovation and noting that the center could be “ripped down” if he wasn’t formally honored with his name on the building. Despite a preliminary injunction barring the venue from closing, people were kicked out of the building and barricades erected in the name of public safety that same day.

Those prone to hyperbole might be tempted to call this presidential tantrum disguised in procedural clothes a constitutional crisis. Or you could just say that Trump has taken the Kennedy Center hostage. The taker wants his name on the building, and the center will not be released for renovation or reopening if that doesn’t happen.

In the meantime an image of Trump on Air Force One was captured that shows him holding a large placard that reads, “Kennedy Center DEMO[LISHED],” leaving concerned parties to wonder just what exactly the chairman of the board has in mind. Is he using a Sharpie at this very moment to slash a line through the image at the center on that board, or is it just a prop to be trotted out in a cruel bit of future social media hazing?

Getting lost in all the drama: a beloved arts venue has gone pointlessly dark, and the people who loved it are heartbroken. If no one is inside to hear the wind whistle, does it make a sound?

I’m Arts editor Jessica Gelt, willing to rustle up a ransom. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Oliver Lee Jackson: Form Follows Feeling
The Bay Area painter, sculptor, and printmaker’s work, created over decades, is inspired by the human figure in its composition and structure.
Opening reception, 6-8 p.m. Friday; 10 a.m.-6 p.m. Tuesday-Saturday. Lisson, 1037 N. Sycamore Ave. lissongallery.com

“Vitruvian Figure (Los Angeles Memorial Coliseum),” 2026, 3D model by Paul Pfeiffer.

(Paul Pfeiffer/Perrotin)

Paul Pfeiffer: Olympia
In new work focused on Los Angeles, the artist explores the intersection between media, spectacle, architecture and the body ahead of the city hosting the 2028 Olympic Games.
Opening reception, 6-8 p.m. Friday; Pfeiffer in conversation with Britt Salvesen, 3 p.m. Saturday; exhibition, 10 a.m.-6 p.m. Tuesday-Saturday, through Nov. 7. Perrotin, 5036 W Pico Blvd. perrotin.com

SATURDAY

“Couple walking, Park Avenue,” 1960.

(Estate of Roy DeCarava)

Roy DeCarava: the sound i saw
The exhibition presents more than 130 images created between the late 1940s and 1960s, depicting the photographer’s intense interest in the relationship between the visual and the aural. Accompanying the exhibition, in the gallery next door, will be “SIDE B: the sounds,” a listening room featuring DeCarava’s personal playlists and favorite jazz album.
Opening reception, 6-8 p.m.; exhibition runs through Oct. 31. David Zwirner Gallery, 606 and 6166, N. Western Ave. davidzwirner.com

Sutton Foster
The two-time Tony winner and TV star performs Broadway hits and standards with Pacific Jazz Orchestra, featuring new arrangements by conductor Chris Walden.
8 p.m. The Soraya, 18111 Nordhoff St., Northridge. thesoraya.org

Mia Middleton: Summoning Cleo
New work by the artist explores interpreting familiar forms through a surreal lens.
Opening reception, 5-7 p.m. Saturday; exhibition runs through Oct. 24. Roberts Projects, 442 S. La Brea Ave. robertsprojectsla.com

Mrs. Warren’s Profession
Real-life mother and daughter Cyndy Fujikawa and Nell Murphy star in this production of George Bernard Shaw’s 1893 play about a Victorian woman coming to terms with how she built a business empire. Directed by Michael Rothaar.
Opening night, 8 p.m. Saturday; 8 p.m. Thursdays, Fridays and Saturdays; 3 p.m. Saturdays and Sundays (check website for exceptions), through October 25. Pacific Resident Theatre, 707 Venice Blvd, Venice. pacificresidenttheatre.org

Grammy Award-winning composer and bandleader Arturo O’Farrill and Afro Latin Jazz Orchestra open the Segerstrom Center for the Arts’ Jazz series.

(John Abbott)

Arturo O’Farrill & Afro Latin Jazz Orchestra
The pianist and composer, a six-time Grammy winner, and his ensemble kick off the Segerstrom Center for the Arts’ 2026-27 Jazz series with Afro-Cuban rhythm, modern jazz harmony and big-band sounds.
8 p.m. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org

Other Places
An alternative art fair devoted to contemporary art spaces and projects, plus workshops, readings, talks and performances.
Noon-7 p.m. Angels Gate Cultural Center, 3601 S. Gaffey St., San Pedro. opaf.info

Karma
The gallery presents solo exhibitions by painters Randy Wray (“Hothouse”) and Felipe Suzuki, one featuring vivid abstractions, and the other, work created through the lens of memory .
Opening reception 6-8 p.m. Saturday; 10 a.m.-6 p.m. Tuesday-Saturday, through Oct. 24. Karma, 7351 Santa Monica Blvd. karmakarma.org

SUNDAY

Alexander Apóstol
“Regime: Dramatis Personae” (2017), a series of black-and-white portraits of archetypal figures in both populist and authoritarian governments, uses photography to analyze the intertwining of art and political power in Latin America.
11 a.m.-5 p.m. Tuesday, Wednesday and Friday; 11 a.m.-8 p.m. Thursday; 11 a.m.-6 p.m. Saturday-Sunday; through Jan 3, 2027. Museum of Contemporary Art, 250 S. Grand Ave., downtown L.A. moca.org

Textile Alchemy: The Art of Reiko Sudō and NUNO
More than 100 limited-edition textiles, along with numerous objects, including drawings, sketches, raw materials, tools, mock-ups, and prototypes, are part of the largest retrospective ever of the Japanese designer’s work created with her textile collective and other collaborators from throughout Japan,
Through March 7, Los Angeles County Museum of Art, Resnick Pavilion, 5905 Wilshire Blvd. lacma.org

TUESDAY

The entrance of the Lucas Museum of Narrative Art in Los Angeles in Exposition Park.

(Ron De Angelis/For The Times)

Lucas Museum Of Narrative Art
Where else will you see Luke Skywalker, Vincent Van Gogh, Norman Rockwell, Gordon Parks and Charles Schulz under one roof? The new museum officially opens Tuesday, featuring 100,000 square feet of space spread across more than 30 galleries, exhibiting a mind-bending range of visual storytelling. Check out our full coverage.
Public opening, 10 a.m.-5 p.m. Tuesday; regular hours, 10 a.m.-5 p.m. Mondays, Wednesdays and Thursdays; 10 a.m.-5 p.m. Fridays; 9 a.m.-9 p.m. Saturdays; 9 a.m.-5 p.m. Sundays. Lucas Museum of Narrative Art, Exposition Park, 3800 S. Vermont Ave. lucasmuseum.org

THURSDAY

Bilal
The Grammy Award-winning singer-songwriter delivers a blend of soul, funk, and jazz. Queens-born R&B musician Yaya Bey is the opening act.
8 p.m. Carpenter Center, 6200 E. Atherton St., Long Beach. carpenterarts.org

Each Other’s Hands: Trans Mutual Aid, 1966—1996
Oxy Arts, Occidental College’s community-based arts hub, presents an exhibition featuring the work of six L.A. artists. curated by Umi Hsu. The opening reception marks the launch of the 2026 CIRCA Queer Histories Festival hosted by One Institute.
Opening reception, 7 p.m. Thursday; 11 a.m.-4 p.m. Monday-Saturday. Oxy Arts, 4757 York Blvd. oxyarts.oxy.edu

Arts Anywhere

Robert Wilson and the Civil Wars
The newly remastered 4K version of Howard Brookner’s 1987 documentary, the essential yet long elusive film about the 1984 L.A. Olympics Arts Festival, can finally be streamed courtesy of Criterion Channel. It is everything LA28 doesn’t want you know. criterionchannel.com

— Mark Swed

Culture news and the SoCal scene

Christian Barillas, Melinda Page Hamilton and John Lavelle in “The Visit” at Pasadena Playhouse.

(Jeff Lorch)

Pasadena Playhouse opened a new production of Swiss dramatist Friedrich Dürrenmatt’s revenge tragicomedy “The Visit,” and The Times got in on the action. Contributor Jenelle Riley wrote a preview about how the new show features more than a dozen creatives behind the Playhouse’s production of Peter Shaffer’s “Amadeus” earlier this year, including director Darko Tresnjak and actor Jefferson Mays. “Amadeus” was a major hit, so Artistic Director Danny Feldman welcomed the team back with open arms.

Meanwhile, Times theater critic Charles McNulty attended opening night and declared the play a refreshing success (with a few caveats), and expressed “gratitude for the high-level production, gratitude for making the case for why the play still matters, and gratitude for the opportunity of allowing us to make up our own minds about whether the work earns its designation as a modern classic.”

Castulo Guerra as Tlahtoani Klion in a dress rehearsal ahead of its premiere of “Antigone: In the Language of the Kings” by the Latino Theater Company at the Getty Villa.

(Ariana Drehsler/For The Times)

McNulty also headed to the Getty Villa for its annual outdoor theater production. This year, the Villa’s outdoor stage marks its 20th anniversary with a co-production with Latino Theater Company of Sophocles’ “Antigone,” reimagined to take place in pre-conquest Tenochtitlan and performed in English, Spanish and Nahuatl. “If the drama is oversimplified, it nonetheless makes for a gripping spectacle,” McNulty writes.

Finally, a very busy McNulty checked out out a revival of José Rivera’s “Marisol” in an Open Fist Theater Company production at Atwater Village Theatre. The play originally opened in the early 1990s around the same time as Tony Kushner’s “Angels in America,” and McNulty says this new staging is gratifying because it allows a new generation to “embrace the play’s kinetic freedom.”

There are as many acrobats as actors in “Water for Elephants,” which is running at the Hollywood Pantages Theatre through Sept. 27 before heading to Segerstrom Center for the Arts (Nov. 10-22, with stops in Portland, Seattle, Reno, Sacramento, Tempe, Fresno and Eugene in between). Contributor Jenelle Riley headed backstage before opening night to watch the high-stakes performers warm up with poles, hoops, ropes and more. When the curtain raises, there’s a real circus onstage.

Long Beach Opera will perform its 2026-27 season aboard the Queen Mary.

(Allen J. Schaben / Los Angeles Times)

Long Beach Opera announced its 2026-27 season, which is slated to be performed aboard the historic Queen Mary. First up: three works by composer Georges Aperghis, with vocal performances from coloratura soprano Habin Kim. Next: soprano Amanda Forsythe and Opera Prima in a performance of “Tormento Seicento.” Four additional productions include: an Anna Schubert recital, Peter Brook’s “Impressions of Pelleas,” Handel’s “Tolomeo” and Ana Sokolović’s “Svadba.”

The Jewish Federation of Greater Los Angeles and Daniel Gryczman, the federation’s board chair, sued Pasadena’s Norton Simon Museum for the return of the diptych “Adam and Eve,” a pair of 16th century masterpieces by Lucas Cranach the Elder. The suit was one of two filed in the state “since California and Congress passed a pair of laws bolstering U.S.-based claims to Nazi-looted artwork around the world,” reports the Times’ Kevin Rector.

— Jessica Gelt

And last but not least

The Food section got the skinny on Skywalker Grill at the Lucas Museum, which is already booked through the end of the year.

When her home burned down in the Eaton fire, artist Susannah Mills felt lost and adrift — but never alone. Her home was part of an Altadena artists collective called JJU, or John Joyce University, named after a beloved carpenter who lived there for 26 years. And although the residents were forced to scatter in the wake of the January 2025 devastation, they remained in contact, looking for ways to support one another through what is still an ongoing process of recovery.

A few months after her loss, Mills was accepted into an artist residency at BKN, a retreat in the northern Stockholm Archipelago, where she expanded her watercolor practice from relatively small works to large scale, and explored installation. Like JJU, BKN prides itself on building community, and while there Mills began talking with BKN curator Anna Viola Hallberg about bringing other L.A. fire survivors to Sweden to experience the same sense of connection and relief Mills was feeling.

Hallberg had already been thinking along those lines and suggested they create another residency to do just that. In the fall of 2025, Mills and Hallberg, with the help of another L.A. artist, Rick Gradone, started an organization named Los Angeles Wildfire Survivors, or L.A.W.S., and raised the funds to send 13 Eaton and Malibu-based artists to BKN for two months.

The result was life-altering for the artists, most of whom were still working to rebuild from the devastating loss — and some of whom had been so occupied with the logistics of recovery that they had not been able to make time to work.

“It creates a network, and people who work together in the residency continue to help each other,” said Hallberg in a recent interview. “So there’s a really true new arts community that lingers beyond the residency.”

It soon became clear to the team behind L.A.W.S. that more needed to be done, and they solicited another round of applications for a residency, set to begin later this month at Pilchuck Glass School in Washington state. Eight Eaton fire survivors have been selected in a competitive process, and plans are in the works to bring another cohort of artists to Sweden next Spring.

“We want to expand this outside of Los Angeles ultimately, because there are fires everywhere and there is climate disaster everywhere,” Mills said, explaining that the group’s mission is growing as changing weather patterns result in escalating cataclysm and displacement of artists globally.

“The media focuses on the disaster really fast, and they don’t understand just how long the recovery takes,” Gradone said in a recent interview. “So this puts some kind of resource in place where people can continue to to get help, especially artists who lose everything that they’ve made, lose their studio spaces and homes. That can’t be recovered in six months.”

L.A.W.S. operates as a not-for-profit and has applied for official nonprofit status, a process that can take some time in California. It is also actively looking for fiscal sponsorship. Up until now the group has relied on its personal connections to raise money to support its artist residencies. Mills’ partner, Brian Huskey, is a comedian and actor who has rallied celebrity friends to auction off small pieces of art on cards in support of L.A.W.S. But there is a need for more help as the group grows.

“Word has really caught on with people who want to have this experience, which I’m really happy about,” said Mills.

I’m arts editor Jessica Gelt, wishing I could turn back time, Cher-like, to an era before the world fast-tracked climate change with its laissez faire approach to global warming. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Bruce Willis, left, talks with director M. Night Shyamalan on the set of the 2000 film “Unbreakable.”

(Frank Masi / Touchstone Pictures)

Unbreakable
M. Night Shyamalan’s 2000 superhero thriller with a twist stars Bruce Willis, Charlayne Woodard, Robin Wright, Samuel L. Jackson and Spencer Treat Clark.
7 p.m. Vidiots, The Eagle, 4884 Eagle Rock Blvd. vidiotsfoundation.org

SATURDAY

“the wheat leaping constantly from the shute,” Marley Freeman (2026). Oil, acrylic on linen, 58 by 54 inches.

(Marley Freeman / Parker Gallery)

Marley Freeman
The artist’s new exhibition of paintings, “worthless serpentine,” takes its title from the writings of Joan Didion.
Opening, 6-8 p.m. Saturday; 11 a.m.-6 p.m., Tuesday–Saturday, through Oct. 31. Parker Gallery, 6700 Melrose Ave. parkergallery.com

SUNDAY

Doyle Lane: Master Of Clay
The first major museum retrospective of the Los Angeles ceramic artist features more than 100 works from the 1950s through the 1980s, from functional pottery to monumental murals, as well as archival documents.
Through Feb 22. The Huntington, 1151 Oxford Road, San Marino. huntington.org

Marie Atoinette
A 20th anniversary screening of the semibiographical period film with a postpunk- and new wave-fueled soundtrack with writer-director Sofia Coppola and star Kirsten Dunst in person. Coppola and photographer Andrew Durham will sign copies of their new book, “Making Marie Antoinette,” at the Academy Museum Store in a separately ticketed event prior the screening.
6:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

TUESDAY

Andrea Bocelli performs live in Vienna on Aug. 22.

(Thomas Kronsteiner / Getty Images)

Andrea Bocelli
The Italian tenor arrives at the Hollywood Bowl for two nights on his Romanza 30th Anniversary World Tour. 8 p.m. Tuesday-Wednesday. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

WEDNESDAY

Elliott Hundley
“Book of Sand” is an exhibition of new paintings, sculptures and tapestries focusing on the artist’s “own exuberant internal universe” created through compiling paint, paper cutouts, string, encaustic and other found materials.
Artist led walk–through, 11 a.m.; opening reception, 6-8 p.m.; 10 a.m.-6 p.m. Tuesday-Saturday, through Oct. 24. Regen Projects, 6750 Santa Monica Blvd., Los Angeles. regenprojects.com

The Peterson Show
The world premiere of Janine Nabers’ play about a group of former child stars from a beloved TV show about a Black family come together after a scandal entangles their famous TV father. Directed by Michelle Bossy.
Previews, 8 p.m. Wednesday-Friday, opens, 8 p.m. Saturday (sold out), runs through Oct. 26. Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.com

THURSDAY

The Case-Book of C. Auguste Dupin
The world premiere of a new play adapted and directed by John Strysik, based on the stories of Edgar Allan Poe.
7:30 p.m. Thursdays-Saturdays, 2 p.m. Sundays, through Oct. 18. Mary Levin Cutler Theatre, 241 S. Moreno Drive, Beverly Hills. theatre40.org

The Ford/Hill Project
A Waterwell Production created by Lee Sunday Evans and Elizabeth Marvel, this documentary theater piece is based on the verbatim Senate testimony of Anita Hill and Christine Blasey Ford during Supreme Court confirmation hearings, 30 years apart. The cast includes Rosemarie DeWitt, Betty Gabriel, Dulé Hill and Jerry O’Connell.
8 p.m. Thursday-Saturday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

The SoCal scene

A view of the Lucas Museum of Narrative Art in Los Angeles from a garden.

(Ariana Drehsler / For The Times)

Hey, have you heard? The Lucas Museum of Narrative Arts will open Sept. 22 and began member previews late last week. Just kidding. Of course you have heard, because hot takes currently abound on the new $1-billion museum. Love it or hate it, it’s here to stay, and Team Arts spent the week rolling out a spate of stories explaining how we got here, as well as what you can find in the shiny new 300,000-square-foot Ma Yansong-designed building.

Times film critic Amy Nicholson wrote about what “Star Wars” fans can expect from the new museum and contributed to a piece about 11 must-see things while you’re there. We also commissioned a handy artist-drawn map of the place that should help you navigate the 100,000 square feet of gallery space with its more than 30 discrete galleries arranged by theme. Finally, Times contributor Jane Horowitz wrote two stories: one about whether or not the museum’s disregard for established art hierarchies will upend the art world; and another on how the museum’s epic search for a forever home ended in L.A.’s Exposition Park.

I also wrote about a lawsuit that a contractor filed against the museum claiming unpaid work that shines fresh light on the Museum’s Exposition Park land deal.

Randolph Thompson, Desiree Mee Jung, Adam J. Smith, Nicole Javier and Julanne Chidi Hill in “Pericles” at Boston Court Pasadena.

(Brian Hashimoto)

Times theater critic Charles McNulty spent an evening at Boston Court Pasadena watching Ellen McLaughlin’s modern verse translation of Shakespeare’s “Pericles,” which takes place at a disaster relief center, where anxious evacuees improvise a play to escape their fear of the storm they are fleeing. “It’s hard to allow yourself to fully believe in the incredible turn of events when the prevailing attitude is so emphatically tongue-in-cheek,” McNulty wrote of the West Coast premiere.

McNulty also had lunch in Manhattan with playwright Samuel D. Hunter, who has two plays running in L.A.: “Grangeville,” which McNulty calls “Los Angeles’ most acclaimed theatrical offering of the summer” and has been extended at Ruskin Group Theatre through Sept. 21; and “A Case for the Existence of God,” in a recently opened Rogue Machine production at the Matrix Theater’s Henry Murray Stage. “Drama in Hunter’s hands is built around an encounter. He doesn’t force his characters to jump through hoops,” writes McNulty in a profile. “He listens to them, as they navigate their complicated feelings, closely tracking the way their intersecting paths lead them toward incremental revelation.”

Paintings from the private collection of the late music executive Clive Davis, estimated to fetch more than $35 million, are heading for auction at Christie’s in November.

Culture news

Lucien Smith attends the Hugo Boss Prize 2014 ceremony at Guggenheim Museum in New York City.

(Dimitrios Kambouris)

Lucien Smith, a Los Angeles–born multidisciplinary artist who garnered loads of attention in 2010s art scene, has died at 37.

IAMA Theatre Company is set to launch its ninth annual New Works Festival, which will take place Sept. 14-28 at Atwater Village Theatre, and will feature staged readings of six new plays. Tickets are $18 for each reading and can be found at iamatheatre.com. This year’s festival includes “The Half-Sibling Play” by Agyeiwaa Asante; “All Remaining Assets” by Serena Berman; “The Starters” by Laura Winters; “Betta Mus Come” by Alicia Carroll; “Werewolves” by Liba Vaynberg; and “The Great Florida Python Challenge” by John Lavelle.

Additional tumult is coming for the Smithsonian Institution as secretary Lonnie Bunch announced he will step down from his leadership position. The news comes in the midst of President Trump’s pressure campaign on the organization and his administration’s attempts to alter what Smithsonian museums include in their exhibitions.

— Jessica Gelt

And last but not least

Oh, no! In-N-Out is making tweaks to staples like buns and ketchup!