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The LAPD is considering whether to shut down its police academy for part of 2028 in order to put hundreds of officers back to work on the streets in time for the Olympic and Paralympic Games, according to four department sources.

The sources, who requested anonymity because they were not authorized to publicly discuss internal matters, said the proposal was floated at a senior staff meeting last week. The idea has sparked debate, the sources said, with some officials worried that a pause would set back the department’s efforts to hire more police officers and replenish its dwindling ranks.

The LAPD declined to make any official available for an interview about the proposal. In response to an inquiry from The Times, the department released a short statement that said: “The Olympic Games are two years away. The LAPD will be prepared as always to keep the citizens and visitors of Los Angeles safe. We look forward to a memorable event.”

Much could still change between now and the start of the Olympics. The size of recruit classes are dictated by the department’s annual budget, which is approved by the City Council before each fiscal year.

Recently, the council signed off on a $15-billion city budget for 2026-27, preserving Mayor Karen Bass’ plan to hire 510 officers — only enough cops to replace those who are expected to leave over the next fiscal year.

It’s not uncommon during large events for the department to mobilize officers from specialized units and others who don’t normally work in the field. But the potential cancellation of more than half of the 13 academy classes that the LAPD typically graduates in a given year came as a surprise to some.

Under the proposal, the academy could cease operations for roughly seven months after the January 2028 class, which would let the department temporarily reassign more than 300 officers from its training division. These include instructors who would normally be spending their days teaching the basics of how to handle firearms, pull over speeding motorists, collect evidence at a crime scene and interview victims and suspects.

Sources said the proposed plan calls for increasing academy class sizes before and after the Olympics and Paralympics in order to offset resignations and retirements.

The plan has still been met with deep skepticism in some quarters, with officials pointing to the department’s well-documented recruitment struggles in recent years. Any interruptions in recruiting officers could set the department back, the skeptics argue.

L.A. City Councilmember Tim McOsker said he understood the need for the department to continue its recruitment efforts, but said that putting training officers back to the field felt like a necessary “sacrifice to be able to host the Olympics.”

Late last month, L.A. officials reached a tentative deal with Olympic organizers laying out the process for reimbursing the city for potentially hundreds of millions of dollars for public services, ranging from traffic control to trash pickup. But the question of how the city will pay for police protection remains largely unsettled.

The costs could theoretically be covered by the $1 billion in funding the federal government has allocated for the Games’ costs. However, some elected officials have expressed concern that the money might not materialize once the Games are over. Another funding option is a $270-million contingency fund maintained by LA28 that can be distributed as a surplus if the Games make money or be used to cover any losses in the event of a shortfall.

For months, LAPD Chief Jim McDonnell has warned that public safety will suffer if the city doesn’t hire more officers to not only safeguard Olympic venues, but also continue normal operations over the 66 days between the July 14 start of the Olympic Games and the end of the Paralympic Games. At a budget hearing last year, McDonnell called on the council to fund new hires — while arguing against creating any delays in recruiting and on-boarding more officers.

Some City Council members have pushed back, saying overspending at the LAPD could force city leaders to contemplate cuts to other city jobs, which they oppose.

The Olympics will also be staffed by thousands of officers from agencies from across the state. A bill currently under consideration in the California Legislature would pave the way for the hundreds of officers from other states to help police the 2028 Games. The proposed legislation is opposed by the Peace Officers Research Association of California, the state’s largest law enforcement labor organization, which has argued that bringing in officers who don’t meet statewide training standards could spell disaster.

Here we go again: Twenty-five years after “Mamma Mia!” premiered on Broadway, the national tour returns to Los Angeles at the Ahmanson Theatre with show-stopping set pieces and a crew that knows the show inside and out.

The beloved jukebox musical, which chronicles a Greek wedding with three potential fathers of the bride, has taken over the Ahmanson through July 19 as part of its 25th anniversary tour, and audience members should expect a full-on ABBA sing-along dance party.

“People come dressed up,” said associate choreographer Janet Rothermel. “There’s a lot of boas, and there’s a lot of spandex, and platform shoes.”

Rothermel is one of many people on the creative team who have worked on the show since its original Broadway run in 2001. Associate director Martha Banta and associate music supervisor David Holcenberg have also seen the musical through its nearly 14-year original Broadway run, national tours and numerous international iterations (Holcenberg was its original music director).

“When we were all back together again in rehearsal, it was an extraordinary feeling,” Banta said. “Not with the same cast, but Janet, David and I and others that have done it for years. With everything that’s been going on in the world in the last three years, it was just a soothing thing to do.”

“We’ve just been embraced beyond what we were used to, which was pretty great,” she added.

Everyone involved in the production echoed a similar sentiment: that the “ultimate feel-good musical” is exactly what audiences want to see during painful or overwhelming times. The show’s traveling costume supervisor and associate designer Eva Maciek put it most bluntly: “I love working on it because nobody dies.”

Rehearsals for the original Broadway run coincided with the Sept. 11 terrorist attacks, Holcenberg explained, and he was struck by audience members’ emotional responses to the first shows.

“I’d have people coming down to the pit after the show with tears streaming down their faces saying, ‘Thank you for letting us forget the world for a couple hours and just have joy,’” he said. “Because this show is joy. It’s full of joy.”

Beyond the absurdly catchy music and the rom-com story, part of the show’s joyfulness comes from its colorful costumes and beachy aesthetic. The onstage set is relatively sparse, consisting only of a pair of rotating “taverna” walls, but backstage, hundreds of moving parts, including stage mechanics, hand props and costume changes, propel the story forward and keep the production looking effortlessly glamorous.

The obvious choice for coolest costumes, according to Maciek, are the bejeweled jumpsuits worn by titular mamma Donna Sheridan (played by Jessica Crouch) and her Dynamos, Tanya (Jalynn Steele) and Rosie (Carly Sakolove). Each one has hundreds of glittering silver stars attached.

“I’m glad I’m not the one who had to sew them on originally!” Maciek joked. The costumes all originated in London or New York, but they’ve been traveling from city to city in storage “gondolas” since the current tour started in 2023, requiring constant repairs and touch-ups from local stitchers.

Thematically, Maciek said, the costumes’ evolving colors tell their own story throughout the show.

“When everybody arrives at the island, they’re all in beige with a little hint of blue,” she explained. More blue gets added by “Voulez Vous,” and then they transition into jewel tones. “When you get into the wedding scene, everybody is in pinks, soft reds, oranges and yellows,” Maciek said. “So there’s a real color story that goes throughout.”

Ryan Sander, the show’s assistant choreographer, dance captain and current “swing” (an actor covering multiple ensemble roles), has a special relationship to his “Voulez-Vous” costume. He originally wore it as a performer on the national tour more than 20 years ago, and when he was called to come back onstage, he found that it still fit like a glove. The costume, a denim vest and pants set with extremely Y2K lace-up details, is representative of the show’s approach to fashion trends.

“There is something timeless about these pieces that’s just so interesting,” he said. “It is a period piece and we stick to that, but there is something timeless about the costumes.”

Besides the costume racks, another crucial backstage element are the vocal booths, where the ensemble contributes to the musical soundscape from behind the curtain.

“One of the main things about the ‘ABBA sound’ is how they layered the vocals, and we do that all live in our show,” Holcenberg said. “The ensemble works really, really hard, because when they’re not on stage, they don’t get any time off. They’re just singing their little faces off.”

Even though the show has been running for decades, the creative team said each cast brings a new energy and tone.

“Our new Donna, Jess, brings a real rock chick energy to it,” Holcenberg said. “Even though the notes on the page stay the same, the casting and the way they perform it still changes from person to person and night to night.”

According to stage manager Andrew Volzer, the most “unique” aspects of the show are its long history with a tight crew and its multigenerational appeal — “Not only from the audience perspective, but also for the people working on the show. People are always coming and going,” he said.

“We always say, you never leave the island.”

Buckle in because the training wheels are OFF for this improv drop-in. So Much Improv, created and led by comic Joe Fahey, focuses on getting in your reps by doing back-to-back improvised scenes. Classes are held at Kingsley Studios, which can be difficult to spot. The two-level complex is located right in front of a liquor store, and the studio is on the second floor behind gated doors. The studio looks like a cute living room, with a couch against one wall and plants across another.

The class size tends to be small (my class included five people), but that allows more time to improvise per person. The class is mostly regulars, so there is already a good rapport between Fahey and the students. That means he can give more specific feedback. After completing other beginner courses, this one felt the scariest, but I leaned in. After a few reps, I felt more confident in my ability to improvise and develop tactics to work with my scene partner. By implementing his feedback, I was able to fine-tune my improv skills.

This class is perfect for those who want more practice. The type of reps can differ each class, but the week I went centered on UCB auditions (it was that time of year). Since the class is small, you get a more catered experience.

Best for: Back-to-back practice on intermediate or advanced drills
Cost: $20
Time commitment: Two hours
Parking: Street parking
Pro tip: Bring water because you will be talking a lot, and something caffeinated to beat the late-night crash for this evening class that requires your full attention.

Supporters of a half-cent sales tax proposed to help fund health services in Los Angeles County declared victory Tuesday after days of steadily gaining ground as more ballots were counted.

The latest results show the “yes” camp ahead by a slim margin, with just more than 50% of the vote. The measure needs a simple majority to win.

“Today, Angelenos sent a clear message: we take care of each other,” said Jim Mangia, chief executive of St. John’s Community Health and a spokesperson for the campaign, in a statement. “For months, we watched Washington make decisions that stripped healthcare away from hundreds of thousands of our neighbors — and today, Los Angeles County answered.”

The campaign said it would be organizing a news conference Wednesday to celebrate the “historic win.”

The proposal, on the ballot as Measure ER, had gained traction since election night, when results showed the tax had failed to gain a majority of support among early voters. Voters have not rejected a sales tax hike in L.A. County since 2012, when a transportation measure fell just short of a needed two-thirds majority with 66.1% support.

Approval of Measure ER would impose a new sales tax of half a penny of every dollar spent in the county, with the proceeds going to local hospitals and clinics that say they’re bleeding funding after federal cuts. Officials anticipate it will bring in $1 billion annually to patch the holes in the health services network.

The tax, which was championed by a coalition of healthcare advocates, takes effect Oct. 1 and will last for five years.