With Thanksgiving in the rearview mirror we are now hurtling toward Christmas, Hanukkah, Kwanzaa and the New Year. December can bring stress, but it also brings the feel-good holiday shows, including “Tinselcolor,” which opens Dec. 2 at CineVita, a 15,000-square-foot double-decker Belgian spiegeltent operated by For the Record, which stages live musical revues of well-known film soundtracks.
Joey McIntyre — the youngest member of the ultra ‘90s boy band, New Kids on the Block — signed on as host of the candy-colored world-premiere extravaganza, which features an eight-piece band and 14 singers performing holiday movie music from 25 film scores including “Home Alone,” “National Lampoon’s Christmas Vacation” and “White Christmas.”
For the Record has been putting on shows for more than 15 years, starting in a small bar and restaurant in Los Feliz and moving up to bigger venues leading to CineVita. Over the years, the company became known for attracting celebrity clientele. Quentin Tarantino and Rosario Dawson attended a performance based on Tarantino’s film scores, and Demi Moore’s daughter, Rumer Willis, once joined the troupe. Moore is now an investor.
In an email, McIntyre wrote that he saw the Tarantino show years ago and loved it.
“I knew the caliber of talent and production that this company puts up, and then I stepped foot into this unparalleled space and almost verbatim said ‘sign me up,’” he wrote. “I’m a theater kid. The venue was like Jessica Rabbit calling me in.”
The unparalleled space McIntyre is referring to contains 3,000 hand-beveled mirrors, hand-cut stained glass windows and carved wood ornamentation. It will be decorated with outsized holiday flair for “Tinselcolor,” but it will also feel cozy.
“The theater holds about 700, but it is so warm and intimate, like you’re in my living room for the holidays,” McIntyre wrote. “Our guests are going to feel that. Our director, Anderson Davis, and the creative team have been super open to making it feel authentic to me and showcasing what I bring to the table.”
Performers joining McIntyre onstage include Brian Justin Crum, who recently played the role of Annas alongside Cynthia Erivo and Adam Lambert in the Hollywood Bowl’s electrifying “Jesus Christ Superstar”; Vintage Trouble frontman Ty Taylor; Cheyenne Isabel Wells, who starred in “Grease: Rise of the Pink Ladies” on Paramount+; and Dionne Gipson from “Found” on NBC and “Haus of Vicious” on BET.
McIntyre noted that he gets to sing the Andy Williams classic, “It’s the Most Wonderful Time of the Year” in full holiday regalia. His favorite holiday movie song of all time, however, is not in the show. That would be “A Brand New Christmas,” which he co-wrote for last year’s Roku Original “Jingle Bell Love.”
His favorite Christmas carol of all time? “O Holy Night.”
“It sits right in my wheelhouse vocally, and it checks all the boxes: heartfelt, classic melody with a pop bluesy accessibility. And you get to ‘fall on your knees’ when you’re performing it,” he wrote.
“Tinselcolor” runs through Dec. 30. After that, McIntyre will head back to Las Vegas to continue the New Kids on the Block residency at Dolby Live at Park MGM, which was extended through 2026 due to high demand.
“We just announced 3 more stints for 2026. We are a blessed bunch of guys. We’ve been able to keep it fresh and exciting over all these years, and the fact that we still had Vegas on the table was something we have really taken advantage of,” McIntyre wrote about the residency. “Our diehards are genuinely blown away, and Vegas is yet another hook for folks who haven’t seen us in a while. And those newbies are loving it too. It feels like a slam dunk all around.”
I’m arts and culture writer Jessica Gelt wishing you a very happy holiday season filled with love, kindness, health and hope. Here’s your arts and culture news for the week.
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On our radar
Clockwise from bottom left: Grand Kiev Ballet, American Ballet Theatre and Inland Pacific Ballet.
(Los Angeles Times photo collage; illustrations by Katie Smith / For The Times; photographs from Grand Kyiv Ballet, Cheryl Mann and Marsha McNeely Photography)
Nutcracker roundup The season of Sugar Plum Fairies is upon us. In last weekend’s holiday preview, Ashley Lee did the legwork gathering intel on productions of the holiday perennial that will be dancing their way across Southern California stages in the coming weeks. From downtown L.A. to the South Bay, Orange County and the Inland Empire, the variety of imaginative interpretations offer something for almost everybody. This week alone sees the openings of Anaheim Ballet’s “Nutcracker” (Friday and Saturday. City National Grove of Anaheim, 2200 E. Katella Ave. anaheimballet.org); American Contemporary Ballet’s “The Nutcracker Suite” (Saturday through Dec. 24. Bank of America Plaza, 333 S. Hope St., downtown L.A. acbdances.com); “Bob Baker’s Nutcracker,” a marionette version of the show (Saturday through Jan. 4. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org); and Debbie Allen Dance Academy’s “The Hot Chocolate Nutcracker,” which subs Mariah Carey and other contemporary artists for Tchaikovsky (Thursday through Dec. 14. Redondo Beach Performing Arts Center, 1935 Manhattan Beach Blvd. debbieallendanceacademy.com).
What the Dickens!
The cast of “A Christmas Carol” at A Noise Within.
(Craig Schwartz)
Like “The Nutcracker,” the holidays are heavy with varied interpretations of Charles Dickens’ “A Christmas Carol.” Friday night in Anaheim, Chance Theater opens Leslie Bricusse’s “Scrooge! The Musical” (Through Dec. 21. Bette Aitken Theater Arts Center, 5522 E. La Palma Ave. chancetheater.com). Saturday night, two long-standing productions of “A Christmas Carol” make their traditional returns. In Pasadena, Geoff Elliott (who also adapted and co-directs with Julia Rodriguez-Elliott) once again steps into Ebenezer’s slippers for a night of ghostly visitations (Through Dec. 4. A Noise Within, 3352 E. Foothill Blvd. anoisewithin.org).
Richard Doyle in “A Christmas Carol” at South Coast Repertory.
(Robert Huskey)
Meanwhile, down in Orange County, South Coast Repertory celebrates the 45th anniversary of resident dramaturg Jerry Patch’s adaptation (Through Dec. 28. Emmes/Benson Theatre Center, 655 Town Center Drive, Costa Mesa. scr.org). And on Dec. 5, Independent Shakespeare Co.‘s David Melville plays not Scrooge, but the author himself in “A Christmas Carol With Charles Dickens,” a solo storytelling tour-de-force (Through Dec. 22. ISC Studio, Atwater Crossing, 3191 Casitas Ave., Suite 130, Atwater Village. iscla.org).
The week ahead: A curated calendar
FRIDAY Heisenberg Paul Eiding and Juls Hoover star in Simon Stephens’ drama about a middle-woman and an older man who meet in a London railway station. Directed by Cameron Watson. 8 p.m. Friday and Saturday; 2 p.m. Sunday, through Dec. 22. Additional show 8 p.m. Dec. 18. Skylight Theatre, 1816 1/2 N. Vermont Ave., Los Feliz. skylighttheatre.org
SATURDAY
Artist Drew Struzan signs his Oscar poster in 2008.
(Mark Mainz / Getty Images)
Drew Struzan Tribute The American Cinematheque salutes the artist, illustrator and designer who died in October with a triple-feature of films for which he designed the posters: “Back to the Future,” “The Goonies” and “E.T.” Struzan also designed iconic one-sheets for such films as “Star Wars,” “Raiders of the Lost Ark” and “Blade Runner.” 11 a.m. Saturday. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com
TUESDAY
Tom Morello at South by Southwest in Austin in 2025.
(Jack Plunkett / Invision / Associated Press)
The REVOLUTION(S) will be Amplified Musician/activist Tom Morello joins curator Douglas Fogle for a discussion about art, activism, creativity and resistance on the occasion of the exhibition “Corita Kent: The Sorcery of Images.” 7 p.m. Marciano Art Foundation, 4357 Wilshire Blvd. marcianoartfoundation.org
THURSDAY Children of the Winter Kingdom Orphaned twins escape a circus and encounter a king and his dragon, a wild girl, a crow, a sorceress and an ice spider in a holiday adventure filled with music and puppetry. Written by Adam Dugas & Mary Eileen O’Donnell, directed by Adam Dugas. 8 p.m. Thursdays, Fridays and Saturdays; 2 p.m. Sundays, through Dec. 20. The Actors’ Gang at the Ivy Substation, 9070 Venice Blvd., Culver City. theactorsgang.com
‘Die Heart’ Yippee-ki-yay, Heart lovers! Troubadour Theater Co. revives its holiday musical-comedy synergism of the 1988 Bruce Willis action movie “Die Hard” with the songs of the Wilson sisters. Don’t even think about asking if it’s really a Christmas movie. Dec. 4 to 21. Colony Theatre, 555 N. Third St., Burbank. troubie.com
A scene from “Putney Swope,” directed by Robert Downey Sr.
(Cinema 5 / Photofest)
Putney Swope The Academy Museum’s celebration of film preservation kicks off with the world premiere of a new 35mm print of Robert Downey Sr.’s 1969 social satire. 7:30 p.m. Thursday Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Tchaikovsky’s Swan Lake The Pacific Symphony and pianist Alexandra Dariescu, conducted by Tianyi Liu, perform works by Cassandra Miller, Maurice Ravel and Pyotr Ilyich Tchaikovsky. 8 p.m. Thursday, Friday and Saturday. Renée and Henry Segerstrom Concert Hall, 600 Town Center Drive, Costa Mesa. scfta.org/events
Dispatch: The Butterfly Effect
Liviera Lim as Vivian Fang in “The Butterfly Effect.”
(Charly Charney Cohen)
Young local theater troupe Last Call Theater specializes in interactive, participatory productions, and its latest, “The Butterfly Effect,” is an intimate affair that encourages one-to-one and small group pairings with actors. The show examines past choices and the consequences of changing them. There’s a fantastical bent, as it’s set in a cafe that promises the ability to time travel. The decade-hopping coffee shop backdrop gives the company a chance to play with multiple storylines that touch on L.A. history, from immigrant tales of a family-run business to those often overlooked by our city’s emphasis on celebrity. The production, which opened in mid-November, runs Thursday through Saturday at Stella Coffee and closes Dec 6. ticketleap.events — Todd Martens
Culture news and the SoCal scene
Robert Therrien‘s “No title (red chapel relief),” 1991, enamel on paper and wood.
(Christopher Knight / Los Angeles Times)
A place at the (big) table If you’ve ever visited the Broad, you’re quite familiar with the large table and chairs in its permanent collection that dwarf even the tallest viewer. Times art critic Christopher Knight (who is retiring as of today) calls the Broad’s new exhibition, “Robert Therrien: This Is a Story,” a “smashing retrospective” and one of the year’s best museum solo shows. Therrien, who died at 71 in 2019, was a unique talent who sits comfortably among the most significant L.A. artists since the ‘60s and ‘70s. “Whether he was making a 3D sculpture to stand on the floor, a 2D painting to hang on the wall, or a 3D sculpture attached to a wall like an ancient frieze,” writes Knight, “he managed the same uncanny result — objects where the purely visual and the utterly physical demand equal time.”
Maya Keleher in the national tour of the musical “Suffs.”
(Joan Marcus)
Suffragette City An all-female and nonbinary cast dramatizes the inspiring story of American women fighting for the right to vote in the musical “Suffs,” playing at the Hollywood Pantages through Dec. 7. Shaina Taub won Tony Awards for its book and score, while also starring as suffragette leader Alice Paul in the Broadway run. In L.A., the national tour’s Maya Keleher “lends alluring warmth to the role,” writes Times theater critic Charles McNulty in his review. “The teamwork of the performers honors the messy yet undeniably effective cooperation of Alice and her freedom fighters — women who changed the world by not staying silent in their prescribed place.”
Viola time Times music critic Mark Swed noted a recent “fall-harvesting viola bandwagon,” with multiple ensembles spotlighting the humble middle child of stringed instruments played with a bow. “The L.A. Phil began viola week with a Tuesday evening program, ‘Brahms Strings,’ as part of the orchestra’s chamber music series at Walt Disney Concert Hall that included the blazing early First Sextet and late, luminously serene Second Quintet,” wrote Swed. “As part of its chamber music series across the street in the Colburn School’s Zipper Hall, Saturday, [the Los Angeles Chamber Orchestra] coincidentally held ‘A Brahmsian Affair,’ in this case featuring both the sextets.” On Saturday, recent Colburn graduate Lan Cao and current conservatory student Ran Tae performed Korean composer Isang Yun’s 1988 “Contemplation,” for two violas, “played with gripping meditative intensity” during a day-long MOCA seminar on South Korean artist Haegue Yang.
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Ray Ushikubo will play a rare 1741 Guarneri “del Gesù” violin at a free concert at the Colburn School on Dec. 3.
(Robert Gauthier / Los Angeles Times)
History in his hands Ray Ushikubo of San Gabriel, a 24-year-old virtuoso musician, has been selected to play the Playfair violin, an ultra-rare model crafted by the famed luthier Guarneri “del Gesù.” “I’m only 24,” Ushikubo told reporter Emma Madden. “This instrument is from 1741. It’s older than the United States. I can barely comprehend that amount of history. But mostly I feel happiness. And honor. It sounds better than any violin that’s ever been made.” The musician will debut the instrument in a free concert at the Colburn School’s Zipper Hall on Dec. 3.
East L.A. Youth Orchestra gets a reprieve “After recently announcing major cuts to its youth orchestra, the L.A. Phil has secured additional donor funding to ensure the East L.A. branch of the Youth Orchestra Los Angeles (YOLA) program will continue at full capacity until the end of the school year,” reports The Times’ Cerys Davies. The initial cuts to the programming at the Esteban E. Torres High School site included laying off teaching artists, gutting programs for younger students and reduced practices for older students. The parents of students and members of the local community responded to the cuts by organizing an Instagram campaign and town hall meeting, imploring the L.A. Phil to temporarily preserve the Torres site.
An architectural whodunit In 2013, Robert Mosher, one of San Diego’s most respected architects, called Keith York, founder of Modern San Diego, a digital archive devoted to the region’s mid-century design, asking to meet for lunch. “I have something I need to tell you,” he said. A revelation at that meeting led York and fellow architecture buff Stephen Buck to investigate the provenance of Balboa Park’s Timken Museum of Art, which opened in 1965. Did two of the biggest names in American design have a hand in it? Sam Lubell has the details on the decades-old mystery.
— Kevin Crust
And last but not least
I give you the 2025 Times holiday gift guide. Even if you don’t see anything on these carefully curated lists that you like, it’s a great inspiration starter.
As natural disasters in Los Angeles go, a rain delay temporarily washing out a music festival is pretty low stakes. But fans had to scramble last week after a sudden thunderstorm made Tyler, the Creator’s flagship festival at Dodger Stadium soggy and unnavigable.
Now kicked forward a week, a few acts (Sombr, Tems, Clairo) dropped off the bill, a few (Kali Uchis) joined in their stead, and travelers with nonrefundable plane tickets had to find other ways to amuse themselves in L.A. for a week. But once the Dodger Stadium gates finally opened, everything was more or less smooth sailing. Here are the highlights of the weekend’s performances.
Timothée Chalamet’s ‘Marty Supreme’ blimp makes an appearance
Last week, actor Timothée Chalamet released a parody of a marketing meeting, for his upcoming film “Marty Supreme.” The 18-minute clip consisted of the Oscar nominee pitching the team outlandish advertising ideas like painting the Statue of Liberty orange. In the Zoom meeting, he says, “We should have the blimp go above Flog Gnaw and rain ping-pong balls, Marty Supreme-branded, rain ping-pong balls on everyone.”
Low and behold, right before Tyler, the Creator’s set, a bright orange blimp reading “Marty Supreme” began circling Dodger Stadium — just as Chalamet prophesied. People all around the festival could be seen stopping and pointing out the flying spectacle.
But thankfully, no raining ping-pong balls made an appearance. (Cerys Davies)
Geese fly high
If every generation deserves its own cool/sexy/mystifying rock band, then Gen Z’s (or maybe Gen Alpha’s) seems to be Geese. Led by the deep-voiced Cameron Winter, the group from New York appeared at Flog Gnaw less than 24 hours after a hometown gig at the Brooklyn Paramount on Friday night. “We finished a tour but we couldn’t stay away from the limelight, so we got on a plane just this morning,” Winter told the crowd. Geese plays skronky yet weirdly beautiful guitar music that inspires both swaying and moshing; it’s in a clear lineage of NYC acts that stretches back through the Strokes and Television to the Velvet Underground. But here at least you could detect a distinct L.A. presence in Emily Green’s John Frusciante-coded strums and in the doomed-heartthrob proclamations that made Winter sound a little like Jim Morrison. (Mikael Wood)
Happy 10th anniversary to Mac Miller’s “GO:OD AM”
In the sea of vendor pop-ups, Mac Miller’s yawning face, the cover of his 2015 release “GO:OD AM,” stood tall. In celebration of the album’s 10th anniversary, photographer Brick Stowell put on a small exhibition to honor the late Pittsburgh rapper. While standing in line, fans were chatting, sharing anecdotes of listening to Miller’s music or memories of when they saw him perform at Camp Flog Gnaw many years ago. Inside, the exhibition is simple, consisting of a few large-scale prints of photos Stowell selected. Some of the images focus on a smiling Miller or depict him playing the guitar or with friends. The record played softly in the space and a few people sat on the couches, with their eyes closed. In the midst of the music festival’s craziness, the tent was filled with a weighted, reverent energy. (C.D.)
Kali Uchis performs during Camp Flog Gnaw on Saturday.
(Ronaldo Bolanos / Los Angeles Times)
Kali Uchis mixed red-hot seduction with ICE-cold activism
As a last-minute addition to the festival’s lineup, Kali Uchis might’ve been expected to put in a no-frills performance. Instead, the eternally vibey psychedelic-soul star sang the lovey-dovey “All I Can Say” from inside a giant teacup — “If you came with someone you like, you could kiss them,” she suggested — and did “Heaven Is a Home” on the back of a motorcycle driven by a woman in a lace bodysuit and shades. (There was also a giant bed with satiny pink sheets.) Uchis is among pop’s foremost fantasists; her music invites the listener to get lost in an expertly appointed dreamland. But here she also had the real world on her mind: She played a video in which she said that everyone in her Colombian American household worked three jobs when she was growing up and that “immigrants built this country and make it what it is today.” As she left the stage, Uchis said, “ICE is terrorizing our community” and called out “their violations against human rights.” (M.W.)
Tyler, the Creator’s heartfelt thank you
“We couldn’t let that rain stop us — no, no, no,” Tyler, the Creator said not long into his hour-long set, and indeed Flog Gnaw’s mastermind seemed just a bit more amped than usual as he presided over the festival that almost wasn’t. Dressed in a red leather suit à la Eddie Murphy in “Delirious,” Tyler came out punching with “Big Poe” and “Sugar on My Tongue,” which also open “Don’t Tap the Glass,” the high-energy hip-house album he dropped this past summer with very little warning. But he also performed stuff from last year’s “Chromakopia,” which just snagged a nomination for album of the year at February’s Grammy Awards. (“Don’t Tap the Glass,” amusingly, is up against LPs by the Cure and Wet Leg in the alternative music album category.)
Tyler’s stage was designed to resemble a New York City subway station complete with a train car that he climbed atop and herky-jerked his way across. For “Don’t You Worry Baby” he was joined by a female dancer on roller skates; for “Noid,” a couple of guys with cameras helped him act out his unhappy thoughts on paparazzi. As the set went on, Tyler started shortening each song, limiting himself to only a verse or a chorus to pack in more hits: “Earfquake,” “Wusyaname,” “See You Again.” He thanked the crowd for hanging with the festival’s postponement — “I know it wasn’t ideal,” he said — and for “rocking with us for 11 years” of Flog Gnaw. The connection he’s forged is real. (M.W.)
Ca7riel & Paco Amoroso’s roller coaster of a set
Fresh off 5 wins at the Latin Grammys earlier this month, Ca7riel and Paco Amoroso left the CFA crowd delightfully perplexed. The audience started off on the smaller side, as Tyler, the Creator was wrapping up his set. But as the Argentine rappers, decked out in Versace, plowed through their catchiest hits like “Dumbai” and “Sheesh,” a dancing stampede made its way over.
Less than a year after their viral NPR Tiny Desk, the notoriously kooky duo flexed their ability to slip between genres. One moment, a pulsating EDM beat, beaming lasers and intense fog machines took over the stage — emulating a rave. The next moment, Ca7riel is angrily screaming “F— you!” at the top of his lungs over an aggressive punky guitar solo. Finally, they act like their microphones have become dumbbells, and start to sing about their “#Tetas,” on their satirical, body positivity anthem. Ca7riel and Paco Amoroso will never let you know their next move. (C.D.)
Fans raise their phones as Kali Uchis performs during Camp Flog Gnaw.
(Ronaldo Bolanos / Los Angeles Times)
Clipse turn in a triumphant set
The Clipse have had a hell of a year. After releasing their first album together in 16 years, “Let God Sort Em Out,” the formidable Virginia rap duo of Pusha T and Malice embarked on a victory lap, which included a successful reunion tour and a flurry of hilariously entertaining interviews. In the midst of that, they also stopped by NPR’s Tiny Desk — a performance that had more than 3.5 million views as of November— and racked up four Grammy nominations including best rap album and album of the year. So it was only right that they were invited to perform at Camp Flog Gnaw once again. (They also performed at the festival in 2023.)
Fittingly, the Clipse opened their set with the menacing “Chains and Whips,” which is jam packed with lethal, high-level bars about why contemporary rappers simply can’t sit with them. Not wasting any time during their set, the veteran emcees went bar for bar, diving into more tracks from their latest album including “Birds Don’t Sing” (a dedication to their late parents) and “P.O.V.,” which Tyler, the Creator joined them for just in time following his own high-energy set.
Satisfying their day one fans, the Clipse also performed a handful of their classic records like “Mr. Me Too” and “What Happened to That Boy.” As they rapped the lyrics to one of their most recognizable tracks, “Grindin,” a montage of Black people doing step routines, dancing and recreating the Neptunes beat on lunch tables played on the massive stage screens.
Much like “Let God Sort Em Out,” the Clipse’s performance further solidified why they’ve been in the game for more than 20 years and why they aren’t going anywhere anytime soon. — (Kailyn Brown)
Childish Gambino’s set was a race against time. Prior to his set, the 42-year-old singer/rapper/actor (also known as Donald Glover) allowed fans to vote for his setlist. Playing anything from his biggest hits like “Redbone” and a very short snippet of “This is America” to his cover of Outkast’s “Prototype” and the 2011 release “Les,” Gambino made it clear he only had an hour and wanted to get to as many songs as possible. He often played the first verse of a track, allowing it to peak in the chorus and quickly brush past it — making the set feel like an invigorating sprint.
Halfway through the performance, Gambino, sparkling his glittery wifebeater, took a moment to get vulnerable with the crowd. This was his first performance since he had to abruptly cancel his world tour last year. He explained that he had a stroke unknowingly, on stage in Louisiana, and later found out that he had a hole in his heart and needed surgery. As he narrated his story, the sky lit up with a drone light show, depicting images of a heart and other dynamic patterns.
He said, during all of these health problems, the only things he could think of were “how many people I’m letting down” and “here I am still copying Jamie Foxx,” which got a laugh out of the crowd. Throughout the remainder of the show, he continued to exude a grateful energy, saying repeatedly, “I didn’t think I’d be able to [be here].” As he played the chosen songs, it was as if his only goal was to make the crowd as happy as possible.
The rapper left with a final message, “You have one life, so live your life as you want.” (C.D.)
Blood Orange puts CFG in a trance
Following Geezer’s (Kevin Abstract and Dominic Fike) endearing display of friendship, Blood Orange kept the cameraderie going on the fest’s main stage. Though the multi-piece band behind Dev Hynes’ musical moniker may sound melancholic, their energy was jolting. During tracks about grief and loneliness, like the cathartic “Charcoal Baby,” only Hynes could get the entire crowd to head bang.
After releasing his most recent album, “Essex Honey,” Blood Orange made his impromptu return to the fest — calling last year’s set “one of his favorite shows.” The British singer and his band trade instruments with a sense of ease — splitting their time among a cello, keyboards, synthesizers, a drum machine, electric and acoustic guitars. In this intricate display of instrumentalism, dark electronica and high-pitched vocals blend into feelgood jazz and ’80s synth pop without notice. With dense fog and transculent pink lights, the whole set started to fuse into a unifying dreamy moment. (C.D.)
Helicopters, a megaphone and pink hair curlers: ASAP Rocky keeps Flog Gnaw classic
Right before ASAP Rocky was meant to close out the festival, a helicopter started to circle the area, shining its light down on the crowd. A mock news livestream took over the stage’s screens in search of the Sunday headliner, accusing him of “never dropping the album.” On stage, the Harlem rapper descended on a floating helicopter of his own, megaphone in hand and pink curlers in his hair.
He made it clear he was there “to start a riot” (and he did consistently check in on the densely packed crowd too). The 37-year-old rapper was soon joined by a few dozen hooded figures, carrying upside-down American flags, who began to mosh while he continued to spit his ever-steady flow. Switching between his older stuff, like “L$D” and “Potato Salad” (which he was joined for by Tyler, the Creator) and more recent beloved singles like “Praise the Lord (Da Shine)” and “Sundress,” Rocky stuck to what he knows best — looking pretty and skillful rhymes. (C.D.)
A swing carousel at Camp Flog Gnaw.
(Ronaldo Bolanos / Los Angeles Times)
T-Pain knows your knees hurt
“I am old as f—,” T-Pain said as the R&B-rap crooner took a pause from his hit-studded set on Sunday night. “I was running out of time to do this. I saw the dimensions of the stage and my knees gave out.”
At 41, he is decently seasoned by Flog Gnaw standards (though still a surprisingly deft dancer). But his set was arguably one of the best-attended of the weekend, for good reasons.
Recent reappraisals from a mega-viral Tiny Desk concert and a boisterous Coachella set proved what close listeners have known all along: Pain is an absolute savant of melody and ear-tickling chord changes, with a gorgeous R&B voice whose famous digital treatments were artistically prescient rather than any sort of fix.
Yet to Flog Gnaw’s young crowds, blissfully free from the AutoTune wars of the 2000s, Pain now represents an idyll and purity of party music in hip-hop, rising from the mire of the Great Recession and the aspirations of President Obama with witty, self-aware hit after hit that showed a musician in total command of his craft, writing songs that transcend today’s cynical bleakness.
This redemption arc is well earned — how can you not listen to “Bartender” and long for the easy, sweet camaraderie of sidling up to your favorite server (though today that cocktail will more likely be N/A)? Dispatches from a saner time of millennial life like “Up Down” and “Can’t Believe It” landed like an envelope of Instax photos from a half-remembered house party. For Gen Z, it was Unc Culture embodied in the best ways.
Other than a brief villain segment (where Pain sung his verses from collabs with Chris Brown, Kanye West and R. Kelly; more an indictment of the men of R&B, really), his set delivered hit after hit and re-framed them within R&B history. He did what the genre is best at — stirring up the old glow of past happiness, even if that was spilling tequila down your pinstriped business-casual wear at a Hollywood bottle club in 2008. (A.B.)
Tyler, the Creator performs during Camp Flog Gnaw.
(Ronaldo Bolanos / Los Angeles Times)
Doechii, the classroom disciplinarian of your dreams
Doechii framed her raucous Sunday night set as a stern classroom lecture on the craft of rapping. But in that case, she’s the kind of teacher that you bump into at the grocery store with a cart full of booze and a you-didn’t-see-this wink.
The Grammy favorite and new TDE superstar is so mercilessly good at rapping, so fully possessed of her gifts onstage, that her set made me wonder how all the backing-track reliant MC’s still get away with it. From the vicious opening lines of “Stanka Pooh” — “Let’s start the story backwards / I’m dead, she’s dead, just another Black Lives Matter” — to the joint-snapping house-music workout of “Alter Ego” and the horror-comedy sex romp of “Spooky Coochie,” she never settled for less than the full scope of her talents, deeply honed.
A gleefully bawdy and physically gifted dancer, with of sneaky comic timing and a low-key powerhouse singing voice, by the time she got to the deep cut “Boom Bap” and fan favorite “Catfish,” Doechii made an impeccable claim to being one of the best rappers working today.
She didn’t play the Grammy contender “Anxiety” — one sees how that song wouldn’t make sense in this relentlessly hard hitting context. But whatever worries keep on trying her, after Sunday night, she can definitively leave them behind. (A.B.)
Zack Fox brings us to the (f)unction with globetrotting set
Just 15 minutes into Zack Fox’s hour and a half DJ set on Sunday afternoon, which was dubbed Zack’s Big Nasty & Booty Shake, many audience members were already sweating and shedding the layers they wore in preparation for the evening cold.
Garbed in leather uncle sandals with white socks, an Atlanta Falcons apron and a grill for a DJ stand (because he was cooking, duh), the rapper, comedian and actor brought the crowd to the (f)unction. Fox, who’s become known for his high-energy performances, delivered a globetrotting set filled with genres including Brazil’s Baile funk, Chicago house, Baltimore club, Nola bounce, soul, gospel Detroit techno and of course Atlanta rap, which is where he’s from. “Dance music is Black music,” Fox told the crowd in between his gyrating and turning up. “Y’all gonna learn something today.” (He also had the crowd repeat back “Free Palestine” and “F— ICE.”)
But what’s a cookout without good company? Fox also brought along a crew of talented dancers, which included a church hat wearing grandmother (who unexpectedly broke out into a backflip) and popular ballroom dancer Pack Rat. As Fox masterfully weaved between tracks like Khia’s “Steer,” KW Griff’s “Bring in the Katz” and Frankie Beverly and Maze’s “Before I Let Go,” the dancers vogued, shuffled, line danced and twerked. Even his “Abbott Elementary” castmate Janelle James (a.k.a Principal Coleman) grooved alongside Fox during his set.
He closed out with a Black church anthem, Kurt Carr’s “We Lift Our Hands in the Sanctuary.” Each time the track seemed like it was about to end, he comically brought it back a few more times with the lyrics “Yes! Yes, Lord, for the rest of our days.” (K.B.)
Ying and yang rappers, Larry June and 2Chainz, show us the finer things in life
On paper, Larry June — the laid-back Bay Area rapper known for his straightforward rhymes about organic living and financial literacy — and 2Chainz — Atlanta’s trap elder known for witty tracks like “Birthday Song” — may seem like an unlikely match. But as the pair performed their collaborative album “Life is Beautiful,” they were in perfect stride. The large crowd was a testament to how rare the moment was as it was one of the few times that the pair has performed the opulent lifestyle rap album since it dropped in February.
Much like the vibe of “Life is Beautiful,” which feels like a luxurious vacation backed with jazz-infused serene beats by the Alchemist, swaying ocean waves and yachts served as the backdrop while they delivered tracks like “Colossal,” “Generation,” “I Been” and “Bad Choices.” (Unfortunately, the Alchemist is on tour with DJ Premier, and was not in attendance.)
The backgrounds changed to imagery that matched the rappers’ hometowns as they dove into their personal discography. In a casual windbreaking sweatsuit, Larry June performed smooth tracks like “Smoothies in 1991” and “Watering My Plants,” while 2Chainz, who was rocking a leather two-piece set, got the crowd hyped with songs like “I’m Different” and “Watch Out.”
Suitably, the duo closed out with tranquil, flute-based “Life is Beautiful,” reminding the audience to embrace the beauty of the grind and the small wins in life, and simply enjoy their time on this Earth. (K.B.)
The Huntington has acquired a rare Civil War-era painting by American master Winslow Homer. “The Sutler’s Tent” was made in 1863 when Homer was traveling with the Union Army as an illustrator for Harper’s Weekly. The title refers to a type of transitory store that sold goods to soldiers when they were out in the field, and the canvas shows a soldier eating bread and cheese while another soldier rests beside him.
The acquisition is the Huntington’s first oil painting by Homer. The museum’s other holdings include his watercolor, “Indians Making Canoes (Montagnais Indians)” (1895), and several prints, including “The Life Line” (1887). The pieces show the artist’s journey from commercial illustrator to celebrated painter.
“The Sutler’s Tent” will be unveiled to the public on Dec. 7 in the Huntington’s Virginia Steele Scott Galleries of American Art. It was acquired through a partnership with the Ahmanson Foundation — which seeks to help boost the notable holdings of the museum — and marks the fifth major acquisition made through the program.
The gift is intended to honor the country’s upcoming semiquincentennial, and will anchor an ongoing reinstallation of the galleries as the Huntington seeks to expand the multicultural narrative of American art. It will also be integral to the Huntington’s “This Land Is …” initiative, which works to examine the country’s history through its metaphorical and literal landscapes as it approaches the 250th anniversary of its founding.
“The Sutler’s Tent” will be placed in conversation with works about the Civil War and Reconstruction, including Eastman Johnson’s “Sugaring Off” (1865), Jean-Baptiste Carpeaux’s “Why Born Enslaved? “(1868, cast 1872), and a signed copy of the Emancipation Proclamation.
“The Ahmanson Foundation’s partnership with The Huntington has allowed us to bring works of profound artistic and historical resonance into our collections and into public view,” said Huntington President Karen R. Lawrence, in a statement. “Winslow Homer’s ‘The Sutler’s Tent’ — a meditation on the experience of war — embodies our mission to connect art, history, and literature in ways that deepen understanding of the American story.”
The Huntington Library is known for its vast scholarly trove of Civil War ephemera. Its United States Military Telegraph archive includes ciphered communications between Abraham Lincoln and the Army command, and soldiers’ letters and diaries. It also holds the James E. Taylor Collection of scrapbooks documenting the war through photographs and newspaper clippings, and two of the most significant known Lincoln archives.
The art museum’s director, Christina Nielsen, said in a statement that the acquisition of “The Sutler’s Tent,” “deepens our representation of the Civil War era and expands the dialogue between our art and library collections. As we look toward the 250th anniversary of the United States, the painting invites reflection on a pivotal chapter in our nation’s history — one that continues to shape the American experience.”
I’m arts and culture writer Jessica Gelt, looking forward to taking a deep dive into all that can be learned about our present from our past. Here’s your arts and culture news for the week.
Dispatch: Pulitzer Prize-winning Times art critic Christopher Knight to retire
Times art critic Christopher Knight.
(Ricardo DeAratanha / Los Angeles Times)
After 45 years, 36 of them at The Times, art critic Christopher Knight is retiring from daily journalism. His final day at The Times is Nov. 28. In 2020, Knight won the Pulitzer Prize for criticism, and was also honored with a Lifetime Achievement Award for Art Journalism from the Dorothea and Leo Rabkin Foundation.
It’s impossible to overstate the loss Knight’s departure represents for the paper and Los Angeles, or what a tireless, generous, inspiring colleague he is. He possesses a quiet, encyclopedic knowledge of art, and in column after column he connected the dots of culture, history, folklore, civics and psychology in razor-sharp assessments of what a piece of art really means, or how a particular exhibition is poised to change the narrative around a longstanding or misguided idea. In short, he is everything a truly excellent critic should be.
He is also endlessly supportive of arts writers like me who look up to him — will always look up to him.
Thank you, Christopher, for all your words.
On our radar
Janai Brugger as Mimi and Oreste Cosimo as Rodolfo in L.A. Opera’s 2025 production of “La Bohème.”
(Cory Weaver)
La Bohème Giacomo Puccini’s 1896 opera remains one of the most popular works in the Italian canon. Its doomed romanticism among struggling artists in 1830s Paris has a particular appeal to young people and became the inspiration for Jonathan Larson’s musical “Rent.” Lina González-Granados conducts the L.A. Opera orchestra. Brenna Corner directs this revival of the late Herbert Ross’ enduring production. Saturday through Dec. 14. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org
Roberto González-Monjas conducts the L.A. Phil this weekend at Walt Disney Concert Hall.
(L.A. Phil)
Elgar’s Enigma Roberto González-Monjas conducts the Los Angeles Philharmonic in a program featuring Erich Wolfgang Korngold’s “Themes and Variations, Op. 42,” Edwin Elgar’s “Enigma Variations, Op. 36,” and cellist Sheku Kanneh-Mason’s performance of the world premiere of an Edmund Finnis concerto. 8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Robert Therrien, “No title (plaster snowman),” 1982-98, plaster
(Douglas M. Parker Studio)
Robert Therrien: This Is a Story A quintessential artist’s artist, internationally admired Los Angeles sculptor Robert Therrien (1947-2019) made eccentric objects in two and three dimensions that seem strangely familiar when they are wholly abstract, and strangely abstract when they are instantly recognizable as representations of known things — a tall pillar of giant dinner plates, for example, or a simple little snowman. Often the materials are unusual, like zinc over bronze, buffed plaster or tempera on silver, adding to the sense of mysterious specificity. With more than 120 works spanning five decades, this should be the most compelling museum solo show of the season. — Christopher Knight Saturday through April 5, 2026. The Broad, 221 S. Grand Ave., downtown L.A. thebroad.org
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The week ahead: A curated calendar
FRIDAY Fall of Freedom In a unified act of creative resistance, hundreds of galleries, museums, libraries, comedy clubs, theaters, concert halls and individuals across the nation will host exhibitions, performances and public events, asserting the power of free expression to mount a response to escalating authoritarian threats and censorship in the U.S. Friday and Saturday. There are dozens of local events in Southern California, please check the website for details. falloffreedom.com
¡Cómo el Grinch robó la Navidad! The Old Globe Theatre will present two performances of the world premiere of a new version of the Dr. Seuss classic with your favorite songs in Spanish. And for the 28th year, the Old Globe will also be doing its traditional holiday musical of “Dr. Seuss’s How the Grinch Stole Christmas!” Nov. 21-28. 7 p.m. Friday; 10 a.m. Saturday. Old Globe Theatre, 1363 Old Globe Way, San Diego. theoldglobe.org
From “The Dying World” by Lauren Tsai.
(Josh White)
The Dying World Lauren Tsai’s solo exhibition, an installation utilizing drawing, painting, sculpture, puppets and projected stop motion imagery, explores the liminal space between worlds: subject and object, fiction and maker. Final two nights. 6-10 p.m. Friday and Saturday. Hollywood Forever, the Cathedral Mausoleum Courtyard, 6000 Santa Monica Blvd. hollywoodforever.com
Amy Engelhardt in “Impact,” a solo one-act at the Fountain.
(Peter Serocki/peterserockivisuals.com)
Impact Composer/lyricist/performer Amy Engelhardt’s one-act solo show (with musical accompaniment) probes the 1988 terrorist attack on Pan Am Flight 103 over Lockerbie, Scotland. 8 p.m. Friday and Saturday; 2 p.m. Sunday. The Fountain Theatre, 5060 Fountain Ave., Los Angeles. fountaintheatre.com
SATURDAY Animal Instinct Chinese American artist Kristen Liu-Wong’s solo exhibition of vibrant paintings with slightly macabre narratives highlights her varied influences from American folk art, the cartoons she watched as a kid, Japanese erotic art and an appreciation for architecture. Opening reception, 7-11 p.m. Saturday; noon-6 p.m. Tuesday-Saturday, through Jan. 3, 2026. Corey Helford Gallery, 571 S. Anderson St., Los Angeles. coreyhelfordgallery.com
A Brahmsian Affair The Los Angeles Chamber Orchestra presents a program featuring two sextets by Brahms, plus the world premiere of Julia Moss’ “(Please Don’t) Look Away.” 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
Corita Day Corita Art Center celebrates L.A.’s favorite artist/nun with an afternoon of art activities for all ages, live screen printing by Self Help Graphics, holiday shopping, food, music by KCRW, and a performance by Bob Baker Marionette Theater at 2 p.m. Visitors can also reserve spots from 11 a.m.-6 p.m. to see the exhibitions “Corita Kent: The Sorcery of Images” and “Irregularity: Corita and Immaculate Heart College’s Rule Breaking Designs.” 1-4 p.m. Marciano Art Foundation, 4357 Wilshire Blvd., L.A. marcianoartfoundation.org
Grief Bacon and Other Holiday Treats Melanie Mayron and Sandra Tsing Loh deliver “old and new humor for trying times.” Part of the Odyssey’s “Thresholds of Invention” series. 8 p.m. Saturday. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
Tom Wesselman, “Bedroom Face,” 1977, color aquatint
(Palm Springs Art Museum)
Mapping the Female Body: Tom Wesselmann and Mickalene Thomas An unexpected juxtaposition of two very different painters from the end of one century and the beginning of the next is set to consider dissimilar representations of the contemporary female nude. In the 1960s, the famous “Great American Nude” series by Tom Wesselmann (1931-2004) applied commercial advertising techniques to painterly traditions in Western art familiar since the Renaissance. Fifty years later, Mickalene Thomas applies commercial craft techniques to vibrant paintings of queer Black women — a subject previously absent from Western art history. Questions of gender, sexuality and their depictions are the exhibition’s focus. — Christopher Knight Through April 6, 2026. Palm Springs Art Museum, 101 Museum Drive. psmuseum.org
Venice Winter Fest Chill out SoCal-style with artisan markets, hot cocoa, live music, festive bites and interactive winter-themed activities for all ages. 10 a.m.-6 p.m. 12257 Venice Blvd. thevenicefest.com
SUNDAY Habsburg Harmonies: Haydn, Ligeti, and Brahms Violinist Martin Beaver, flutist Demarre McGill, cellist Clive Greensmith and pianist Fabio Bidini team up for an evening rooted in Austro-Hungarian musical tradition. 4 p.m. Thayer Hall, 200 S. Grand Ave., downtown L.A. colburnschool.edu
TUESDAY Dungeons & Dragons: The Twenty-Sided Tavern Three adventurers need your help on an epic quest to save the world in this interactive fantasy inspired by the immensely popular role-playing game. Through Jan. 4, 2026. The Montálban, 1615 Vine St., Hollywood. broadwayinhollywood.com
Culture news and the SoCal scene
The Palm Springs Art Museum, founded in 1938, has a small board of 22 trustees.
(Lance Gerber / Palm Springs Art Museum)
Speaking of Christopher Knight’s tremendous skills as a critic, did I mention he’s also a phenomenal reporter? In one of his final columns, Knight chronicles the many financial travails of the Palm Springs Art Museum based on internal documents obtained by The Times. “Recent developments have opened a Pandora’s box,” Knight writes of an accounting firm’s annual audit of the museum’s 2024 books. The audit revealed that there is a “reasonable possibility that [the museum’s] internal financial statements are significantly out of whack,” Knight wrote before detailing the fallout leading to a trustees revolt.
Knight also delighted us with a list of “22 essential works of art at the Huntington and the surprising stories behind them.” No one can highlight what should be considered essential viewing at a museum quite like Knight, who takes readers on a virtual tour of the storied San Marino museum and its exquisite holdings, including Sir Joshua Reynolds’ “Portrait of Samuel Johnson (‘Blinking Sam’),” which Knight writes was not favored by its famous subject.
Cher Alvarez, who reprises her role at the Ahmanson, in “Paranormal Activity” at Chicago Shakespeare Theater.
(Kyle Flubacker)
Closer to home, McNulty reserved high praise for the spooky “Paranormal Activity,” now playing at the Ahmanson Theatre. “I caught myself wondering during the first act, ‘Is this the best staged production of the year?’,” McNulty writes of the show, which is based on the horror film franchise of the same name and just completed a run at Chicago Shakespeare Theater. Director Felix Barrett, playwright Levi Holloway and Tony Award-winning illusion designer Chris Fisher are “masters of misdirection,” McNulty concludes.
I had a great Zoom call with Shaina Taub about the inspiration behind her musical, “Suffs.” Taub is only the second woman, after Micki Grant, to star in a Broadway musical for which she also wrote the book, music and lyrics. The show is about the women’s suffrage movement leading up to the ratification of the 19th Amendment. It opened earlier this week at the Hollywood Pantages Theatre as part of the show’s inaugural national tour.
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(Daniel Tyree Gaitor-Lomack / Night Gallery, Los Angeles. Photo by Tomasa Calvo.)
Interdisciplinary Los Angeles–based artist Daniel T. Gaitor-Lomack is staging a solo exhibition, “You Can Hate Me Now,” at Night Gallery. This marks the artist’s second solo show at the space. Much of the new work was informed by Gaitor-Lomack’s life in his MacArthur Park neighborhood. A rep for the gallery wrote in an email that Gaitor-Lomack describes the exhibition “as a kind of ceremony, a gathering of ideas and emotions that have been unfolding across his work over the past three years. Guided by intuition and lived experience, he continues to use found and everyday materials to reflect on the innumerable systems of the world around. The exhibition’s title, long held in his mind, frames the presentation as a meditation on anticipation, transformation, and resilience.” The show will be at Night Gallery through Feb. 14.
The Museum of Fine Arts, Boston, has made what it is calling the first-ever restitution of artwork to the descendants of an enslaved artist. The artist, David Drake, was born around 1800 in Edgefield, S.C. He is known for signing his vessels and inscribing them with poetic verses, including one that read, “I wonder where is all my relations.” Fifteen of Drake’s descendants recently traveled to Boston from various states for a ceremony during which MFA returned one of Drake’s stoneware jars to them, and purchased a second back. An L.A.-based attorney named George Fatheree represents Drake’s family and help shepherd the transaction. “This is a day we hoped and prayed for,” said Pauline Baker, the third great-granddaughter of Drake, in a news release. “To see it realized is almost overwhelming. On behalf of our family, we express our deepest gratitude to the Museum of Fine Arts for its courage and integrity. Most importantly, this ceremony restores not just his work, but his humanity.”
A Gustav Klimt painting, “Portrait of Elisabeth Lederer,” recently sold for $236.4 million, including fees, making it the most expensive modern work to be sold at auction. The 71-by-51-inch painting, created between 1914 and 1916, portrays the 20-year-old daughter of the Viennese art collectors who commissioned the work. The portrait was sold during a Sotheby’s auction in New York and was part of the private collection of cosmetics heir Leonard Lauder, who died in June. According to the Washington Post, a 19-minute bidding battle catapulted the painting “far beyond its $150 million estimate, with two bidders competing over the phone via their auction representatives.”
Directed by Japan’s monomonikered Hikari, “Rental Family” — a beautifully moving and affably humorous story of human connection — kicks off with one funeral and culminates with another, demonstrating the evolution that our protagonist, Philip (Brendan Fraser), goes through during his personal journey between these two events.
The first funeral is a shock. Philip is a struggling actor in Tokyo, with one massively successful commercial as a toothpaste superhero mascot under his belt. His agent has booked him a gig as “Sad American,” a role he can easily play with his looming height, doleful eyes and a heart he wears on his sleeve. Late as usual, he dashes to check in for work and is shocked to stumble into a somber funeral. He’s even more shocked when the formally dressed corpse starts emotionally reacting to the tearful eulogies.
The scene is a marvel of revelation and reaction from Fraser and, in fact, much of the genius of his performance in “Rental Family” comes from his reactions, especially as he discovers the weird and wonderful new job he’s landed.
In the screenplay by Hikari and Stephen Blahut, Philip finds himself working for Tada (Takehiro Hira), who runs a company called Rental Family that’s hired by clients to provide staff to role-play in various real-world scenarios — the fake funeral, for example, or as a mistress apologizing to a spurned wife or just for friendship. Philip’s first role is quite complex: He plays a Canadian man getting married to a young Japanese woman in a show wedding for her conservative parents. She’s queer and needs an out in order to be with her real partner. Philip, who is earnest and honest to a fault, chafes at the lie but soon realizes that he’s helping someone to live their authentic life, so he throws himself into it.
Rental Family’s service is all about maintaining Japanese values of propriety and politeness through performance, and the little (or big) white lies are manipulations to get what the clients want: an apology, companionship, love, admiration, closure. Philip’s most challenging high-wire act proves to be posing as the long-lost American father of a shrewd and emotionally intelligent young girl, Mia (Shannon Mahina Gorman), in order to secure her school admission. Both Philip and Mia’s mom (Shino Shinozaki), the client, soon realize that it’s much more complicated than just pretending to be a nuclear family for a school interview.
While playing daddy, Philip also juggles a role as a curious journalist profiling an aging, iconic (but largely forgotten) screen actor, Kikuo (Akira Emoto), from whom he learns surprising lessons about life, memory and legacy. He finds himself deeply connecting with these people, young and old, and learning from them, while becoming tangled in their lives.
Empathy pours off Fraser in waves, which is what made his Oscar-winning performance in “The Whale” work. Hikari channels that quality to good use in “Rental Family” but never oversteps. The film is sweet and affecting, never treacly or overly sentimental. She knows how to balance humor and poignancy, to allow Philip to be a grown man with his own needs and peccadilloes and mistakes, though we never question his motivations because of the inherent goodness that radiates off Fraser.
Hikari’s naturalistic style perfectly suits this story. The Tokyo that she showcases is one of quotidian everyday life, not the futuristic neon city that an outsider might capture. Hers is one of small, cramped apartments, karaoke bars, public transit, hotels, temples and schools. It’s a world occupied by normal people who sometimes need a little help, a little push to get the things they want in life. Philip is there to provide that service even though he’s also in need of his own connection to others.
But it’s the mishaps along the way that actually help Philip to grow. By the time we get to the second funeral, we see how much he has bloomed. Fraser has an openness to his expression that’s like a flower unfolding, beaming in the sunlight of recognition and personal fulfillment. As an actor, Fraser’s second act has been a sight to behold. He’s the emotional anchor of this life-affirming and quietly resonant film about the importance of being together — a movie that announces Hikari as a major talent.
Walsh is a Tribune News Service film critic.
‘Rental Family’
In Japanese and English, with subtitles
Rated: PG-13, for thematic elements, some strong language, and suggestive material
The film now streaming has been celebrated as one of the best of the year
A film has just been added to Netflix’s extensive library which has already been dubbed a ‘phenomenal’ period drama featuring an actor’s ‘performance of a lifetime’.
Train Dreams is streaming from November 20 on the service and looks to be the latest high profile, must watch title. Like most new releases, subscribers can expect it to be available from 8am on the release day.
Like a number of big releases from the streamer that have come out this year, such as Frankenstein and Ballad of a Small Player, it has enjoyed a limited release in cinemas. Now, it is easier than ever for film fans to watch as it can be streamed from home.
The film is an adaptation of the bestselling novella of the same name written by Denis Johnson. According to the synopsis, the story follows Robert Grainier, whose life unfolds during an era of unprecedented change in early 20th century America.
Orphaned at a young age, Robert grows into adulthood among the towering forests of the Pacific Northwest, where he helps expand the nation’s railroad empire alongside men as unforgettable as the landscapes they inhabit. After a tender courtship, he marries Gladys and they build a home together.
However, his work often takes him far from her and their young daughter. When his life takes an unexpected turn, Robert finds beauty, brutality and newfound meaning for the forests and trees he has felled.
The cast includes Star Wars and Black Mass star Joel Edgerton, William H Macy, Academy Award nominee Felicity Jones and Irish actress Kerry Condon.
Following its run in theatres, Train Dreams has managed to earn an impressive 98% rating on Rotten Tomatoes. Critics have lavished it with praise with many suggesting that it is one of the must watch titles of the year and earning it plenty of awards buzz.
One reviewer claimed: “Train Dreams is the most hauntingly beautiful film of the year.” Another added: “Train Dreams is without a doubt one of the most extraordinary films of this year, the type that will stick with you, deep in your mind and heart, long after the credits roll.”
Other reviews have suggested that the film might be considered as one of lead star’s Joel Edgerton’s finest performances of his career. One verdict claimed: “In an age of spectacle and noise, Train Dreams dares to whisper. It invites you to slow down, breathe and notice the spaces between moments. A simply stunning film from start to finish.”
Another review went so far as to declare: “This is one of the great films of the year. In time, it will become one of the best in a decade, then one of the movies that people speak of when asked what inspired them in their life. It is a masterpiece.”
Fans who have gone along to the cinema to see the film on the biggest screen possible before it streams, have shared similar views. Sharing their thoughts online, one person posted: “Phenomenal character study. Simple, yet compelling story. Gorgeously shot.”
Another added: “Beautifully melancholic tale that highlighted so many paradoxical aspects of life in a magnificent way. 10/10 would recommend.”
While a third commented: “An incredibly poignant and artful masterpiece. Joel Edgerton quietly pulls off a performance of a lifetime. Clint Bentley adds another notch in his belt for delivering a moving film that feels like an intimate journey.”
Someone else listed plenty of reasons to watch it as soon as possible. They said: “Such a beautiful film. Absolutely loved the scenery and what a soundtrack, timeless. Joel Edgerton, with his amazing performance and screen presence, really took the audience on a trip with him through each phase of this extraordinary story. Be sure and not to miss this, this is definitely one to remember!”
KATHERINE Jenkins and Jessie J led the glam and tonight’s glitzy Royal Variety Performance.
The classical singer looked typically stunning in a Union Jack dress with a floaty cape, while Jessie was demure in a chic black outfit.
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Katherine Jenkins looked stunning at the Royal Variety Performance at the Royal Albert HallCredit: PAShe proudly wore a patriotic Union Jack dressCredit: PAJessie J looked effortlessly cool in her black outfitCredit: AlamyMcFly’s Tom Fletcher cut a dapper figureCredit: Getty
Blonde bombshell Katherine beamed on the red carpet, proudly showing off her patriotic frock inside the Royal Albert Hall.
Westlife‘s Kian Egan, Shane Filan and Nicky Byrne were dapper in black suits, while Tom Fletcher swapped his rock ‘n’ roll tour outfits for a smart suit.
Queen drummer Roger Taylor and his wife Sarina Potgieter put on a loved-up display on the carpet, while ska legends Madness, led by frontman Suggs, were in fine form.
The Prince and Princess of Wales made their much-anticipated arrivalCredit: PAWestlife’s Kian Egan, Shane Filan and Nicky Byrne were dressed to impressCredit: PAMichael Ball (L) and Matt Lucas (C) were all smiles on the red carpetCredit: GettyQueen drummer Roger Taylor and his wife Sarina Potgieter put on a cosy displayCredit: PAAdrian Stoica and his dog Hurricane, from America’s Got Talent, brought some sparkleCredit: PAMadness looked delighted to be on the billCredit: GettyHost Jason Manford looked raring to goCredit: PAStephen Fry was in attendance after taking part in Celebrity TraitorsCredit: Getty
Remember the brave, talented theater students at Eliot Arts magnet school who lost their school, homes and theater to January’s Eaton fire and went on to perform their spring musical, “Shrek Jr.,” to a sold-out crowd at the Ahmanson Theatre?
Those kids are still displaced from their school, but not from the tenacious community spirit that guided them through the aftermath of that trauma. Their next chapter: a four-day, three-night class trip to New York City to see the sights and attend Broadway shows and workshops.
“After ‘Shrek’ last spring, I sat down with a group of my advanced theater students, and I said, ‘Dream big. What else would you want in your fantasy world?’ Big things have happened for us this semester after the fires,” their drama teacher, Mollie Lief, said in a phone interview. “And they said, ‘We want to go to New York City.’ And I just thought, ‘OK, we’re gonna make this happen.’”
The class has now met its initial $75,000 fundraising goal toward “Broadway Bound: A drama and dance trip to NYC,” which Lief will lead along with dance teacher Billy Rugh, who choreographed “Shrek Jr.” The funds, which will help cover the partial or full cost of taking 61 seventh and eighth graders to the Big Apple from April 7-10, were raised in about 28 days through a school fundraising campaign app called SnapRaise.
Lief credited actor Gillian Jacobs — who Lief calls “our fairy godmother” — with spreading the word to friends in film and TV, which is why the initial goal was met so quickly. Fundraising remains ongoing for the trip, as well as the school’s spring musical, but the class can now rest easy that everyone will be able to go.
“I think everybody was skeptical that we were going to be able to raise that much money and make it happen. But if Eliot’s good at anything, we are good at making big things happen,” said Lief.
Speaking of which: The other really big thing that Lief wants for the kids is a meeting with Broadway superstar and “Hamilton” creator Lin-Manuel Miranda. Miranda sent a personal message of support to the students via video when they performed at the Ahmanson, so he’s aware of them and their extraordinary story.
“They just love him,” Lief said of Miranda. “We had a Lin-Manuel Miranda day for Hispanic Heritage Month, and everybody dressed up as him or a character from one of his shows. They are all obviously obsessed with ‘Hamilton,’ which is a show we’re trying to see when we’re in New York.”
Three Broadway shows are part of the trip’s itinerary, as well as a theater and dance workshop or two. Also on the agenda: plenty of New York pizza, a jaunt through Central Park, a sightseeing cruise and a Big Bus tour.
“They’re super pumped,” Lief said of the kids who are currently rehearsing for their newest show, “The Somewhat True Tale of Robin Hood.”
On our radar
Grant Gershon will conduct the Los Angeles Master Chorale in David Lang’s “before and after nature” Sunday at Walt Disney Concert Hall.
(Jamie Phan / Los Angeles Master Chorale)
before and after nature The fall’s third and largest major environment-themed work is David Lang’s “before and after nature,” an evening-length score that was commissioned by the Los Angeles Master Chorale and had its premiere in the spring at Stanford University in conjunction with the Doerr School of Sustainability. Here, Lang explores, in his almost Hildegard-like glowing vocal writing, the human relationship with a nature that doesn’t need us, or want us, yet we insist on being the center of everything and making an inevitable mess of it. The instrumental ensemble is Bang on a Can All-Stars (Lang having been a founder of the New York music institution). The performance includes a video component by Tal Rosner, and Grant Gershon conducts. — Mark Swed 7:30 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org
A 1989 billboard poster about museum representation by the Guerrilla Girls.
(Getty Research Institute)
How to Be a Guerrilla Girl The Guerrilla Girls famously shield their identity by wearing gorilla masks in public, but this show will unveil “how-to” information on their effective techniques of data research, distribution and culture jamming. Drawing on the witty protest group’s early archives, acquired in 2008 by the Getty Research Institute, their 40th anniversary will be celebrated by an exhibition of materials outlining the collaborative process that goes into their ongoing demands for art world equity for women and artists of color. A selection from their dozens of posters and ads will be displayed. — Christopher Knight Tuesday through April 12, 2026. Getty Center, Research Institute Galleries, 1200 Getty Center Drive, Los Angeles. getty.edu
The Broadway production of the musical “Suffs.”
(Joan Marcus)
Suffs This musical by Shaina Taub, which won Tony Awards for book and original score, turns the history of the 20th century American women’s suffrage movement into a show that rallies the spirit of democracy. The plot follows Alice Paul and a new generation of radical activists who are testing new tactics in the fight to secure women the right to vote. During the Broadway run, Hillary Clinton, one of the show’s high-profile producers, went on the stump for “Suffs,” endorsing its much-needed lesson that progress is possible, if never guaranteed. — Charles McNulty Wednesday through Dec. 7. Hollywood Pantages Theatre, 6233 Hollywood Blvd., Hollywood. broadwayinhollywood.com
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The week ahead: A curated calendar
FRIDAY
Olga de Amaral, “Gran Muro, Panel 7B,” 1976. Cotton, wool, horsehair, sisal and/or jute, rayon, nylon, raffia. 130 x 175 in.
(Mark Waldhauser / Photo from Lisson Gallery)
Olga de Amaral This solo exhibition of work from the Colombian artist’s six-decade career emphasizes her use of weaving, painting and sculpture, with variable scale, form and materials, including linen, wool, horsehair, Japanese paper, acrylic and precious metals. Opening, 6-8 p.m. Friday; 10 a.m.-6 p.m. Tuesday-Saturday. Lisson Gallery, 1037 N. Sycamore Ave. Los Angeles. lissongallery.com
60 Miles East: Riverside’s Underground Punk Rock, Hardcore & Ska Scene, from the late 1980s to early 2000s An exhibit of photography devoted to a distinctive music scene that made the most of its outsider existence in exploding exurbia. Riverside Museum of Art, Art Alliance Gallery, 3425 Mission Inn Ave. riversideartmuseum.org
SATURDAY
Yaphet Kotto, Sigourney Weaver and Ian Holm in the 1979 film “Alien.”
(Robert Penn / 20th Century Fox)
Alien Ridley Scott’s 1979 sci-fi classic screens in 35 mm to capture all of its oozing, Xenomorphic chest-bursting glory. Sigourney Weaver, Ian Holm, Yaphet Kotto and Tom Skerritt star. 7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Creative Continuities: Family, Pride and Community in Native Art Three contemporary Plains Indian artists, John Pepion (Blackfeet), Brocade Stops Black Eagle (Crow) and Jessa Rae Growing Thunder (Dakota/Nakoda), each curated a section of this exhibition exploring aspects of Native culture through the lens of works created by their ancestors. Saturday-June 2027. Autry Museum of the American West, 4700 Western Heritage Way, Griffith Park. theautry.org
Jlin A 2023 Pulitzer Prize finalist, the electronic music composer a.k.a. Jerrilynn Patton’s latest album featured collaborations with Philip Glass, Björk and Kronos Quartet. 8 p.m. Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Baratunde Thurston will perform Saturday at Carpenter Center.
(Roy Rochlin / Getty Images for Unfinished Live)
An Evening with Baratunde Thurston The comedian and futurist ponders interrelationships between people, nature and technologies through stories. 8 p.m. Carpenter Center, 6200 E. Atherton St., Long Beach. carpenterarts.org
SUNDAY Radical Histories: Chicano Prints from the Smithsonian American Art Museum Six decades of art featuring 60 works by 40 or so artists and collectives that reflects an era of rebellion and cultural solidarity. Through March 2, 2026. The Huntington, 1151 Oxford Road, San Marino. huntington.org
Something’s Gotta Give The American Cinematheque’s tribute to Diane Keaton continues with director Nancy Meyers’ 2003 romantic comedy co-starring Jack Nicholson, Amanda Peet and Keanu Reeves. Meyers joins film critic Katie Walsh for a Q&A. 7 p.m. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com
Takács Quartet The chamber music ensemble performs a program featuring works by Joseph Haydn, Clarice Assad and Claude Debussy. 4 p.m. Broad Stage at Santa Monica College Performing Arts Center, 1310 11th St. broadstage.org
TUESDAY Brahms Strings Members of the L.A. Phil perform contemporary American composer Jessie Montgomery’s “Strum” as well as19th century masterworks by Johannes Brahms. 8 p.m. Tuesday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
THURSDAY Lonnie Holley and Moor Mother The two artists collaborate for an evening of free jazz and spoken word rooted in Afrofuturism. 7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Prieto The L.A. premiere of poet and performance artist Yosimar Reyes dives into his experience growing up queer in East San Jose. 8 p.m. Thursday; 8 p.m. Nov. 21-22; 2 p.m. Nov. 23. The Rosenthal Theater at Inner-City Arts, 720 Kohler St., Los Angeles. brownpapertickets.com
New Original Works (NOW) The third weekend of REDCAT’s annual festival of experimental performance features a program of works by Lu Coy, jeremy de’jon guyton and Luna Izpisua Rodriguez. 8 p.m Thursday-Saturday. REDCAT, 631 W. 2nd St., downtown L.A.redcat.org
Shelley Conducts Carmen and Daphnis and Chloe Artistic and music director designate Alexander Shelley conducts the Pacific Symphony in a program of Bizet and Ravel, as well composer/pianist Gabriel Montero’s “Latin Concerto.” 8 p.m Thursday; 8 p.m. Nov. 21-22. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. pacificsymphony.org
Culture news and the SoCal scene
The Lucas Museum of Narrative Art has officially set its opening date for Sept. 22, 2026. The Times got an exclusive peek at a few interiors, including the research library and the entrance lobby. We also took some great photos of the building as it currently looks and made a short video. Take a peek.
Times classical music critic Mark Swed weighs in on opera’s “long and curious fetish for the convent” in his review of Sarah Kirkland Snider’s “sincere and compelling ‘Hildegard.’” L.A. Opera’s collaboration with Beth Morrison Projects is based on “a real-life 12th century abbess and present-day cult figure, St. Hildegard von Bingen.” The show, which premiered at the Wallis last week, “operates as much as a passion play as an opera,” Swed writes.
Swed also took in a show featuring Zubin Mehta, the 89-year-old Los Angeles Philharmonic’s conductor emeritus, as he led the orchestra in Bruckner’s Eighth Symphony. Swed calls Mehta “a living L.A. icon.”
Times theater critic Charles McNulty touched down in New York City to review “The Queen of Versailles,” an adaptation of Lauren Greenfield’s 2012 documentary about a family building a supersized American home. McNulty found the musical unwieldy despite Michael Arden’s superb direction, but he reserved special praise for its star, Kristin Chenoweth, “who is bearing the weight of a McMansion musical on her diminutive frame and making it seem like she’s hoisting nothing heavier than a few overstuffed Hermes, Prada and Chanel shopping bags.”
Sculptures by the entrance of the Norton Simon Museum in Pasadena.
(Etienne Laurent / For The Times)
I enjoyed writing about the $15-million renovation of the Norton Simon Museum, which has been unveiled in tandem with the organization’s 50th anniversary. In addition to new signage, improved curb appeal and a more accessible pedestrian entryway, the museum restored the 115,000 Heath tiles that clad the building’s exterior.
Times art critic Christopher Knight has the scoop on trouble at the Palm Springs Art Museum, which is facing a trustee revolt after hiring its new director, Christine Vendredi — the fourth such leader in just seven years. A week after the hire, “the chair of the search committee tasked with filling that position, trustee Patsy Marino, resigned from the museum’s board citing ‘inappropriate interference and attempts to influence the process’ on the part of the museum’s executive committee, individual trustees and other unidentified museum staff and donors,” Knight writes. To date, 22 trustees have exited, and it has been revealed that no other candidates were interviewed for the role.
Wallis Annenberg Center for the Performing Arts announced a major departure: Robert van Leer is stepping down as executive director and chief executive of the Wallis to take on the role of the new performing arts program director of the William and Flora Hewlett Foundation. Van Leer has been at the Wallis since April 2023, and was instrumental in inviting a host of prominent performing arts organizations to make the Wallis their home, including Los Angeles Chamber Orchestra, L.A. Dance Project, Los Angeles Ballet, BODYTRAFFIC, and Tonality.
“Specter,” a sculptural installation for Desert X by L.A. artist Sterling Ruby, just outside Palm Springs in 2019.
(Carolina A. Miranda / Los Angeles Times)
Big changes are coming to Desert X as it plans its sixth exhibition in the Coachella Valley, and its 10th worldwide. Over the past decade, the organization has commissioned more than 100 artists to create site-specific work in the desert. For its 10th anniversary exhibition, Desert X has announced new dates and an extended timeline. The next show is scheduled to open on Oct. 30, 2027, and will run through May 7, 2028, to coincide with other important area cultural events including the Palm Springs International Film Festival, Modernism Week, Frieze Los Angeles and the Coachella Valley Music and Arts Festival.
Carol Burnett has endowed a new scholarship at the UCLA School of Theater, Film and Television. The annual award will support undergraduate students in the school’s Ray Bolger Musical Theater Program. The inaugural scholarship has been awarded to first-year theater major Alexa Cruz.
— Jessica Gelt
And last but not least
Looking for a decadent holiday gift for an art lover? How about a $295 chocolate bar made by andSons Chocolatiers in collaboration with Ed Ruscha? The 73% Peruvian dark chocolate bar is an edition of 300 and comes in a cloth-bound box, which, according to the Beverly Hills-based chocolate company’s website, features “a reproduction of Ruscha’s 1971 lithograph ‘Made in California’” and “bears the relief of the West Coast’s rugged topography from the Pacific Ocean eastward to the Santa Lucia Mountains.”
The annual music festival presented by Tyler, the Creator — which was supposed to take place this weekend on the grounds surrounding Dodger Stadium — will now happen Nov. 22 and 23 in the same location.
“Due to the fact this storm became an atmospheric rain torrential downpour we had 2 choices — cancel or move to next weekend,” Tyler said in a post on Instagram. “We chose the latter.”
The rapper, who last week was nominated for five Grammy Awards including album of the year for “Chromakopia,” added, “We understand this is not ideal so we will offer refunds.”
The show as rescheduled will feature a slightly pared-down lineup that includes performances by Tyler, ASAP Rocky, Doechii, Clipse, Childish Gambino, Earl Sweatshirt, T-Pain and others. Among the acts who dropped off the bill are Tems, Clairo, Sombr and Don Toliver.
Tyler launched Camp Flog Gnaw in 2012 as a one-day event at downtown’s Club Nokia (now known as the Novo). The festival expanded to two days in 2016 and moved to Dodger Stadium in 2018. Flog Gnaw is known for its eclectic booking and a carnival-like atmosphere complete with games, rides and funnel cakes. Performers at the festival’s 2024 edition included Tyler, Playboi Carti, Doechii, Vince Staples, Omar Apollo and André 3000.
This weekend’s storm is expected to bring heavy rain to Southern California and has triggered fears about flooding and mudslides, particularly in areas burned in this year’s destructive wildfires. A live taping of Will Arnett, Jason Bateman and Sean Hayes’ ”SmartLess” podcast scheduled for Saturday night at the Hollywood Bowl was also called off because of weather.
It’s election night in Robert Icke’s “Oedipus,” a modern retelling of Sophocles’ “Oedipus the King” that must be the buzziest, if not the chicest, Broadway offering of the fall season.
The production, a prestigious London import that opened at Studio 54 on Thursday under Icke’s smart and sleek direction, stars a charismatic Mark Strong in the title role. His elegant and urbane Oedipus, a politician on the cusp of a momentous victory, prides himself on not playing by the old rules. A straight talker who has made transparency his calling card, he frequently veers off script in paroxysms of candor, to the chagrin of Creon (John Carroll Lynch), his brother-in-law who has been steering the campaign to what looks like a landslide victory.
But “count no mortal happy till / he has passed the final limit of his life secure from pain,” as the chorus intones at the end of Sophocles’ tragedy. There is no chorus in Icke’s version, but the sentiment holds, as Oedipus unravels the puzzle of his identity with the same relentlessness that has brought him to the brink of electoral triumph.
Anne Reid, left, and Olivia Reis in “Oedipus.”
(Julieta Cervantes)
A birther conspiracy has been raised by his political opponent, and Oedipus, speaking impromptu to reporters on-screen at the start of the play, promises to release his birth certificate and put an end to the controversy. What’s more, he vows to reopen an investigation into the death of Laius, the former leader who died 34 years ago under circumstances that have allowed rumor and innuendo to fester.
Oedipus calls himself Laius’ “successor, the inheritor of his legacy,” and in true Sophoclean fashion he speaks more than he knows. Jocasta (Lesley Manville in top form), Oedipus’ wife, was married to Laius, and so Oedipus is occupying his predecessor’s place in more ways than one.
In Sophocles’ play, Oedipus confronts a plague that has been laying waste to Thebes. In Icke’s drama, which had its premiere in Amsterdam in 2018, the pathogen is political. The civic body has fallen ill. Oedipus sees himself as an answer to the demagogic manipulation that has wrought havoc. The water is poisoned, economic inequality is out of control and immigrants have become an easy target. Sound familiar?
Icke’s Oedipus has an Obama-level of confidence in reason and reasonableness. His direct, pragmatic approach has seduced voters, but has it deluded him into thinking that he has all the answers? Oedipus is an ingenious problem solver. Puzzles entice his keen intellect, but he will have to learn the difference between a paradox and a riddle.
Mark Strong, left, and Samuel Brewer in “Oedipus.”
(Julieta Cervantes)
His daughter, Antigone (Olivia Reis), a scholar who has returned for her father’s big night, ventures to make the distinction: “One’s got a solution — one’s just something you have to live with?” But Oedipus is in no mood for academic hairsplitting.
A countdown clock marks the time until the election results will be announced. That hour, as audiences familiar with the original tragedy already know, is when Oedipus will discover his true identity.
Merope (Anne Reid), Oedipus’ mother, has unexpectedly turned up at campaign headquarters needing to speak to her son. Oedipus fears it has something to do with his dying father, but she tells him she just needs a few minutes alone with him. Thinking he has everything under control, he keeps putting her off, not knowing that she has come to warn him about revealing his birth certificate to the public.
The handling of this plot device, with the canny veteran Reid wandering in and out of the drama like an informational time bomb, is a little clumsy. There’s a prattling aspect to Icke’s delaying tactics. His “Oedipus” is more prose than poetry. The family dynamics are well drawn, though a tad overdone.
Mark Strong and the cast of “Oedipus.”
(Julieta Cervantes)
Reid’s Merope and Reis’ Antigone, ferocious in their different ways, refuse to play second fiddle to Manville’s Jocasta when it comes to Oedipus’ affections. Manville, who won an Olivier Award for her performance in “Oedipus,” delivers a performance as sublimely seething as her Oscar-nominated turn in “Phantom Thread.” Endowed with a formidable hauteur, her Jocasta acts graciously, but with an unmistakable note of condescension. As Oedipus’ wife, she assumes sexual pride of place, which only exacerbates tensions with Merope and Antigone.
Oedipus’ sons, Polyneices (James Wilbraham) and Eteocles (Jordan Scowen) are given personal backstories, but there is only so much domestic conflict that can be encompassed in a production that runs just under two hours without interruption. And Polyneices being gay and Eteocles being something of a philander would be of more interest in an “Oedipus” limited series.
When Sophocles’ tragedy is done right, it should resemble a mass more than a morality tale. Oedipus’ story has a ceremonial quality. The limits of human understanding are probed as a sacrificial figure challenges the inscrutable order of the universe. Icke, who views classics through a modern lens (“Hamlet,”“1984”), is perhaps more alert to the sociology than the metaphysics of the tragedy.
Oedipus’ flaws are writ large in his rash, heated dealings with anyone who stands in his way. Icke transforms Creon into a middle-of-the-road political strategist (embodied by Lynch with a combination of arrogance and long-suffering patience) and blind Teiresias (a stark Samuel Brewer) into a mendicant psychic too pathetic to be a pariah.
Mark Strong and Lesley Manville in “Oedipus.”
(Julieta Cervantes)
But Oedipus’ strengths — the keenness of his mind, his heroic commitment to truth and transparency — mustn’t be overlooked. Strong, who won an Olivier Award for his performance in Ivo van Hove’s revival of Arthur Miller’s “A View From the Bridge,” exposes the boyish vulnerability within the sophisticated politician in his sympathetically beguiling portrayal.
Wojciech Dziedzic’s costumes remake the protagonist into a modern European man. Yet true to his Ancient Greek lineage, this Oedipus is nothing if not paradoxical, suavely enjoying his privilege while brandishing his egalitarian views.
The production takes place on a fishbowl office set, designed by Hildegard Bechtler with a clinical and wholly contemporary austerity. The furnishings are removed as the election night draws to its conclusion, leaving no place for the characters to hide from the unwelcome knowledge that will upend their lives.
What do they discover? That everything they thought they understood about themselves was built on a lie. For all his brilliance, Oedipus was unable to outrun his fate, which in Icke’s version has less to do with the gods and more to do with animal instincts and social forces.
When Oedipus and Jocasta learn who they are to each other, passion rushes in before shame calls them to account. Freud wouldn’t be shocked. But it’s not the psychosexual dimension of Icke’s drama that is most memorable.
The ending, impeded by a retrospective coda, diminishes the full cathartic impact. But what we’re left with is the astute understanding of a special kind of hubris that afflicts the more talented politicians — those who believe they have the answers to society’s problems without recognizing the ignorance that is our common lot.
He’s loud, he’s obnoxious and, in a very short time, he’s broken unprecedented ground with his smash-face, turn-it-to-11 approach to the vice presidency. Unlike most White House understudies, who effectively disappear like a protected witness, Vance has become the highest-profile, most pugnacious politician in America who is not named Donald J. Trump.
It’s quite the contrast with his predecessor.
Kamala Harris made her own kind of history, as the first woman, first Black person and first Asian American to serve as vice president. As such, she entered office bearing great — and vastly unrealistic — expectations about her prominence and the public role she would play in the Biden administration. When Harris acted the way that vice presidents normally do — subservient, self-effacing, careful never to poach the spotlight from the chief executive — it was seen as a failing.
Why is that? Because that’s how President Trump wants it.
“Rule No.1 about the vice presidency is that vice presidents are only as active as their presidents want them to be,” said Jody Baumgartner, an East Carolina University expert on the office. “They themselves are irrelevant.”
Consider Trump’s first vice president, Mike Pence, who had the presence and pizzazz of day-old mashed potatoes.
“He was not a very powerful vice president, but that’s because Donald Trump didn’t want him to be,” said Christopher Devine, a University of Dayton professor who’s published four books on the vice presidency. “He wanted him to have very little influence and to be more of a background figure, to kind of reassure quietly the conservatives of the party that Trump was on the right track. With JD Vance, I think he wants him to be a very active, visible figure.”
There were other circumstances that kept Harris under wraps, particularly in the early part of Biden’s presidency.
One was the COVID-19 lockdown. “It meant she wasn’t traveling. She wasn’t doing public events,” said Joel K. Goldstein, another author and expert on the vice presidency. “A lot of stuff was being done virtually and so that tended to be constraining.”
The Democrats’ narrow control of the Senate also required Harris to stick close to Washington so she could cast a number of tie-breaking votes. (Under the Constitution, the vice president provides the deciding vote when the Senate is equally divided. Harris set a record in the third year of her vice presidency for casting the most tie-breakers in history.)
The personality of their bosses also explains why Harris and Vance approached the vice presidency in different ways.
Biden had spent nearly half a century in Washington, as a senator and vice president under Barack Obama. He was, foremost, a creature of the legislative process and saw Harris, who’d served nearly two decades in elected office, as a (junior) partner in governing.
Ohio’s senator had served barely 18 months in his one and only political position when Trump chose Vance as his running mate. He’d “really made his mark as a media and cultural figure,” Devine noted, with Vance’s memoir, “Hillbilly Elegy,” regarded as a kind of Rosetta Stone for the anger and resentment that fueled the MAGA movement.
Trump “wanted someone who was going to be aggressive in advancing the MAGA narrative,” Devine said, “being very present in media, including in some newer media spaces, on podcasts, social media. Vance was someone who could hammer home Trump’s message every day.”
The contrast continued once Harris and Vance took office.
Trump has treated Vance as a sort of heat-seeking rhetorical missile, turning him loose against his critics and acting as though the presidential campaign never ended.
Vance seems gladly submissive. Harris, who was her own boss for nearly two decades, had a hard time adjusting as Biden’s No. 2.
“Vance is very effective at playing the role of backup singer who gets to have a solo from time to time,” said Jamal Simmons, who spent a year as Harris’ vice presidential communications chief. “I don’t think Kamala Harris was ever as comfortable in the role as Vance has proven himself to be.”
Will Vance’s pugilistic approach pay off in 2028? It’s way too soon to say. Turning the conventions of the vice presidency to a shambles, the way Trump did with the presidency, has delighted many in the Republican base. But polls show Vance, like Trump, is deeply unpopular with a great number of voters.
As for Harris, all she can do is look on from her exile in Brentwood, pondering what might have been.
Fans can’t get enough of Japanese artist Takashi Murakami’s limited edition Dodgers gear, decorated with colorful, cartoon flowers featuring smiling faces in surprisingly un-jockish colors like pastel pink and butter yellow. The merch sold out in a matter of minutes at a pop-up store in March before the two-game season opening in Japan. A second collection was released in April.
Three’s a charm — as always.
On Friday at 1 p.m. a final Murakami collection will go on sale, this time commemorating the Dodgers’ historic World Series Championship. The series of T-shirts and hoodies — decorated in Murakami’s distinctive flowers, and featuring the team name in Japanese Katakana characters — is being presented by the sports and youth culture platforms Fanatics and Complex. The merch can be found on their websites as well as MLBShop online stores, the MLB app, the Dodger Stadium Team Store and the MLB Flagship Store in New York City.
I know friends who spent hours trying to obtain a single Murakami-designed Dodgers baseball cap last spring, so I expect the merch to sell fast. I’d set an alarm for 12:55 p.m. and log in exactly at 1 p.m. if I were hoping to score an item or two.
Dodgers fans are more than fans after their team won in what many are calling a “series for the ages” — they are fanatics. I should know. I wrote a story that mentioned the game, and I referred to the Dodgers being one “point” down to the Toronto Blue Jays. I awoke to an inbox full of letters from readers alerting me to the fact that a “point” in baseball is called a “run.” Some said it not so nicely.
Point taken! I mean, run. Either way, I’ve made much worse mistakes and never gotten so much as a single letter. That’s how I know Dodgers fans are not messing around. Neither is the merchandising machine surrounding the team’s epic win.
I’m arts and culture writer Jessica Gelt, shooting baskets for baseball and scoring touchdowns for a home run. Here’s your arts and culture news this week.
On our radar
Joshua Francique with Alonzo King Lines Ballet.
(RJ Muna)
Alonzo King Lines Ballet Choreographer and California Hall of Fame inductee Alonzo King brings his San Francisco-based contemporary ballet company to Long Beach for an evening of dance immersed in the spiritually rooted, avant-garde jazz stylings of Alice Coltrane, including her seminal album “Journey in Satchidananda.” In addition to this tribute to one of America’s only jazz harpists, the company will present a fresh take on Maurice Ravel’s suite of Mother Goose fairy tales, “Ma mère l’Oye,” which was originally written as a piano duet in 1910. — Jessica Gelt 8 p.m. Saturday. Carpenter Center is located at 6200 E. Atherton St., Long Beach. carpenterarts.org
Pacific Opera Project Daniel-François-Esprit Auber’s funny, tuneful, gang-can’t-shoot-straight, long-out-of-fashion early 19th century comic French opera, “Fra Diavolo” is just the kind of thing on which Pacific Opera Project (POP) has made its irrepressibly wackier-than-thou reputation. While the company performs a range of operas, serious and not-so-serious, here and there (including Descanso Gardens and Forest Lawn), its heart is at the Ebell, a historic Highland Park club, where you sit at tables with wine and hors d’oeuvres, surrounded by dazzling singers, goofy costumes and sets, and the intoxicating hokum that the company’s irrepressible founder and director, Josh Shaw, comes up with. — Mark Swed 7:30 p.m. Friday, Saturday, Wednesday and Nov. 14; 3 p.m. Sunday, Nov. 15 and 16. The Highland Park Ebell, 131 S. Ave. 57. pacificoperaproject.com
A stage version of the horror franchise “Paranormal Activity” comes to the Ahmanson.
(Pamela Raith)
Paranormal Activity The premiere of an original story set in the world of the film franchise, the show seems determined to scare you silly. The theater has caught the horror bug — and why not? Fear knows no bounds. Written by Levi Holloway, whose “Grey House” had a brief Broadway run in 2023, and directed by Felix Barrett, whose immersive “Sleep No More” captivated New York audiences for years, the production sets out to give new meaning to the term stage fright. — Charles McNulty Through Dec. 7, check days and times. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. centertheatregroup.org
You’re reading Essential Arts
The week ahead: A curated calendar
FRIDAY
The new play “Border Crisis” at City Garage.
(City Garage)
Border Crisis A new absurdist comedy by playwright Charles A. Duncombe, based on “The House on the Border” by Sławomir Mrożek as translated by Pavel Rybak-Rudzki, about a typical U.S. family that finds itself at the center of an international crisis, has its world premiere. 8 p.m. Friday and Saturday; 4 p.m. Sunday, through Dec. 13. City Garage, Bergamot Station Arts Center, 2525 Michigan Ave. T1, Santa Monica, citygarage.org
Leah Ollman In addition to a reading and book signing, the author will discuss her new publication, “Ensnaring the Moment: On the Intersection of Poetry and Photography,” with poet Rae Armantrout. 6 p.m. Museum of Contemporary Art San Diego, 700 Prospect St., La Jolla. mcasd.org
SATURDAY
Katherine Ross, Paul Newman, seated, and Robert Redford in the 1969 movie “Butch Cassidy and the Sundance Kid.”
(20th Century Fox)
Butch Cassidy and the Sundance Kid The American Cinematheque’s tribute to Robert Redford continues with the 1969 George Roy Hill-directed western that first paired the late actor with Paul Newman in one of Hollywood’s great buddy movies. 2 p.m. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com
The Butterfly Effect The reopening of a secret cafe where people are rumored to have time traveled is the setting for the latest immersive and interactive audience experience from Last Call Theatre. 8 p.m. Saturday and Nov. 14-15, 20-22, Dec. 4-6. Stella Coffee, 6210 San Vicente Blvd. ticketleap.events
Comic Creators Block Party A full day of signings, meet and greets, live panels, food and vendors featuring some of your favorite writers and artists, including Patton Oswalt and Jordan Blum. 11 a.m.-6 p.m. Saturday. Revenge Of Comics, 3420 Eagle Rock Blvd., Suite A. comiccreatorsblockparty.com
iam8bit 20th Anniversary Art Show The creative production company celebrates two decades of innovation with an exhibition heavy on video game and pop culture history. 10 a.m.-6 p.m. Saturday and Sunday. Studio 8, 614 E. 12th St., Los Angeles. eventbrite.com
Redrawing the Rancho The performance platform homeLA presents a program of interdisciplinary performance, dance and installation work by Nao Bustamante, Eva Aguila, Rosa Rodríguez-Frazier and Victoria Marks that evaluate the legacy of Southern California’s oldest surviving brick structure. the Rowland Mansion, and the complex history behind it. 1-4 p.m. Saturday and Sunday. John Rowland Mansion and Dibble Roundhouse Museum, 16021 Gale Ave., City of Industry. homela.org
“Sweet Nothings,” 2025. Aluminum and bowling balls. 223⁄4 x 183⁄4 x 221⁄4 in. (57.78 x 47.63 x 56.52 cm) by Kathleen Ryan.
(@ Kathleen Ryan. Courtesy the artist and Karma/Artwork photography by Lance Brewer)
Kathleen Ryan Everyday objects become the stuff of dreams in the exhibition “Souvenir,” featuring nine sculptures rooted in the artist’s use of motifs, techniques and conceptual decisions. Opening reception, 6-8 p.m. Saturday; 10 a.m.-6 p.m. Tuesday-Saturday, through Dec. 20. Karma, 7351 Santa Monica Blvd. Los Angeles. karmakarma.org
Wild Up L.A.’s transformative new music chamber orchestra and collective was founded 15 years ago by Christopher Rountree with a seemingly limitless collection of inventive ideas for bringing classical music into the 21st century and beyond. This fall it begins a new series at the Nimoy, home of UCLA’s Center for the Art of Performance, beginning with “What I Call Sound,” a look at the historic influence L.A. jazz has had on new music of all sorts. Given that Wild Up is composed of accomplished improvisers and composers, it is ideally suited to follow the course of the avant-garde jazz scene from Eric Dolphy in the late 1950s to such current leading figures as Anthony Braxton. — Mark Swed 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
SUNDAY Deep Cuts: Block Printing Across Cultures The exhibition features more than 150 works from around the world exploring the medium as both a means of creative expression and a vehicle for mass production of both images and ideas, extending from the patterned fabrics of India to German Expressionist artists and contemporary makers like Christiane Baumgartner. Also includes the Los Angeles–based Block Shop demonstrating reinterpretations of the ageless art form. Through Sept. 13, 2026. Los Angeles County Museum of Art, Resnick Pavilion, 5905 Wilshire Blvd. lacma.org
Burt Lancaster See the Hollywood legend in two very different films and performances: The American Cinematheque screens Luchino Visconti’s 1963 drama “The Leopard,” in which Lancaster stars opposite Claudia Cardinale; at the New Beverly, the actor appears in the delightful 1983 comedy “Local Hero” with Peter Riegert (on a double feature with another Bill Forsyth film, “Housekeeping”). “The Leopard,” 2 p.m. Sunday. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com; “Local Hero,” 7:30 p.m. Tuesday and Wednesday. New Beverly Cinema, 7165 Beverly Blvd. thenewbev.com
TUESDAY An Evening with Annie Leibovitz The celebrated photographer discusses her new book, “Women,” which features Louise Bourgeois, Hillary Clinton, Joan Didion, Billie Eilish, Lady Gaga, Michelle Obama, Rihanna, Patti Smith, Elizabeth Taylor, and Serena and Venus Williams. 7 p.m. The Wiltern, 3790 Wilshire Blvd. livenation.com
Recovecos The LA Phil New Music Group, conducted by Raquel Acevedo Klein, explores works by Caribbean and Latin American composers in a program curated by Angélica Negrón and featuring vocalist Lido Pimienta. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
WEDNESDAY
Broadway star Melissa Errico performs Wednesday at the Carpenter Center in Long Beach.
(David Kenas)
Melissa Errico In her new show “The Streisand Effect,” Errico, accompanied by a quartet that includes Streisand’s own 40-year pianist Randy Waldman, performs such favorites as “Send In the Clowns,” “I’d Rather Be Blue,” and “I Never Meant to Hurt You.” 7 p.m. Wednesday and Thursday. Carpenter Center is located at 6200 E. Atherton St., Long Beach. carpenterarts.org
THURSDAY Celebrating 50 years of Laverne & Shirley Producer Bob Boyett presents the Garry Marshall Theatre’s annual fundraiser, which this year marks a half-century since the debut of Marshall’s hit ABC sitcom and welcomes special guest Michael McKean, who had a breakout role on the show as Lenny. The event, which includes dinner and entertainment, also honors actor Yeardly Smith of “The Simpsons.” Tickets are $500-1000. 6:30 p.m. Verse Restaurant, 4212 Lankershim Blvd., Toluca Lake garrymarshalltheatre.org/50years
An Inspector Calls Theatre 40 presents J.B. Priestley’s classic drawing-room mystery about the investigation of a young woman’s death that disrupts an upper-class British family’s engagement party in the industrial north Midlands in 1912. 7:30 p.m. Thursday-Saturday; 2 p.m. Sunday; also, 7:30 p.m. Dec. 3 and 10; dark on Nov. 27 and 28, through Dec. 14. Beverly Hills High school, Mary Levin Cutler Theatre, 241 S. Moreno Dr. theatre40.org
New Original Works (NOW) The second weekend of REDCAT’s annual festival of experimental performance features a program of works by Gabriela Burdsall; Orin Calcagne and Jenson Titus; and Divya Victor, Carolyn Chen, AMOC (American Modern Opera Company). NOW 2025 continues with additional programming Nov. 20-22. 8 p.m Thursday-Saturday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
Earvin “Magic” Johnson, Hollywood, 1992, Silver Gelatin Photograph, Ed. of 25, 20 x 16 inches, by Herb Ritts.
(Fahey/Klein Gallery)
Herb Ritts The exhibition “Allies & Icons” presents the photographer’s portraits of activists, artists and cultural leaders who led the global fight against AIDS, including Elizabeth Taylor, Elton John, Magic Johnson, Madonna, Barbra Streisand, Sharon Stone, Tina Turner, Keith Haring and many others. In celebration of STORIES: The AIDS Monument, which opens Nov. 16 in West Hollywood. Opening reception, 6-8 p.m. Thursday; Regular hours, 1-7 p.m. Thursday-Sunday, through Dec. 21. ONE Gallery, 626 N. Robertson Blvd, West Hollywood. faheykleingallery.com
Culture news and the SoCal scene
The Scourged Back. The scarred back of an African American slave named Gordon who escaped from Mississippi and reached a Union Army camp in Louisiana in 1863. The photograph is one of many targeted for removal by the Trump administration.
(Getty Images)
National treasure “In recent months, a small army of historians, librarians, scientists and other volunteers has fanned out across America’s national parks and museums to photograph and painstakingly archive cultural and intellectual treasures they fear are under threat from President Trump’s war against ‘woke’,” writes Times investigative reporter Jack Dolan in a recent story about the volunteers creating a “citizen’s record” of existing exhibits and more, “in case the administration carries out Trump’s orders to scrub public signs and displays of language he and his allies deem too negative about America’s past.”
Theater beat Times theater critic Charles McNulty reviews a production of “Joe Turner’s Come and Gone” at A Noise Within. McNulty deems the script, “arguably the finest work in August Wilson’s 10-play series chronicling the African American experience in the 20th century,” and writes that the new show — set in a Pittsburgh boarding house in 1911 — “seems like a gift from the other side, that mysterious, creative realm where history is spiritualized.”
McNulty also attended Lloyd Suh’s “The Heart Sellers,” at South Coast Repertory, for a production directed by Jennifer Chang, who staged the play’s 2023 world premiere at Milwaukee Repertory Theatre featuring the same two-person cast. The show explores the thorny, timely issue of immigration through the stories of two women — one from the Philippines, the other from South Korea — living in an unnamed mid-sized American city in 1973.
Angela Bassett arrives at the LACMA Art + Film Gala on Saturday, Nov. 1, 2025, at Los Angeles County Museum of Art in Los Angeles.
(Jordan Strauss / Invision/AP)
LACMA ups and downs The Los Angeles County Museum of Art was in the news again this past week. I attended its celebrity-packed Art + Film gala on Saturday night — and watched the room explode in celebration after the Dodgers won the World Series. The annual event, this year honoring filmmaker Ryan Coogler and artist Mary Corse, raised more than $6.5 million in support of the museum and its programs.
40 authors, 40 dinners I also attended a dinner sponsored by the Library Foundation of Los Angeles featuring historian Rick Atkinson, who won the Pulitzer Prize for history in 2003. Called “Literary Feasts” the biannual event featured 40 authors spread out at 40 dinners hosted at private homes across the city on a single night in order to raise funds for the foundation’s mission in support of the library and its community-driven efforts including adult education and homework support for kids.
Yoko goes solo It doesn’t seem possible, but it’s true: Yoko One, 92, is staging her first solo museum exhibition in Los Angeles. The show, “Yoko Ono: Music of the Mind,” will open at the Broad museum on May 23 and will run through Oct. 11, 2026. The interactive exhibition is organized in collaboration with Tate Modern in London.
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Faustian The Verdi Chorus is launching its 42nd season with a special, two-nights-only performance delving into Goethe’s “Faust.” Audiences can expect operatic renditions of Berlioz’s “La Damnation de Faust,” Gounod’s “Faust,” and Boito’s “Mefistofele.” The concerts will take place at the First Presbyterian Church in Santa Monica on Nov. 15 and 16. Artistic director Anne Marie Ketchum will lead the performances, and it should be noted has been leading the group for all 42 years of its existence. The Verdi Chorus dubs itself, “the only choral group in Southern California that focuses primarily on the dramatic and diverse music for opera chorus.”
Girl dad, the musical My mother’s heart was touched when a father named Matt Braaten — who is also the artistic director of Eagle Rock Theatre Company — wrote to me about a new musical at the theater called, “Daddy Daughter.” The show features Braaten and his 11-year-old daughter, Lily, as they explore the music that has touched her life and informed her childhood to date. “This family-friendly musical comedy celebrates the different stages of Lily’s life through banter and songs, and takes a musical journey from Elmo to Elsa to Elphaba and beyond,” Braaten wrote. I’m getting teary just thinking about it. The show is at 4 p.m. on Sunday Nov. 9, and Sunday Nov. 16.
Sir Rod Stewart performed at the Royal British Legion Festival of Remembrance on BBC One
Frankie Collins and Abbie Bray Deputy Editor for Screen Time
22:26, 08 Nov 2025
Sir Rod Stewart’s lively performance at this year’s Royal British Legion Festival of Remembrance at London’s Royal Albert Hall left some viewers unimpressed.
The 79-year-old music icon kicked off the annual event, attended by high-ranking royals and military veterans, with a spirited rendition that split opinions among home audiences.
Despite the evening being dedicated to honouring the nation’s fallen heroes, some fans suggested his hip-shaking moves were “not exactly in the spirit of remembrance.”
One disgruntled viewer posted on X (formerly Twitter): “Because Rod Stewart gyrating his hips is how we all want to pay tribute to the fallen.”
Another commented, “Rod Stewart’s really going for it, but I’m not sure those hip gyrations are exactly in the spirit of remembrance,” and questioned, “Is this appropriate?” according to the Daily Express.
Someone else added, “Rod Stewart is totally inappropriate for the Festival of Remembrance.”
However, many came to the defence of the veteran singer, highlighting his decades-long history of entertaining troops and supporting military charities.
One fan praised, “Sir Rod Stewart on bbc1 tonight made me so very proud and all our soldiers and airmen, and LADIES GOD BLESS YOU ALL THANKYOU YOUR ALL AMAZING THANKYOU.” (sic)
Someone else complimented, “Sir Rod Stewart isn’t looking (or sounding) half bad for a man of 80! Good for him.”
Sie Rod, who previously performed at the Queen’s Platinum Jubilee, has a long-standing commitment to charity work supporting the armed forces. He returned to the stage a second time to perform his hit song, Sailing.
The evening, held at the Royal Albert Hall and presented by Ted Lasso star Hannah Waddingham, also saw performances from Sam Ryder, Keala Settle, Blessing Offor, and The Wellermen, alongside moving displays by the Central Band of the RAF and Royal Marines Band Service.
This year’s Festival of Remembrance commemorated the 80th anniversary of the conclusion of World War II and paid tribute to the bravery of those who served, while also recognising the resilience of military families and the advancements made since the prohibition on LGBT service personnel was removed 25 years ago.
Viewers applauded the entire show, sharing their thoughts online: “The Royal British Legion Festival of Remembrance is always so beautifully put together. An incredible tribute to those who serve & have served our country.”
Some acknowledged the sacrifices being remembered whilst criticising the current state of Britain’s borders. One viewer commented: “In the year that our government admitted that they have lost control of our border, it makes the #festivalofremembrance more poignant than ever. Let us pray we don’t see the day when we admit they all died in vain.”
Many were left feeling emotional during the annual commemoration, with one viewer confessing: “10 minutes in and I’m already in tears.”
Another shared: “Imagine not seeing your baby until it was 9 months old. It’s incomprehensible. We owe these men and women so much.”
Hannah Waddingham received acclaim for her “simply superb” hosting and “stunning” vocal performance as she sang “We’ll Meet Again”.
