There is an adage in sports that it is harder to defend a championship than to win it. That is the challenge that coach Rick Robinson and the Norco High softball team face this season, but the Cougars have the skill to make a run at back-to-back titles after winning 29 of 32 games en route to the Southern Section Division 1 crown last spring.
Robinson entered the 2026 campaign with 728 career wins and has added three to that total as his team won its own showcase last week at Big League Dreams in Chino Hills.
In the final, junior pitcher Coral Williams fanned 11 Orange Lutheran batters in a 2-1 victory, picking up where she left off last spring when she was named the Southern Section Division 1 player of the year after going 17-0 with 10 complete games, a 0.59 earned run average and 147 strikeouts while giving up only nine earned runs in 106 innings. In the semifinals, Oklahoma State signee Peyton May threw a no-hitter and struck out 12 in an eight-inning 3-0 win against Aliso Niguel. She was 10-3 last year with a 1.49 earned run average and 132 strikeouts in 80 innings.
Offensively the Cougars are led by junior shortstop Leighton Gray, a Texas A&M commit who was All-Southern Section as a sophomore after batting .435 with 40 hits, eight home runs and a 0.793 slugging percentage. Add to the mix London Potter, who follows in the footsteps of sisters Riley and Dakota (Norco alums now playing at Quinnipiac and South Carolina, respectively) and catcher/first baseman Camryn May, Peyton’s younger sister.
Since taking over the program in 2000, Robinson has guided Norco to section titles in 2003, 2009, 2012, 2015, 2018, 2019 and 2025 (all but the first in the top division). He also won the Division IV title in 1996 in the second of his five years at Corona Centennial —giving him a Southern Section record of eight.
Among the teams capable of dethroning Norco is Orange Lutheran, No. 2 behind the Cougars in Cal-Hi Sports’ preseason Southland top 20 rankings. The Lancers will miss star center fielder Kai Minor (now an Oklahoma Sooner) but returning are second baseman Sierra Nichols (40 hits), shortstop Madelyn Armendariz (32 hits, 29 RBIs) and pitching aces Rylee Silva (135 strikeouts as a freshman) and UCLA signee Jo Marsh.
Battling the Lancers for Orange County supremacy could be Trinity League rival JSerra, which is off to a 2-0 start behind Florida-bound pitcher Liliana Escobar and sophomore sensation Annabel Raftery, who led the team with 36 hits, 21 RBIs and five homers a year ago.
Sherman Oaks Notre Dame has one of the section’s best all-around players in Oklahoma State commit Aliyah Garcia and starts out as the team to beat in the San Fernando Valley. The senior pitcher/shortstop had one run, two hits, an RBI and drew two walks while recording five strikeouts in three innings in the Knights’ season-opening win.
Fullerton has one of the most formidable one-two pitching combos in California Baptist commit Katelynn Mathews and Analise Barrios (both also play second base). Mathews had a 15-3 record with 185 strikeouts in 115 1/3 innings and Barrios had a 0.72 earned run average last season when the Indians won 21 games and played Norco tough in the third-place game of the Michelle Carew Classic in April. Utah State-bound outfielder Hayley Brock batted .393 with 38 hits and 24 RBIs.
Fullerton pitcher Analise Barrios compiled a 0.72 earned run average as the Indians went 21-8 last season.
(Steve Galluzzo / For the Times)
Despite its loss to Norco in the second round of the playoffs a year ago, Oaks Christian is the cream of the crop in Ventura County as most of its key contributors are back — Utah State-bound shortstop Gianna Garcia, Brigham Young-bound outfielder Terrianna Kelley (33 hits, 27 RBIs, nine doubles, five homers and a .750 slugging percentage in 2025); shortstop Trystyn Crutcher, pitcher Sophia Debs, outfielder Reagan Beck and catcher Giabella Otani.
Other Southern Section programs that should continue their success from last year include Division 1 runner-up El Modena and semifinalist Temescal Canyon, Division 2 champion Los Alamitos and Division 3 champion Marina as well as La Mirada, Ayala, Chino Hills and Long Beach Poly.
In the City Section, Granada Hills finished 28-3 last season and beat nemesis Carson 11-2 in the Open Division final behind player of the year Addison Moorman (now a freshman at Lehigh) but back to help the Highlanders defend their title are All-City senior co-captains Zoe Justman (who slugged .802 as a junior) and Elysse Diaz (47 hits, 12 doubles, seven stolen bases and an .865 slugging percentage).
Players to watch
Name; School; Year; Position
Coral Willams; Norco; Jr.; Pitcher
Leighton Gray; Norco; Jr.; Shortstop
Emoni Lam Sam; LB Poly; Sr.; Third Base
Kale’a Tindal; Harvard-Westlake; Sr.; Outfield
Aliyah Garcia; Notre Dame; Sr.; Pitcher/Shortstop
Rylee Silva; Orange Lutheran; So. Pitcher
Katelynn Mathews; Fullerton; Jr.; Pitcher
Dailynn Battee; Etiwanda; So.; Third Base
Mia Valbuena; Marina; Sr.; Pitcher
Alison Ortega; La Mirada; Jr.; Pitcher
Koa Puppe; Bonita; Jr.; Third Base
Terrianna Kelley; Oaks Christian; Sr.; Outfield
Annabel Raftery; JSerra; So.; Catcher
Alivia Magallanes; Los Alamitos; Sr.; Outfield
Bree Carlson; Huntington Beach; Jr.; First Base
Nia Hall; Temescal Canyon; Jr.; Third Base
Brett Lambrecht; Chino Hills; So.; Utility
Eliana Corona; La Habra; So.; Catcher
Zoe Justman; Granada Hills; Sr.; Utility
Ashannalee Titialii; Carson; Sr.; Shortstop
Zoe Justman slugged .802 to help Granada Hills claim the City Section Open Division title last season.
Embattled Hollywood mogul Casey Wasserman, who is facing mounting pressure to resign from his position at the helm of the 2028 L.A. Olympics, also holds another important cultural appointment on the Los Angeles County Museum of Art’s board of trustees.
Wasserman, 51, joined LACMA’s board in 2004 when he was 30, two years after he founded his eponymous talent and marketing agency. Just last week, Wasserman announced he would sell his agency after racy emails between himself and convicted sex trafficker and Jeffrey Epstein associate, Ghislaine Maxwell, emerged at part of the Justice Department’s latest release of millions of documents related to the Epstein files.
Wasserman, the grandson of legendary studio exec Lew Wasserman, arrived at LACMA as part of a wave of relatively young additions to a notoriously older board. His addition also heralded the dawning of an era in which LACMA actively sought to strengthen its connections with the entertainment world. In 2011, LACMA launched its glitzy Art + Film Gala, an annual party co-chaired by Leonardo DiCaprio that serves as a melting pot for A-list celebrities and art world stars.
“There was an understanding — the message was there needed to be a change in the board,” museum director Michael Govan told The Times in a 2015 interview. “The board was in extreme need of refreshment.”
Now that Wasserman’s leadership in other roles is being questioned , will his relationship with LACMA follow? LACMA did not respond to a request for comment. Although the board generally meets a few times a year, it may not be an issue that has come to the fore as of yet.
Thus far, LA28 has stood by Wasserman, noting in a recent statement that his emails with Maxwell were sent years “before Mr. Wasserman or the public knew of Epstein and Maxwell’s deplorable crimes … This was his single interaction with Epstein.”
“The Executive Committee of the Board has determined that based on these facts, as well as the strong leadership he has exhibited over the past ten years, Mr. Wasserman should continue to lead LA28 and deliver a safe and successful Games,” LA28 wrote.
L.A. Mayor Karen Bass said in a recent CNN interview that she believed Wasserman should step down, and that it is “unfortunate” that Olympic organizers remained in support of him.
In a memo to staff at his talent agency, Wasserman wrote that he was “heartbroken that my brief contact with them 23 years ago has caused you, this company, and its clients so much hardship over the past days and weeks.”
I’m arts editor Jessica Gelt with this week’s arts and culture news.
You’re reading Essential Arts
The week ahead: A curated calendar
FRIDAY
The cast of “Cinderella: A Salsa Fairy Tale.”
(South Coast Repertory)
Cinderella: A Salsa Fairy Tale The classic fairy tale moves to the basketball court in this hip-hop fueled musical adaptation for young audiences with a book and lyrics by Karen Zacarías and music by Deborah Wicks La Puma. Directed by Sara Guerrero. Through March 8. South Coast Repertory, Julianne Argyros Stage, 655 Town Center Dr., Costa Mesa. scr.org
Dear Little Friend: Impressions of Galka Scheyer The exhibition from the German-born art dealer’s collection includes portraits and ephemera, featuring such artists as Maynard Dixon, Peter Krasnow, Beatrice Wood and Edward Weston, as well as gifts from the Blue Four artsist, whose work Scheyer championed: Alexei Jawlensky, Lyonel Feininger, Paul Klee and Vassily Kandinsky. Thursday-Monday, through July 20. Norton Simon Museum, 411 West Colorado Blvd., Pasadena. nortonsimon.org
The Industry LAB 2026 The innovative opera company partners with REDCAT for this series featuring new works: a shared program of Guillermo E. Brown’s “The Instrument, Romance, Bee Boy” and Carmina Escobar’s “Our Voice Is Not at the End of Anything” (8 p.m. Tuesday-Wednesday; 8 p.m. Friday and Saturday; 3 p.m. Saturday-Sunday); and Matana Roberts’ “spiral resonance: a study in the abstract,” an immersive sound and moving image installation exhibition (noon-6 p.m., daily through March 1) with solo activation performances in the space by Patrick Shiroishi (8 p.m. Tuesday); Ryan Sawyer (8 p.m. Wednesday); Roberts (8 p.m. Feb. 27); Kyp Malone (8 p.m. Feb. 28); and Judith Berkson (3 p.m. March 1). Through March 1, 2026 REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
Wallace Berman/Bruce Conner A pair of solo exhibitions highlighting extraordinary mark-making: “It Don’t Mean a Thing (If It Ain’t Got That Swing)” salutes the centennial of post-war counter-culture artist Berman with a rare showing of his large-scale photographic collages; “Inkblots and Felt Tip Drawings” focuses on an often overlooked aspect of multimedia artist Conner’s work. A selection of Conner’s experimental films are being exhibited at Marciano Art Foundation (see below). Tuesday-Saturday, through April 25. Michael Kohn Gallery, 1227 North Highland Ave. kohngallery.com
Missa Solemnis Gustavo Dudamel and the Los Angeles Philharmonic are joined by more than 100 voices from the Cor de Cambra of the Palau de la Música Catalana and Orfeó Català of Barcelona for this Beethoven mass that is rarely performed due to its ambitious scale. 8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Jon Serl: As One, As Many Starting in vaudeville before moving to California and working as a Hollywood voice actor and gardener, Serl became a painter following World War II with a long, expressive career illustrated in this retrospective. Fittingly, the artist had his first museum exhibition in 1981 at the Newport Harbor Art Museum (now UC Irvine Langson Orange County Museum of Art). Through June 7. UC Irvine Langson/Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. ocma.art
Marco Perego “The Being” is a solo exhibition featuring video, installations and drawings by Italian-born artist. Through April. Jeffrey Deitch, 7000 Santa Monica Blvd., Los Angeles. deitch.com
Christina Kirk and Norbert Leo Butz, seated, with the cast of “The Recipe.”
(Rich Soublet II/La Jolla Playhouse)
The Recipe Christina Kirk and Norbert Leo Butz star as Julia and Paul Child in the world premiere of Claudia Shear’s play about the world-famous chef. Directed by Lisa Petersen. Through March 22. La Jolla Playhouse, 2910 La Jolla Village Dr. lajollaplayhouse.org
Puppet Up! – Uncensored Created by Brian Henson and directed by Patrick Bristow, this irreverent, ever-changing show features the Miskreant puppets plus classic Jim Henson sketches unseen by live audiences for decades. 7 p.m. Friday and Saturday; 5 p.m. Sunday; 7 p.m. Feb. 27-28; 5 p.m. March 1. The Montalbán, 1615 Vine St., Hollywood. puppetup.com
SATURDAY Kyreeana Breelin Alexander The interdisciplinary artist performs “We Cool,” a solo autobiographical coming-of-age story fueled by rhythm and movement. 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Judith F. Baca With “The Great Wall Of Los Angeles: The 1970’s — A Decade Of Defiance And Dreams,” the artist’s organization SPARC (Social and Public Art Resource Center) exhibits the latest complete segment in the monumental work’s expansion. Opening reception, 6-8 p.m.; through April 4. Jeffrey Deitch, 925 N. Orange Dr. deitch.com
Bruce Conner, “Crossroads,” 1976. 35mm, black/white, sound, 37 min. Digitally Restored, 2013.
(The Conner Family Trust/Michael Kohn Gallery)
Bruce Conner “Recording Angel” brings together seven of the artist’s experimental films, composed of found, scavenged and original footage, and re-cut using his influential rapid-fire editing techniques. Through July 18. Marciano Art Foundation, 4357 Wilshire Blvd., Los Angeles. marcianoartfoundation.org
Patti LuPone The Broadway star marks the 25th anniversary of her concert “Matters of the Heart,” which ran on Broadway and London’s West End and toured the globe. 7:30 p.m. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org
John Snow The bassist and his band explore “The Poetry in Music” through works by John Coltrane, Joni Mitchell, Patti Smith, Langston Hughes, Hoagy Carmichael, Bob Dylan and others. 8 p.m. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
Tap Fest: Listen to This! Dancers Derick Grant, Sam Weber and Josette Wiggan join the Colburn’s tap faculty and students for a program exploring the concept of the Tap Artist as both a dancer and musician. 7 p.m. Colburn School, Thayer Hall, 200 S. Grand Ave., downtown L.A. colburnschool.edu
SUNDAY Zhanna Kadyrova A collaboration with Kyiv to LA, an ongoing project supporting Ukrainian artists through a Los Angeles-based residency, and the Thomas Mann House, the solo exhibition “Sliced Realities” explores the artist’s anti-war practice and coincides with the four-year anniversary of Russia’s full-scale invasion of Ukraine. Sunday-Feb. 28. Thomas Mann House (1550 N San Remo Drive, Pacific Palisades. vatmh.org
Museums Free-For-All An Southland tradition in which Southern California arts and cultural institutions open their doors for free general admission. Participants include the Academy Museum of Motion Pictures, the Autry Museum of the American West, The Broad, California African American Museum, the Getty Center and the Getty Villa, UCLA Hammer Museum, LACMA, MOCA, Skirball Cultural Center and many, many more. At some locations, tickets are limited and reservations may be required. All-day Sunday. See complete list of participating institutions at socalmuseums.net/free
Queen Elisabeth Music Chapel Colburn Conservatory of Music welcomes the Belgian conservatory and its master-in-residence, cellist Gary Hoffman, for a joint performance of Fauré’s “Piano Quintet No. 1” and Messiaen’s “Quartet for the End of Time.” 3 p.m. Colburn School, Thayer Hall, 200 S. Grand Ave., downtown L.A. colburnschool.edu
Sueño Perro This film Installation by Alejandro G. Iñárritu both marks the 25th anniversary of his debut “Amores Perros” and serves as a “resurrection” using projections of never-before-seen fragments from that film’s production. Through July 26. Los Angeles County Museum of Art, BCAM, Level 1, 5905 Wilshire Blvd. lacma.org
We Hold These Truths: A Celebration of Black History Month Over 100 Years The contributions of Black Americans to the cause of democracy over the years are recognized in this collaboration of performers from across artistic mediums. Featured artists include actor Phil Morris, composer Tamar-kali, dancer Ishaun Jackson-Moaney, the West Angeles COGIC Victory Dance Company, opera baritone Derrick Lawrence and promising talent out of the USC Thornton School of Music, opera mezzo-soprano and producer Raehann Bryce-Davis, poet Alyesha Wise and arts scholar and activist Derrell Acon. 3 p.m. Nocturne Theatre, 324 N. Orange St., Glendale. eventbrite.com
TUESDAY Flashback Fun Six Disney classics return to the big screen: “Muppet Treasure Island” (Tuesday); “The Aristocats” (Wednesday); “Dumbo” (Thursday); “The Rescuers” (Feb. 27); “Bolt” (Feb. 28); and “Oliver and Company” (March 1). The El Capitan Theatre, 6838 Hollywood Blvd. elcapitantheatre.com
Filmmaker Jafar Panahi at the Toronto International Film Festival last September.
(Kate Dockeray/For The Times)
It Was Just an Accident: Live Read Film Independent presents writer-director Jafar Panahi’s “incisive drama,” winner of the Palme d’Or at Cannes in 2025 and nominated for international feature film and original screenplay at this year‘s Academy Awards, to the Wallis stage read by a new cast. 7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Haegue Yang “Star-Crossed Rendezvous” pairs two of the Korean-born, Berlin-based artist’s large-scale installations employing utilitarian objects. The first, “Sol LeWitt Upside Down — K123456, Expanded 1078 Times, Doubled and Mirrored” (2015) is a monochromatic installation inspired by the cube structures of the American conceptual artist. Across the gallery, “Star-Crossed Rendezvous after Yun” (2024) is an homage to composer and political dissident Isang Yun (1917–95). Synchronized to Yun’s “Double Concerto” (1977), an array of moving lights animate vibrant geometric structures to create an ever-changing, multisensory experience. The L.A. Philharmonic will perform Yun’s piece on March 10 at Walt Disney Concert Hall, with a pre-concert viewing of the installation at MOCA Grand. Through Aug 2. Museum of Contemporary Art, 250 S. Grand Ave., downtown L.A. moca.org
WEDNESDAY L.A. Art Week It happens every February. Thousands of artists, collectors, curators and gallerists descend on the city, swelling an already vibrant local scene with a global reach into a week of discovery, creative adventure and fashion flamboyance. The Big Kahuna, of course, is Frieze Los Angeles (Thursday-March 1. frieze.com), a fair with a primarily contemporary focus, approximately 100 galleries, installations and pop-ups restaurants from around L.A.; Butter Fine Art Fair (Thursday-March 1. Hollywood Park, 1237 District Drive, Inglewood. butterartfair.com) features artists representing the African diaspora; Enzo (Wednesday-Saturday. 1634 W. Temple St. enzolosangeles.com) presents nine New York City galleries in an Echo Park warehouse; Felix Art Fair (Wednesday-March 1. Hollywood Roosevelt, 7000 Hollywood Blvd. felixfair.com) showcases exhibitors from around the world in a classic Hollywood setting; the cheekily-named The Other Art Fair Los Angeles (Thursday-March 1. 3Labs, 8461 Warner Dr., Culver City. theotherartfair.com) promises “the bizarre, unexpected, and never normal” with work from 160 independent artists; Post-Fair (Thursday-Feb. 28. 1248 5th St., Santa Monica. post-fair.com) is a dealer-led event in a historic Santa Monica Post Office building; and Start Up Art Fair (Friday-March 1. The Kinney Venice Beach, 737 Washington Blvd. startup-art.com) brings together 150 independent artists, collectors, curators and art professionals. It’s mostly next weekend but we wanted to give you a heads-up. Be sure to watch for Times reporter Malia Mendez’s upcoming preview. Happy art hunting and people watching.
THURSDAY Beethoven and Ortiz with Dudamel Gustavo Dudamel and the L.A. Phil are joined by Grupo Corpa and the L.A. Master Chorale for this charged program pairing Beethoven’s “Seventh Symphony” with Gabriela Ortiz’s ballet “Revolución diamantina (Glitter Revolution).” 8 p.m. Thursday and Feb. 27; 2 p.m. Feb. 28-March 1. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Norbert Leo Butz The Broadway star and two-time Tony Award winner (currently performing in “The Recipe” at La Jolla Playhouse, above) will perform excerpts from his signature roles, original compositions from his four solo records and covers from Tom Waits, Elton John and Bruce Springsteen. 7 p.m. Thursday-Feb. 28. Segerstrom Center for the Arts, Samueli Theater, 300 Town Center Dr., Costa Mesa. scfta.org
Arts anywhere
Something to read, something to hear and something to watch wherever you are.
The Art Book: Mini Format
(Phaidon Press)
The Art Book What’s it like to hold art history in the palm of your hand? Find out with the new Mini edition of this beloved text celebrated for bringing art appreciation to the masses. First introduced in 1994, the updated edition of this A-Z survey features more than 600 artists from medieval times to the present. It’s far from stuffy, including overlooked and contemporary figures including Berenice Abbott, Romare Bearden, Guerrilla Girls and more; plus Takashi Murakami and Wolfgang Tillmans, who The Times happened to interview recently and have L.A. shows (see below). Phaidon Press: 592 pp., $20. phaidon.com
Yunchan Lim
(IMG Artists)
Goldberg Variations Live at Carnegie Hall, New York, 2025 Recorded fewer than 30 blocks form where Glenn Gould laid down his own landmark recording of Johann Sebastian Bach’s masterpiece, pianist Yunchan Lim’s new album has been topping the classical charts since its release earlier this month. If you missed his performance of the Variations at Disney Hall last October (or if even if you didn’t), this is a must listen. Decca Records: $8-38. Available on vinyl, CD and digital download. deccarecordsus.com
An image from Frederick Wiseman’s ‘Titicut Follies.’
(courtesy of Zipporah Films)
Frederick Wiseman The filmmaker, who died Monday at 96, was a master storyteller and craftsman who mainly inhabited the nonfiction realm of the documentary. His perceptive explorations of public and cultural institutions was unparalleled and he was honored with an honorary Academy Award in 2016. If you would like to revisit Wiseman’s work or want an exhaustive introduction, check out the Frederick Wiseman Essential Films Collection at kanopy.com. Virtually every film he ever made is available and all you need is a public library card (an apt requirement!). His final film, “Menus-Plaisirs Les Troisgros” from 2023, can be viewed via the PBS Passport membership portal.
— Kevin Crust
Culture news and the SoCal scene
A detail of miniature “sportraits” during a preview of award-winning animator and visual-effects artist Lyndon J. Barrois’ exhibit, “Futbol Is Life” at LACMA.
Jefferson Mays in “Amadeus” at Pasadena Playhouse.
(Jeff Lorch)
A new take on Peter Shaffer’s “Amadeus” premiered at Pasadena Playhouse last week, and it may be the Tony Award-winning regional theater’s most lavish production to date. I got a behind-the-scenes tour of the theater’s amazing on-site scene shop to write about what it took to put the set, lighting and costumes together; and Times theater critic Charles McNulty attended opening night. Director Darko Tresnjak, writes McNulty in his review, “treats the play as though it were a tragedy wearing the mask of comedy. He doesn’t resist the melodrama that’s inherent in the material, but he refuses to overindulge it. This production hasn’t convinced me that ‘Amadeus’ is a world classic… But I doubt I’ll have the opportunity to see a better revival in my lifetime.”
McNulty also caught a performance of “Sylvia Sylvia Sylvia,” Beth Hyland‘s new play that recently had its world premiere at the Geffen Playhouse, and explores the lives of married writers living in the Boston apartment once occupied by the poet Sylvia Plath and her husband Ted Hughes. “World premieres are risky, and the writing for this one hasn’t yet settled. The play’s split focus, moving between 1958 and the present, is a sign of conceptual ambition. But Hyland struggles to find the pacing and rhythm of her complicated vision,” McNulty writes.
Meanwhile, “Here Lies Love,” David Byrne’s disco musical about the Ferdinand Marcos regime arrived at the Mark Taper Forum in a show directed by Center Theatre Group’s artistic director Snehal Desai. The Times’ Malia Mendez sat down with members of the all-Filipino cast to discuss the ways the show’s exploration of the perils of authoritarianism dovetail with the modern political moment.
Japanese artist Takashi Murakami sits in front of his painting at Perrotin Gallery on Feb. 13, 2026 in Mid City in Los Angeles, Calif.
(Ariana Drehsler/For The Times)
I had the opportunity for a one-on-one chat with artist Takashi Murakami about his solo show at Perrotin, Los Angeles, which features 24 new canvases that explore the connection between the ancient Japanese art of ukiyo-e and Impressionism. A trip to Monet’s gardens in Giverny, France, cemented Murakami’s idea for the paintings.
Contributor Steve Appleford wrote a thoughtful profile on German photographer Wolfgang Tillmans, who is currently staging his ninth Los Angeles exhibition at Regen Projects. “In 2000 Tillmans became the first photographer and first non-British artist to win the prestigious Turner Award. Tate Britain staged his mid-career retrospective in 2003 and the Hammer Museum in Westwood mounted his first major U.S. retrospective that same year, which traveled to Chicago’s Museum of Contemporary Art and the Hirshhorn Museum and Sculpture Garden in Washington, D.C.,” Appleford writes.
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A sketch from architect Paul R. Williams’ archive at The Getty Center.
(Juliana Yamada/Los Angeles Times)
Paul Williams, the first Black architect licensed west of the Mississippi, is the focus of a series of upcoming shows to be staged from August through July 2027 at the Getty, LACMA and USC Fisher Museum of Art. Throughout the course of his six-decade career Williams designed more than 3,000 projects, including for clients such as Frank Sinatra, Lucille Ball and the Beverly Hills Hotel. The exhibitions will feature architectural drawings, photographs, plans and memorabilia, some of which have never been on view to the public before.
Los Angeles Master Chorale announced Artistic Director Grant Gershon’s 25th anniversary season featuring work by Brahms, Bruckner, Arvo Pärt, Bach, Morten Lauridsen and Orlando di Lasso. Guest artists will include the National Chorus of Korea, composer Eric Whitacre, violinist Anne Akiko Meyers, Baroque ensemble Le Concert d’Astrée and theater director Peter Sellars. Subscriptions are available now, and single tickets will go on sale June 1.
The nonprofit arts organization, Los Angeles Nomadic Division (LAND), announced the four artists chosen to receive its 2026 Mohn LAND Grants. They are Shana Hoehn, Angela Anh Nguyen, Harrison Kinnane Smith and Adam Thompson. Winners receive a $5,000 award as well as $5,000 in production funds to use towards a new work commission.
Bright yellow T-shirts reading, in raspberry type, “¡Bienvenido Gustavo!” marked Gustavo Dudamel’s first concert as music director of the Los Angeles Philharmonic the first Saturday afternoon of October 2009 at the Hollywood Bowl. Eighteen thousand tickets were distributed free for a performance of Beethoven’s Ninth Symphony, an Angeleno “Ode to Joy” broadcast worldwide. The exultant young Venezuelan conductor’s message was: There is no North, South or Central America. We are one.
We are now in “Gracias Gustavo” season, and times, we are daily reminded, they are a-changin’. But what remains consistent is that Dudamel begins again, in the first month of his six-month homestretch as L.A. Phil music director, by dwelling on the composer he says has meant the most to him since his earliest days as a kid conductor in Caracas. His first major recording boasted startlingly propulsive performances of Beethoven’s Fifth and Seventh Symphonies, with the uproarious Simón Bolívar Youth Orchestra of Venezuela, recorded 20 years ago this month. In August, Dudamel will end his L.A. Phil tenure as he began it, with Beethoven’s Ninth at the Bowl.
Through these two decades, thick and COVID-lockdown thin, Beethoven has been Dudamel’s composer of uplift. This weekend he confronts, for the first time, Beethoven’s daunting mystical and mystifying “Missa Solemnis.” In following weeks, he will pair Beethoven symphonies with two of the most arresting and original of the dozens of new works he has premiered in Los Angeles — Gabriela Ortiz’ Glitter Revolution ballet score, “Revolución Diamantina,” and the first part of Thomas Adès “Dante” ballet.
To begin the Beethoven month at Walt Disney Concert Hall, however, Dudamel turned to another Beethoven work that has long obsessed him, the rarely heard complete incidental to Goethe’s tragedy, “Egmont,” which has the ever-relevant theme that matters most to Dudamel — the profound joy that arises from victory over injustice. For this, he had the assistance of actress Cate Blanchett and playwright Jeremy O. Harris.
Here, too, Beethoven serves as a musical, spiritual and political touchstone. “Egmont” comes in the middle of Beethoven’s career, his heroic period. The historic Egmont was a Flemish general, a hero to his people in the Netherlands who attempts to serve the 16th century Spanish emperor, Philip II, and rife for Goethe’s romanticizing. A remarkable polymath, Goethe himself served as an advisor to Weimar’s Grand Duke, brilliantly balancing political compromises with literature’s highest spiritual callings. He admired the spirit of liberty, for instance, yet opposed the French Revolution and supported Napoleon, believing that ensuing populist disorder would then, as it turned out, require autocracy.
Goethe’s Egmont must learn to love before he can act to defend his people against Philip. The hero goes to his death at the point of self-realization that only in sacrifice may he ascend to and become a symbol for glory.
In the play, which begins as historic epic and becomes, for Goethe, increasing personal and interior, Egmont gains perspective on the complexities of his place in politics by contemplating nature and being. Among Goethe’s many passions were scientific study. He immersed himself in the natural world and befriended the pioneering German environmentalist, Alexander von Humboldt.
It could, thus, have been hardly coincidence that Dudamel opened the program with the premiere of “Humboldt’s Nature” by Venezuelan composer Ricardo Lorenz. The five-part, 25-minute symphonic poem for a large orchestra rife with percussion follows Humboldt’s account of his journey to Venezuela in 1799.
Symphonic glitter sets the stage of New Andalusia. Guacharo birds shriek. Latin rhythms take us to coastal regions. Sandy percussion accompanies a journey up the Orinoco River. Throughout, Lorenz’s orchestra, imaginatively colored, reflects vast nature. But the score ends with the shock of humanity, as Humboldt encounters enslaved Cubans.
The one thing Goethe lacked was a sophisticated ear for music (and possibly sound). But Humbolt’s account could practically be the starting place for Beethoven’s “Egmont,” begun a decade after the Venezuelan encounter. In the popular overture, elicitation of tumult concludes, with startling exhilaration, in the kind of grand Beethovenian triumph that never fails to excite. The incidental music, though, offers needed theatrical context. That includes two songs for Egmont’s love, Klärchen, four entr’actes, a melodrama for Egmont as he approaches his execution and, powerfully as only Beethoven can, a battle cry.
Goethe has never lost relevance. Matthew Bell’s new biography, “Goethe’: A Life in Ideas,” has given Germany’s Shakespeare new attention. One of the greatest plays of our time, Tom Stoppard’s “Arcadia,” confronts Goethe’s “Elective Affinities” with our own elective affinities. One of the greatest operas of our time, John Adams’ “Doctor Atomic,” contemplates the creation of nuclear weapons as the functioning of a latter-day Faust, Goethe’s most lasting creation.
“Egmont,” too, readily speaks to us and it has been on Dudamel’s agenda for years. While performances of the complete play with the incidental music are rare, a half-hour concert version, also rare but less so, proves effective. Dudamel did it with the Berlin Philharmonic in June, a performance of which can be viewed on the orchestra’s Digital Concert Hall. The narrator is a young Austrian actor, Felix Kammerer, who is riveting (as he is in Guillermo del Toro’s “Frankenstein”). He adds a slight introduction revealing Egmont’s indecisiveness, but otherwise sticks to Goethe.
Cate Blanchett narrates Beethoven’s incidental music to “Egmont” with Gustavo Dudamel conducting the Los Angeles Philharmonic at Walt Disney Concert Hall.
(Elizabeth Asher / Los Angeles Philharmonic)
Harris, who is the author of “Slave Play,” has other elective affinities. He has created a new, effusively angry text for Blanchett. It begins as a dirge. Battalions are gathered on the banks of Portland, Ore.; Bethlehem; Charlotte, N.C.; Tehran; Minneapolis; Brussels. The Egmont Harris references is the historical one, not Goethe’s. The text become a bald call for action.
Much of it was lost to the audience, since reverberant amplification gave heroic heft to Blanchett’s voice at the cost of intelligibility. But her intensity, whether seated on the lip of the stage, where she begins, or standing in the organ loft where she winds up at the end, spoke for itself.
Beethoven’s music improves Goethe, extracting its humanity and frailty, and Dudamel’s performance probed its profound inevitability of good triumphing over evil. Soprano Elena Villalón added lithe touch to Klärchen’s songs, sung in their original German.
But Beethoven can do little for Harris’ and Blanchett‘s agitprop. Theirs is the necessity of the moment to act rather than indulge an Egmont who has to feel before he can respond. Although Blanchett was the joyless conductor in the film “Tár,” her curious little dance in the organ loft at the moment of musical triumph may have meant recovered joy or simply that the world, in which we are no longer one, has gone crazy.
Equally peculiar was a performance of Schumann’s Piano Concerto that served as transition from “Humboldt” to “Egmont.” One of the concerto highlights of Dudamel’s music directorship in L.A. is a performance, eight years ago, of the concerto’s mood-shifting eloquence, for which he and Mitsuko Uchida were in wondrous accord.
This time, the soloist was the stellar emerging pianist Yunchan Lim, who keeps to himself, either lost in dreamy reverie or, like a jumpy teenager, in ferocious attack mode. Having little choice, Dudamel let Lim be. Like Egmont, Lim’s glory may one day arrive when he can express purpose for his actions.
From “The Godfather,” “Apocalypse Now” and “Network” to “Widows,” these films capture the flinty grace of the Oscar winner, a combustible screen presence.
Slowly, LeBron James put on a pair of ice bath toe booties and dipped his left foot and then his right foot into a bucket that had been prepared for him following a Lakers game at Crypto.com Arena. His longtime personal trainer and athletic performance coach, Mike Mancias, next wrapped both of James’ knees and his back in ice.
James closed his eyes for a few seconds and leaned back in his chair as the media gathered around him for his postgame interview.
This was just another step James has taken to care for his body, a step that shows the lengths he takes in the maintenance of his 6-foot-9 frame that has helped him have an illustrious 23-year career, longer than any player before him.
“Obviously I didn’t know it would be 23 years. I didn’t know that, but I know I didn’t want to have no six- or seven-year career. I can’t become legendary in six or seven years,” James told The Times. “I always had a mission. When I knew I could play this game at a high level, like, going to Chicago and playing with MJ [Michael Jordan] and all those guys when I was a sophomore [in high school]. And then when I went up to Cleveland and played against the Cavs when I was a junior and I was like, ‘Oh … I belong. I belong.’ I knew I still had to learn and I still had to continue to get my body right, continue to learn the game and nuances.
“But I was playing against NBA guys for a long time and I was like, ‘If I get the opportunity to crack the league, if I get the opportunity to showcase what I’m able to do, the only thing that can stop me is if I don’t take care of my body. The only thing that can stop me from being the greatest or one of the greatest to ever play this game is if I do not take care of myself.’ I did take care of my body. That’s it.”
James’ dedication to self care has become legendary in the sporting world. He is known to invest moire than $1.5 million annually for a comprehensive approach to keeping his body fine-tuned.
James considers himself a biohacker: someone who uses science and technology to make their body function better and more efficiently.
He talked about using Normatec leg compression boots, hyperbaric chambers to restore oxygen, cryotherapy, red-light therapy and other cutting-edge technologies to maintain elite performances and longevity at the age of 41.
He talked about prioritizing sleep and nutrition, avoiding artificial sugars and fried foods.
When he missed the first 14 games this season because of sciatica, James cut back on drinking wine, one of his passions, in order to get his body back to full health.
“Obviously it’s gotten even more detailed as me and Mike have built a program,” James said. “It’s been 22 years of our program.”
LeBron James jokes with trainer Mike Mancias while sitting out a game with the Cavaliers in 2010 to rest for playoffs.
(Mark Duncan / Associated Press)
It has worked for James to the highest order, as he has become the leading scorer in NBA history with 42,975 points.
Though his streak of being voted as a starter to the All-Star team was snapped at 21 years in a row, James still extended his NBA record to 22 selections when the coaches voted him in as a reserve for the tournament that will be played Sunday at Intuit Dome.
Over his career, James said, he’s received plenty of offers to try new ways to do his physical therapy. For the most part, he has said no.
“It’s all type of … that is presented to you,” James said, smiling. “[People] are always trying to get you to do s—. But once we got the connection, it wasn’t really many people that we allowed to come and be in what we do. We had a couple of guys obviously throughout the process that helped along the way. But, nah, we knew what we wanted to do.”
When James was growing up in Akron, Ohio, and it became obvious he was athletic, he said his uncle, Curt, encouraged him to start taking care of his body immediately. His mother, Gloria, advised him to listen.
“I used to stretch before I went to bed and when I woke up, when I was like 10 or 11 years old,” James said. “My uncle Curt, my mom’s younger brother, used to make me do 100 calf raises a day and he used to make me do 50 pushups and 50 situps a day.”
James shook his head and laughed recalling those moments.
LeBron James glides past Kings forward DeMar DeRozan for a reverse dunk during a game in December.
(Eric Thayer / Los Angeles Times)
“He told me I had to get my calves stronger if I wanted to be great,” James said, smiling. “I never knew what that meant, whatever. But yeah, my uncle used to tell me to do that, and then a good friend of mine used to always tell me to stretch before I got in the bed and after I got out of the bed when I woke up the next morning. I don’t know, man. I’ve been doing this for a long time.”
At no time during all this did James know what that advice would mean for his future.
“No, but I had people that I trusted,” James said. “I was icing after every game my rookie year. I was 18 years old. I was icing after games when I was a high school senior, a high school junior. Like, I was lifting [weights] my senior year.”
James told a story about playing in an AAU tournament with Kendrick Perkins when he was 14 and how some players were sitting in the stands eating fast food.
“They were eating McDonald’s,” James said, smiling, “and I was eating fruits.”
Jason Kidd, the Hall of Fame point guard who’s now coach of the Dallas Mavericks, was an assistant with the Lakers when James led them to the 2020 championship, and the two were teammates on the 2008 USA Olympic team that won the gold medal in Beijing.
Kidd has watched how James is averaging 22 points on 50.2% shooting, 7.1 assists and 5.8 rebounds this season and can’t help but marvel at how he continues to be a highly effective player with so many miles on his body.
“He’s had some injuries, but he’s taken care of his body, he’s always prepared himself for the marathon,” Kidd said. “But I think it’s the mental side. I think that’s the hardest part is to wake up and say, ‘Do I need to go play against a 20-year-old or a 19-year-old?’ He’s won championships, he’s been MVP, he’s been the face of the league. He’s a billion-dollar company.
“So, it’s the mental side. Understanding that he loves competition and he loves the game of basketball. So I think for him to do it at 41 is incredible.”
When the Lakers faced Kidd’s Mavericks on Thursday night, James was back in the lab early getting his body ready about six hours before tipoff.
LeBron James talks with assistant coach Jason Kidd during a 2020 playoff game.
(Associated Press)
It didn’t matter that it was the last game before the weeklong All-Star break. In James’ eyes, if you take care of your body, it will take care of you.
“I woke up this morning, went straight downstairs, got a stretch, did a little activation, like a little small lil’ lift” of weights, James said after the game. “Then I iced after that. Then I used the Normatec to pump my legs for an hour. Then I took a nap in the hyperbaric chamber for an hour and a half. Then I got in the cold tub, again, before I came here. So, I started my process here when I got here at 1:15 and prepared for a 7 o’clock game. It’s just around the clock.”
And as it turned out, all his work led to yet another record for James.
His triple-double of 28 points, 12 assists and 10 rebounds made him the oldest player to accomplish the feat, pushing him past Karl Malone, who was 40 when he did it in November 2003.
And now comes another record with the All-Star Game.
RAPPING legend Cardi B has fallen off a chair during her live Valentines Day weekend concert in Las Vegas.
Dressed in racy red lingerie, Cardi, 33,was performing a rendition of Thotiana but continued singing while lying on the ground.
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Cardi B fell backwards out of a chair during her strip Valentines Day weekend concert in Las Vegas.Credit: megamedia_The rap star continued singing while lying on the ground before eventually pulling herself back up.Credit: megamedia_
Megamedia shared the moment on social media and captioned it: “That was the Government.”
Most of Diggs’ children were born within a few months of each other in 2025, fuelling intense speculation and online debate.
An insider told The U.S. Sun that she was fully aware of Diggs’ reputation from the start — and believes he has changed.
“Cardi has known since day one that Stefon had a reputation as a womanizer and had seen multiple women in the past, but her love for him is above all of that,” the source said.
“She knows he has been faithful since they made things official and that he’s been transparent about his previous relationships, only seeing her since they committed to each other.”
The insider added that while Cardi “hates all the drama,” she admires Diggs’ role as a father.
“She loves that he’s not a deadbeat dad,” the source said. “She believes he’s a present, loving, and supportive father.”
Cardi’s fans took to social media to praise the star for her sense of humourCredit: megamedia_She recently sparked rumours of a split from her baby daddy Stefon DiggsCredit: BackGrid
MILAN — He popped the quad axel. He stumbled across the ice. He tried to hide the pained expression.
Ilia Malinin fell apart in the men’s free skate, tumbling from near lock to win the gold medal to eighth place after a disastrous performance Friday. After his music ended, Malinin covered his anguished face. He put his hands on his knees, shook his head in disbelief and scrunched his face, hoping to hold back the tears.
It was the first time since November 2023 that he hadn’t won a competition.
“I just thought that all I needed to do was go out there and trust the process that I’ve always been doing with every competition,” Malinin said with tear-stained cheeks. “But, of course, it’s not like any other competition. It’s the Olympics.”
American Ilia Malinin reacts after stumbling through the men’s singles free skate at the Winter Olympics on Friday in Milan.
(Robert Gauthier/Los Angeles Times)
Malinin skated four times at the Milan-Cortina Games, helping the United States to a team gold medal with a clutch free skate that clinched the one-point win. But the 21-year-old had just one clean skate in his first Games experience. He explained his slow start during the team event as “Olympic nerves.”
There was no explaining away Friday’s flop.
“I think people only realize the pressure and the nerves that actually happen from the inside,” said Malinin, whose technical advantage was supposed to be insurmountable for his opponents. “It was really just something that overwhelmed me. I just felt like I had no control.”
After Malinin’s score was announced, Kazakhstan’s Mikhail Shaidorov covered his mouth in shock. He was the new Olympic champion. Shaidorov claimed his country’s first Olympic gold in figure skating. His coach held his arm up like a boxing champion as a legion of Kazakh fans seated in the corner above the kiss-and-cry booth where skaters wait for their score waved their country’s teal and yellow flags. Malinin hugged him. He pointed to Shaidorov’s chest.
“You deserve it,” Malinin said.
Japan’s Yuma Kagiyama shook off several falls in his program to fight for his second consecutive Olympic silver. His countryman Shun Sato was in tears after learning he took the bronze.
Ilia Malinin’s father, Roman Skorniakov, reacts during his son’s performance at the men’s singles free skate at the Winter Olympics on Friday in Milan.
(Robert Gauthier/Los Angeles Times)
The United States’ Andrew Torgashev finished 12th with his season’s best 259.06-point total. Maxim Naumov stumbled through several jumps in his free skate to finish 20th overall with a 223.36 point total. The 24-year-old who lost both parents in a plane crash last year earned a standing ovation from actor Jeff Goldblum, who was in the stands behind the judges.
As the groups progressed toward the medal contenders, the crowd filled Milano Ice Skating Arena to the brim. Fans in suites in the rafters leaned over glass panes to get a better look. Volunteers and arena workers stood at the top of the concourse with no open seats left to claim.
While rising to the top of the sport with his stunning jumps and crowd-pleasing backflip, Malinin said his mission was to boost the popularity of figure skating to get this kind of attention outside of just the Olympic stage.
But standing at the center of the ice as fans waved U.S. flags from every corner, Malinin, the “Quad God” who looked invincible just three months ago when he became the first person to land seven quadruple jumps in one program, felt scared.
“Especially going into that starting pose, I just felt like all the just traumatic moments of my life really just started flooding my head,” Malinin said. “It was just like so many negative thoughts that just flooded into there, and I just did not handle it.”
He started off the program with a strong quad flip. Then he bailed mid-air on his signature quad axel that he had yet to attempt in the Olympics. The crowd gasped. Panic started when Malinin downgraded a planned quadruple loop to a double two jumps later.
American Ilia Malinin falls while competing in the men’s singles free skate at the Winter Olympics in Milan on Friday.
(Robert Gauthier/Los Angeles Times)
Behind the boards, his father and coach, Roman Skorniakov covered his face. Coach Rafael Arutyunyan, who has worked with Malinin part-time since 2021, paced back and forth. He hit the padded boards for encouragement before Malinin lined up for a three-jump combination.
Malinin fell again.
The program couldn’t end soon enough just to allow the 21-year-old a chance to hide after years of being in the spotlight as the presumed next Olympic champion.
“Being the Olympic gold hopeful is really just a lot to deal with,” Malinin said, “especially for my age.”
Malinin’s free skate music includes self-narrated voiceovers telling the story of his personal journey growing in the sport. As it begins, he uncovers his face. His words echo over the speakers.“The only true wisdom,” Malinin says in the program, “is in knowing you know nothing.”
When the Justice Department released an additional 3 million pages of documents related to convicted sex trafficker Jeffrey Epstein at the end of January, ARTnews unearthed and published excerpts from dozens of emails between Epstein and David A. Ross, a former director of the Whitney Museum of American Art who started his career in the 1970s as deputy director and curator of video art at the Long Beach Museum of Art.
Ross, who served as the chair of the MFA art practice program at New York’s School of Visual Arts since 2009, promptly resigned.
If the emails had been less damning, the revelation of Ross’ connection to Epstein might have played out differently, but that was not the case. In one letter, dated Oct. 1, 2009, Epstein wrote to Ross that Roman Polanski’s attorney was coming to see him and that he was considering funding an exhibit titled, “Statutory.”
“Girls and boys ages 14 – 25, where they look nothing like their true ages,” Epstein wrote. “Juvenile mug shots, photo shop, make up. Some people go to prison because they can’t tell true age. Controversial. Fun. Maybe it should be a web page with hits, tallied.”
“You are incredible,” Ross wrote back. “This would be a very [sic] owerful and freaky book. Do you know that total porno commercial kiddie picture of Brooke Sheilds that Richard Prince appropriated for an exhibition in the early 1980’s?”
Epstein replied in the affirmative to Ross’ reference to a Prince photo titled, “Spiritual America,” which appropriated a 1976 photo of a naked, 10-year-old Shields taken by commercial photographer Gary Gross.
“They closed it off in the London show,” Epstein noted.
Ross also expressed sympathy for Epstein’s legal travails in 2009 following a 13-month sentence he served in Florida after pleading guilty to reduced state charges of procuring a minor for prostitution.
“Glad the nightmare is over, Jeffrey,” Ross wrote. “It was an undeserved punishment foisted upon you by jealous creeps.”
In an email to ARTnews, Ross expressed remorse that he “fell for” Epstein’s lies.
“Like many he supported with arts and education patronage, I profoundly regret that I was taken in by his story,” Ross wrote. “I continue to be appalled by his crimes and remain deeply concerned for its many victims.”
Ross noted that he first met Epstein when he was director of the Whitney in the mid-1990s. Ross also served as director of the San Francisco Museum of Modern Art and the Institute of Contemporary Art in Boston.
“I knew him as a wealthy patron and a collector, and it was part of my job to befriend people who had the capacity and interest in supporting the museum,” Ross wrote, adding that when Epstein was jailed in 2008, he told Ross that it was a political “frame-up” resulting from his support for former President Bill Clinton. Ross said he believed him.
It seems lots of men believed Epstein. Meanwhile, behind all the power lunches, private plane rides and callous late-night emails, far too many women and girls suffered.
I’m Arts editor Jessica Gelt with your arts and culture news for the week.
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Michael Feinstein and the Carnegie Hall Ensemble will perform Valentine’s Day at Segerstrom Hall in Costa Mesa.
(Segerstrom Center for the Arts)
Michael Feinstein: A Broadway Valentine The singer, musician, conductor and stalwart proponent of the Great American Songbook celebrates the holiday of the heart with the Carnegie Hall Ensemble. Timeless love songs and lush orchestrations seem like a perfect way to spend the evening. 7:30 p.m. Saturday, Segerstrom Center for the Arts, Segerstrom Hall, 300 Town Center Drive, Costa Mesa. scfta.org
A detail of miniature “sportraits” from Lyndon J. Barrois, Sr.’s exhibit, “Fútbol Is Life,” at LACMA.
(Allen J. Schaben / Los Angeles Times)
Fútbol Is Life: Animated Sportraits GOOOOOOOOAAAAAAAL! Ahead of this summer’s World Cup, with L.A. as one of 16 host cities across the U.S., Canada and Mexico, arrives this unique exhibition celebrating the beautiful game. Portraying transcendent moments in men’s and women’s soccer, award‑winning animator and visual effects artist Lyndon J. Barrois, Sr. fashions engrossing scenes in miniature from gum wrappers, glue, paint and other materials. The handmade sculptures and stop-motion animations on display bring together the visual and emotional elements that make it the world’s most popular sport. Jasmine Mendez spoke to Barrois about his process and Times photographer Allen J. Schaben provides more marvelous images. Sunday through July 12. LACMA Resnick Pavilion, 5905 Wilshire Blvd. lacma.org
The Academy Museum’s exhibition “Studio Ghibli’s Ponyo” opens Saturday.
(Nibariki-GNDHDDT)
Studio Ghibli’s Ponyo A deep dive into Hayao Miyazaki’s 2008 animated film about a goldfish who longs to be human honors the traditional hand-drawn animation processes used by its creators. The exhibition includes more than a hundred items handpicked by Studio Ghibli: art boards, posters, a Studio Ghibli animation desk and original hand drawings by Miyazaki and others. “Because writer-director Miyazaki very much follows his own star when it comes to story, narratives like ‘Ponyo’ remind you of no one else’s tales,” wrote Times film critic Kenneth Turan upon the film’s U.S. release. “Not only do they offer up fantastical images, like Ponyo running on the crests of waves, they make deep connections to our emotions without following conventional paths, using the logic of dreams to excellent effect.” Screening 2:30 p.m. Saturday; exhibition, Saturday through Jan. 10. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
The week ahead: A curated calendar
FRIDAY Nitrate Festival The American Cinematheque’s annual tribute to the beautiful, if highly volatile, film format that was used from the 1890s until the 1950s, offers audiences the rare opportunity to see this work on the big screen. The festival opens with the 1947 noir “Dead Reckoning,” starring Humphrey Bogart and directed by John Cromwell, and continues with William Wyler’s “The Good Fairy” (1935), Gregory La Cava’s “My Man Godfrey” (1936), William Wellman’s “Nothing Sacred” (1937), Mikio Naruse’s “Wife! Be Like A Rose!” (1935), David Lean’s “Blithe Spirit” (1945) and Cecil B. DeMille’s “Samson and Delilah” (1949). 7 p.m. Friday, through Feb. 22. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com
Foursome Matthew Scott Montgomery, Adrián Javier, Jimin Moon and Calvin Seabrooks star in Montgomery’s comedy about a quartet of queer friends who reunite for an emotionally fraught, desire-filled weekend at a cabin. Directed by Tom DeTrinis. Through March 23. Atwater Village Theatre, 3269 Casitas Ave. iamatheatre.com
Guards at the Taj Two sentries at the Taj Mahal have their friendship, faith and sense of duty challenged in Rajiv Joseph’s play set centuries in the past with contemporary resonance. Behzad Dabu and Kausar Mohammed star. Directed by Behzad Dabu. 8 p.m. Friday and Saturday; 2 and 7 p.m. Sundays, through Feb. 22 El Portal Theatre, 5269 Lankershim Blvd., North Hollywood elportaltheatre.com
Alfredo Rodriguez, left, and Pedrito Martinez will perform Friday at the Nimoy.
(Anna Webber)
Alfredo Rodriguez and Pedrito Martinez Pianist Rodriguez and percussionist-vocalist Martinez perform traditional Cuban songs, original compositions and some surprises. 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Incitation To The Dance A young man upends an older gay couple’s relationship in the world premiere of writer-director Michael Van Duzer’s dark comedy. Through March 15. Theatre West, 3333 Cahuenga Blvd. https://theatrewest.org/on-stage/incitation-to-the-dance
Roksana Pirouzmand The Iranian-born, L.A.-based multidisciplinary artist’s solo exhibition “everything was once something else” explores the contrasting properties forged by earth and fire through clay and metal works. Through April 11. Oxy Arts, 4757 York Blvd. oxyarts.oxy.edu
SATURDAY Attune 1.0 A free public light- and sound-art experience happens simultaneously across L.A. County locations presented by NXT Art Foundations with community support. 4:30-7:30 p.m. Barnsdall Park, East Hollywood; Sycamore Grove Park, Northeast Los Angeles ; Jessie Brewer Jr. Park, Exposition Park; Jane and Bert Boeckmann Park, Porter Ranch; Hansen Dam, Lake View Terrace; Leimert Park, South Los Angeles; Wende Museum, Culver City; Promenade Square Park, Long Beach; Tongva Park, Santa Monica and Loma Alta Park, Altadena. nowartpublic.com
Desert Dreams and Coastal Currents The exhibition tracks the concurrent emergent of artistic hubs in Southern California and the Southwest, featuring work by artists in areas such as Laguna Beach, and Taos and Santa Fe, N.M. The Autry, 4700 Western Heritage Way, Griffith Park. theautry.org
Wally Hedrick “Sex Politics Religion” is a two-venue retrospective of the Pasadena-born artist, who established himself in the burgeoning post-war San Francisco art scene. Hedrick eschewed “style” in favor of pursuing a vision including welded assemblage junk sculptures, Bauhausian abstraction, black monochromes, gestural figuration, graphic signage, pictographic diagrams and near-photorealism. Through April 4. Parker Gallery, 6700 Melrose Ave.; The Box 805 Traction Ave., downtown L.A. parkergallery.com
Honour The Ruskin’s grand opening on the Kaplan Stage features Joanna Murray-Smith’s drama on the precariousness of marriage, directed by Max Mayer and starring Marcia Cross, Matt Letscher, Ariana Afradi and Jude Mayer. 8 p.m. Thursdays-Saturdays; 2 p.m. Sundays, through March 22. Ruskin Group Theatre, 2800 Airport Ave., Santa Monica.
Artist Takashi Murakami.
(Shin Suzuki)
Takashi Murakami The new solo exhibition “Hark Back to Ukiyo-e: Tracing Superflat to Japonisme’s Genesis” features 24 paintings by the Japanese artist. 4-7 p.m. opening, free and open to the public; exhibition continues through March 14. Perrotin, 5036. W Pico Blvd. perrotin.com
Mythical Creatures: The Stories We Carry Immigrant narratives and pan-Asian mythology infuse this immersive exhibition featuring contemporary artists including Dinh Q. Lê, Dominique Fung, Lily Honglei, Greg Ito, Wendy Park, Momoko Schafer, Kyungmi Shin, Sanjay Vora and Lauren YS. Conceived by L.A.-based Korean American artist and muralist Dave Young Kim. Through Sept. 6. USC Pacific Asia Museum, 46 N. Los Robles Ave. Pasadena. pacificasiamuseum.usc.edu
PASSION + MYSTERY Los Angeles Chamber Orchestra, led by conductor Jaime Martín, celebrate Valentine’s Day weekend with Fauré’s “Pelléas et Mélisande” and Gernot Wolfgang‘s “Desert Wind,” and are joined by pianist Fazıl Say for Beethoven’s “Piano Concerto No. 3.” 7:30 p.m. Saturday. Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A.; 4 p.m. Sunday, The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laco.org
Red Harlem Four Black actors in 1932 Harlem are recruited by the Communist Party to make a film in the Soviet Union in Kimba Henderson’s drama based on true events. Directed by Bernadette Speakes. Through March 15. Company of Angels, 1350 San Pablo St. companyofangels.org
Retro Romantics: An Academy Film Archive Trailer Show in 35mm Vintage cinematic love stories unspool in their original abridged glory, seductively beckoning you to the movies. 7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
SUNDAY Black History Month at The Ebell Soprano Gertrude Bradley performs a tribute to Joel Graham, accompanied by pianist Greg Schreiner in an African Americans for LA Opera recital; and Inner City Youth Orchestra of Los Angeles (ICYOLA) salutes the 250th anniversary of the Declaration of Independence in “I, Too, Sing America,” a nod to the Langston Hughes poem. AALAO Recital, 12:30 p.m. Sunday; LA Voices: ICYOLA, 4:30 p.m. Sunday. Ebell of Los Angeles, 743 S. Lucerne Blvd. https://www.ebellofla.org/
Isidore String Quartet The group performs “Brahms: the Admirer,” an exploration of the composer’s work alongside complementary pieces by Bach and Beethoven. 3:30 p.m. Caltech Beckman Auditorium, 332 S. Michigan Ave. Pasadena. colemanchambermusic.org
What Happened to Flamenco Clap your hands as dancer and choreographer Fanny Ara brings the folkloric tradition to life. 7 p.m. Fountain Theatre, 5060 Fountain Ave. fountaintheatre.com
TUESDAY Seth MacFarlane The erstwhile animator, writer, producer, director, actor and comedian picks up the mic, backed by an orchestra, for a program dedicated to the music of Frank Sinatra. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com/events
WEDNESDAY I Love You, You’re Perfect, Now Change Barry Pearl directs the long-running off-Broadway musical comedy revue on modern love, featuring book and lyrics by Joe DiPietro and music by Jimmy Roberts to open ICT’s 41st season. Through March 8. International City Theatre, 330 E. Seaside Way, Long Beach. ictlongbeach.org
Patti LuPone The Broadway star marks the 25th anniversary of her “Matters of the Heart,” which ran on Broadway and London’s West End and toured the globe. 8 p.m. Segerstrom Center for the Arts, Segerstrom Hall, 300 Town Center Drive, Costa Mesa. scfta.org
Preservation Hall Jazz Band Can’t get to New Orleans for Mardi Gras? The Soraya brings it to the Valley via the deep roots of this legendary French Quarter ensemble. 8 p.m. The Saroya, 18111 Nordhoff Street, Northridge. thesoraya.org
Emma Elizabeth Smith as Catherine of Aragon in The North American touring company of “Six.”
(Segerstrom Center for the Arts)
Six The national tour of the Broadway musical by Toby Marlow and Lucy Moss, a modern pop take on the sextet of women who were the wives of Henry VIII. Through March 9. Hollywood Pantages Theatre, 6233 Hollywood Blvd.; March 10-15. Segerstrom Center for the Arts, 300 Town Center Dr., Costa Mesa. sixonbroadway.com
THURSDAY Compagnie Hervé Koubi: Sol Invictus The French-Algerian choreographer’s dance troupe performs “Sol Invictus,” with a score featuring music by Swedish composer Mikael Karlsson, minimalist composer Steve Reich and digital composer Maxime Bodson. 7:30 p.m. Friday and Saturday; 2 p.m. Sunday. February 19 – 21, 2026 The Wallis, 9390 N. Santa Monica Blvd. Beverly Hills. thewallis.org
Culture news and the SoCal scene
The cast of “Brassroots District” performs on Sunday.
(Gabriella Angotti-Jones/For The Times)
Features columnist Todd Martens checked out “Brassroots District: LA ’74,” a piece of immersive theater he describes as “part concert, part participatory theater and part experiment, attempting to intermix an evening of dancing and jubilation with high-stakes drama. How it plays out is up to each audience member. Follow the cast, and uncover war tales and visions of how the underground music scene became a refuge for the LGBTQ+ community. Watch the band, and witness a concert almost torn apart as a group on the verge of releasing its debut album weighs community versus cold commerce. Or ignore it all to play dress-up and get a groove on to the music that never stops.”
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The UCLA Hammer Museum has announced the winner of the $100,000 Mohn Award.
(Eric Staudenmaier)
Artist Ali Eyal, who grew up in Baghdad in the late 1990s and early 2000s during U.S. military operations in Iraq, is the recipient of the $100,000 Mohn Award, which honors artistic excellence, in conjunction with the Hammer Museum’s Made in L.A. 2025. In addition to the award money, the Hammer will produce a publication for Eyal. The Hammer also announced that sculptor Carl Cheng has been given the $25,000 Career Achievement Award; and that painter Greg Breda won the $25,000 Public Recognition Award.
The news out of the Kennedy Center continues to be grim. This week, Trump-appointed center president Richard Grenell sent an email to staffers informing them that significant cuts would be implemented when the center closes for renovations, beginning July 4. “Over the next few months, department heads and I will be evaluating the needs and making the decisions as to what these skeletal teams left in place during the facility closure and construction phase will look like,” Grenell wrote in the email obtained by The Times.
The donkeys are pissed off. Put upon, out of work and victims of decades-long systemic abuse, it’s time, they have decided, to protest.
The donkeys, metaphorically, are us.
At least that’s the premise of “asses.masses,” a video game played by and for a live audience. It’s theater for the post-Twitch age, performance art for those weaned on “The Legend of Zelda” or “Pokémon.” Most important, it’s entertainment as political dissent for these divisive times. Though the project dates to 2018, it’s hard not to draft 2026 onto its narrative. Whether it’s unjust incarceration, mass layoffs or topics centered around tech’s automation of jobs, “asses.masses,” despite generally lasting more than seven hours — yes, seven-plus hours — is a work of urgency.
The audience cheers various decisions made during the playing of “asses.masses” at UCLA Nimoy Theater.
(Myung J. Chun / Los Angeles Times)
And for the audience at the Saturday showing at the UCLA Nimoy Theater, it felt like a call to arms. Citizens executed in the street for exercising their right to free speech? That’s in here. Run-ins with authorities that recall images seen in multiple American cities over the past few months? Also in here, albeit in a retro, pixel art style that may bring to mind the “Final Fantasy” series from its Super Nintendo days.
In a city that’s been ravaged by fires, ICE raids and a series of entertainment industry layoffs, the sold-out crowd of nearly 300 was riled up. Chants of “ass power!” — the donkey’s protest slogan — were heard throughout the day as attendees politely gathered near a single video game controller on a dais to play the game, becoming not just the avatar for the donkeys but a momentary leader for the collective. Cheers would erupt when a young donkey reached the conclusion that “I kinda think the system is rigged against everyone.” And when technological advances, clearly a stand-in for artificial intelligence, were described as “evil, soulless, job-taking, child-killing machines,” there were knowing claps, as if no exaggeration was stated.
“Our theater is supposed to be a rehearsal for life,” says Patrick Blenkarn, who co-created the game with Milton Lim, interdisciplinary artists from Canada who often work with interactive media.
“We grew up in a radical political tradition of theater,” says Patrick Blenkarn, right, who co-created “asses.masses” with Milton Lim.
(Myung J. Chun / Los Angeles Times)
“We grew up in a radical political tradition of theater, where this is where we can rehearse emotional experience — catharsis,” Blenkarn says. “That is what art is supposed to be doing. We have been very interested in the idea that if we come together, what are we going to do and how are we going to do it? What we are seeing in your country, and other countries, is the question of how are we going to change our behavior, and will the people who currently have the controller listen? And if they don’t, what do we do?”
Video games are inherently theatrical. Even if one is playing solo on the couch, a video game is a dialogue, a performance between a player and unseen designers. Blenkarn and Lim also spoke in an interview prior to the show of wanting to re-create the sensation of gathering around a television and passing a controller back and forth among family or friends while offering commentary on someone’s play style. Only at scale. And while I thought “asses.masses” could work, too, as a solitary experience at home, its themes of collective action and reaching a group consensus, often through boos or shouts of encouragement, made it particularly well-suited for a performance.
The UCLA Nimoy Theater played host to “asses.masses” this weekend.
(Myung J. Chun / Los Angeles Times)
Beginning at 1 p.m. and ending shortly after 8 p.m., coincidentally, says Blenkarn, the length or so of a working day, not everyone made it to the “asses.masses” conclusion. About a quarter of the audience — a crowd that was clearly familiar with the multiple video game style represented in “asses.masses” — couldn’t stand the endurance test. But in a time of binge-watching, I didn’t find the length prohibitive. There were multiple intermissions, but those became part of the show as well, as there was no set time limit. Blenkarn and Lim were asking the audience, via a prompt on the screen, to jointly agree upon a length, emphasizing, once again, the importance of collective cooperation.
And “asses.masses” holds interest because it, in part, embraces the animated absurdity and inherent experimentation of the medium. While often in a retro pixel art style, at times the game shifted into a more modern open-world look. And the story veers down multiple paths and side-quests — some requiring wild coordination such as a rhythm game meant to simulate donkey sex, and others more tense, such as “Metal Gear”-like sneaking, complete with the donkeys hiding in cardboard boxes.
Audiences vote, often by cheering or booing, on choices in “asses.masses.”
(Myung J. Chun / Los Angeles Times)
The way “asses.masses” shifted tones and tenor recalled a game such as “Kentucky Route Zero,” another serialized and alternately realistic and fanciful game with political overtones. Other times, such as the surreal world of the donkey afterlife, I thought of the colorfully unpredictable universe of the music-focused game “The Artful Escape,” a quest for personal identity and self-actualization. The donkeys in “asses.masses” are an ensemble, often trying to steer the audience in different directions. As much as some push for a protest as a way for communal healing and progressive action, others take a cynical outlook, viewing that path as “intellectually compromised” by a “commitment to past ideals.”
The goal, says Lim, is to create a sort of game within a game — one that’s being played with a controller and one of debate among a crowd. “It’s not about having a billion endings,” Lim says. “We understand it’s a theater show, and we as writers have objectives for what we want it to go towards. But the decisions people make in the room really matter. The game is half in the room and half on the screen.”
The audience, for instance, can play a role in keeping certain donkeys alive. Or what jobs a group of renegade donkeys may choose. Our audience voted for the donkeys to enter the circus, at least until they were deemed obsolete and sent to detention centers, which felt uncomfortably of the moment. Such topicality is what drew Edgar Miramontes, leader of CAP UCLA, to the show, despite his admittance to being largely unfamiliar with the world of video games.
“It doesn’t shy away from the nuances of when organizing happens and what we’re seeing in our world right now,” Miramontes says. “There are instances in which a donkey may die because, in organizing to achieve their goals, these things happen. We have seen this in our Civil Rights Movement and other movements and the current movement that’s happening right now around ICE.”
The Nimoy event, part of UCLA’s current Center for the Art of Performance season, was the 50th time “asses.masses” had been performed. The show will continue to tour, with a performance in Boston set for this upcoming weekend and it will reach Chicago later this year. Our donkeys on Saturday didn’t solve all the world’s inequalities, but they did live full lives, attending raves, engaging in casual sex and even playing video games.
A player celebrates during “asses.masses,” live action theatrical video game.
(Myung J. Chun / Los Angeles Times)
The show is an argument that progress isn’t always linear, but community is constant. As one of the donkeys says at one point, “If you aren’t doing something that brings you joy, do something different.”
“In case anyone is like, ‘I don’t want to be lectured at,’ or I don’t want to do all this work, it feels like you’re just having fun with friends,” Lim says. “Maybe revolution doesn’t always look like just this. Maybe it’s also this.”
And like many a video game, maybe it’s a chance to live out some fantasies. “We do beat up riot cops in the game,” Blenkarn says, “in case anyone is hoping for that opportunity.”
This season’s Oscar nominees for film editing have one thing in common: coping with trauma. The Envelope invited editors from each film to break down a pivotal scene that showcased their craft.
‘F1’
“F1” builds momentum for its underdog tale with an intricately constructed racing montage.
(Warner Bros. Pictures)
Editor: Stephen Mirrione Scene: The montage in which Brad Pitt’s washed-up racer Sonny Hayes begins his winning streak through a momentum-building Grand Prix swing.
“There were more than a dozen structural versions of how we were getting through this story,” said Oscar winner Mirrione (“Traffic”). The three-minute, high-octane montage benefited from 5,000 hours of footage, captured with 20 cameras around the tracks. It was treated like a massive puzzle, with the racing order moved around for maximum impact. The key was seamlessly integrating in-camera footage with broadcast footage from actual races that offered happy accidents such as rain and a crash. “At one point, it was more focused on rookie driver Joshua [Damson Idris],” added Mirrione. “But then we realized that Sonny was more interesting, visually, in terms of his arc about dealing with the trauma of his near-fatal crash. And then once we saw it in context, it was not just about the two of them and their rivalry but also the team coalescing around Sonny.”
‘Marty Supreme’
A dinner in “Marty Supreme,” starring Timothée Chalamet as Marty Mauser, leads to a startling flashback.
(A24)
Editors: Ronald Bronstein, Josh Safdie Scene: The jarring dinner scene/Holocaust flashback introducing nasty businessman Milton Rockwell (Kevin O’Leary)
In this scene from the 1950s-set psychological drama, we get a glimpse of Marty’s (Timothée Chalamet) motivation for his obsessive pursuit of table tennis: Jewish pride and survival instinct. “The adversarial impulse of the Rockwell dinner scene involves several characters, each with a distinct subjective agenda,” said Bronstein. “The act of cutting the scene [with close-ups and extreme close-ups] became inseparable from its sensations and emotions.” Yet Bronstein pushed it to extremes with the bizarre Auschwitz flashback involving Marty’s dinner guest, Béla (Géza Röhrig). Thanks to his table tennis prowess, Béla disarms bombs for the Nazis in the woods. But when he discovers a beehive, he shares the honey with his fellow prisoners by smearing it over his body. “That’s like a carrot on a rope that’s hanging in front of me at all times, and when I get to the end of that exchange, I’m allowed to break free and go into an entirely new set of tools, which are much more expressive,” added Bronstein.
‘One Battle After Another’
Leonardo DiCaprio as Bob Ferguson, nearing the conclusion of “One Battle After Another’s” climactic car chase.
(Warner Bros. Pictures)
Editor: Andy Jurgensen Scene: The climactic roller-coaster car chase
Jurgensen assembled the best VistaVision car chase in history for Paul Thomas Anderson‘s turbulent father-daughter actioner. That’s where teenage Willa (Chase Infiniti) becomes the hero by outsmarting and killing the hired muscle (John Hoogenakker), who chases her up and down the rolling hills followed closely by Willa’s flummoxed ex-revolutionary dad, Bob (Leonardo DiCaprio). Shot at shaky high speeds, the scene actually took shape as a result of the unique San Diego location called the Texas Dip, which looks epic in the 8 perf/35mm horizontal format. The Hitchcockian cross-cutting among the three cars, favoring Willa’s POV, was achieved with close-ups from rearview and side mirrors. The layering of the propulsive soundscape and Jonny Greenwood’s percussive score completed the adrenaline rush. But the tender father-daughter reunion at the end required reshooting. “The moment Bob pulled up to the crash site, when we first did the scene, he ran over to her right away, and they embraced,” Jurgensen recalled. “When we watched the dailies, it just didn’t feel authentic. So we reshot it with more meat: Willa second-guessing everybody and Bob having to earn her trust by proving his identity with the secret code.”
‘Sentimental Value’
Renate Reinsve’s Nora plays a part in her father’s new film in “Sentimental Value.”
(Kaspar Tuxen Andersen)
Editor: Olivier Bugge Coutté Scene: Actor Nora Borg’s (Renate Reinsve) early stage fright breakdown
Joachim Trier’s family drama finds Nora confronting the Borgs’ generational trauma when she reunites with her estranged director father, Gustav (Stellan Skarsgård). After an opening montage on the layered history of their Oslo home, which Nora once wrote about in a school essay, our introduction to the adult Nora is conveyed by the chaos and humor of her panic attack before a performance. But finding this arresting sequence first required trimming a very long setup of patrons entering the theater and sitting down, and the camera discovering Nora, frozen in fear, in the back of the dark stage. “It was so boring,” Coutté insisted. “But here we’re starting right on Nora’s face. Where are we? Has she become an actress? And then you slowly understand. There are no rules; just rhythm.”
‘Sinners’
Jayme Lawson performs “Pale, Pale Moon” in a pivotal scene from “Sinners.”
(Warner Bros. Pictures)
Editor: Michael P. Shawver Scene: Pearline’s (Jayme Lawson) violence-inducing “Pale, Pale Moon” performance
In Ryan Coogler’s Imax spectacle, where the blues collides with vampires, the monstrous transformation commences with Pearline’s siren call: “Pale, Pale Moon.” This was Shawver’s boldest sequence, cross-cutting her mesmerizing performance with the rhythmic crowd stomping, the brutal beating of a card cheater and newbie vampire Mary (Hailee Steinfeld) seducing and murdering Stack (Michael B. Jordan). “When this was first cut together, it was about three or four times as long as the actual song that had been recorded and performed,” explained Shawver. “And so Ryan watched it and he liked what he saw, but he wanted to cut it to the length of the song. That first moment I wondered if I was the right editor, but that fear and anxiety gives you a bit of freedom to find those spiritual connections that built to this climax at the end. It was really just about Ryan’s ability to engage audiences on a personal level and unlock those things and find the ways that they can go together.”
MILAN — Ilia Malinin leaned his head back and wagged his tongue. This perhaps wasn’t the start to his Olympic career that he wanted.
The 21-year-old took it easy in the short program of the team figure skating competition Saturday, forgoing his signature quad axel, but even with a watered-down routine, the “Quad God” looked shockingly mortal.
He finished second in the short program after struggling on multiple jumps, trailing Japan’s Yuma Kagiyama’s electrifying performance by almost 10 points. The United States still enters the final day of the team competition with a five-point lead after Madison Chock and Evan Bates dazzled in the free dance with 133.23 points that earned first place.
The three-time reigning world champions swept both dance programs in the team event to pace the United States to a 44-point team total. The Americans lead second-place Japan (39 points) and third-place Italy (37) before Sunday’s medal event that will feature men’s, women’s and pairs free programs. The United States has not named the skaters who will perform Sunday’s long programs.
Ilia Malinin said he simply was managing his energy to prepare for the individual event, which begins Tuesday.
(Matthew Stockman / Getty Images)
Bates pumped his fist at the end of the free dance. The seven-time U.S. champions have increased their scores for the bull and matador-themed program at each international competition they’ve performed at this season. Malinin, sitting in the U.S. box on the side of the rink, high-fived his teammates at the end of the stellar program and waved a large American flag along with singles skaters Alysa Liu and Isabeau Levito.
Almost as much as his own performances, the unique environment of an Olympic Games is what he has been dreaming about since he started his rise to the top.
“It was such an unreal moment coming to the Olympics,” Malinin said. “Everyone has been talking about the Olympics for years, ever since I started skating from a young age. … Really just being out there on that Olympic ice was just the best moment of itself.”
Malinin, who earned nine team points for his second-place finish in the short program, entered his first Olympics as the overwhelming favorite to win individual gold. With his unmatched technical skill, it likely would take multiple mistakes from Malinin and perfect performances from his competitors for him not to claim the United States’ second consecutive men’s singles gold medal.
But to become just the second skater to win two golds in the same Games, Malinin may need help from his teammates after he fell short of the lofty expectations Saturday.
Malinin planned to open with his quad axel in combination with a triple toe loop but settled only for a quad flip. He got a negative grade of execution on his triple axel. He underrotated a quad lutz that he connected to the previously left out triple toe loop.
“Of course, it wasn’t the perfect ideal 100% skate that I would [have] wanted to have,” Malinin said, “but for the standard I set myself today, I think I achieved that.”
Malinin’s Olympic standard is a slow-play progression, he said. He wanted to be at about 50% of his capacity in the team event to manage his energy to prepare for the individual event, which begins Tuesday.
Kagiyama highlighted Japan’s performances Saturday, pumping both fists after his program. As the crowd showered him with applause, he spread his arms wide and threw his head back. When he looked at his teammates cheering from the sideline he jumped in excitement. He stood up in shock when his score of 108.67 flashed across the screen.
Waiting for his turn to finish the competition, Malinin appreciated Kagiyama’s moment. He wasn’t intimidated by his opponent’s success.
“So inspired,” Malinin said. “He just went out there. He looked so happy. He looked like he was enjoying every single moment. I’m so happy for him. It’s just so unreal that all of us come out here on this Olympic stage and really feel so much energy, so much excitement.”
While Malinin is undefeated in individual events since November 2023, he hasn’t been perfect. He was third after the free program in the Grand Prix Final in December, the last major international competition before the Olympics.
He answered in the free skate by becoming the first person to land seven clean quad jumps in a single program.
A few months back, a discussion broke out in the De Los chat about whether or not Bad Bunny would win album of the year at the 68th Grammy Awards for his LP “Debí Tirar Más Fotos.”
I was firmly in the “yes” camp from the day the nominations were announced and I was right!
But if I’m being honest, I had my doubts that it would happen until the second that presenter Harry Styles called out the Puerto Rican singer’s name Sunday night.
Those in the “no” camp — who were still rooting for him to win — had history in their favor. It’s so rare for any major awards show, but especially the Grammys, to recognize artists at the peak of their powers. It’s almost as if these voting bodies feel that some (usually Black) artists must go through a weird humiliation ritual before being deemed worthy.
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Fidel Martinez delves into the latest stories that capture the multitudes within the American Latinx community.
Really it was less so that I believed Bad Bunny would win as much as I felt that he needed to win.
The past year has been exceedingly trying for the Latinx community as Immigration and Customs Enforcement raids have been conducted throughout the country. It has oftentimes felt as though being Latinx — looking a certain way, speaking Spanish, having certain names — is a crime. I don’t know how many times I’ve seen videos of or heard heartbreaking stories of Latinx people being separated from their families, harassed or even killed due to activities of federal agents.
So even if it was just a moment of recognition for Bad Bunny, I had a lot riding on one win for Latinx people. A win for an album that is unapologetically in Spanish, explored ideas of resistance toward colonization and dared to be joyful, would mean something to me.
When he won, I had the same reaction as him. I couldn’t believe it and I cried — genuine tears in my Latina eyes.
It felt like an acknowledgment that Latinx people exist and matter. I was also moved when he explicitly shouted out immigrant and Latinx communities. There was just something that felt radical, too, in him giving the majority of his acceptance speech in Spanish.
De Los writer Andrea Flores also had faith in Bad Bunny’s Grammys viability from the very beginning.
“I knew Bad Bunny was going to win big at the Grammy Awards the moment he released this album,” she told me. “Bad Bunny made music for Puerto Rico, and the world listened.”
“I cried when I saw that Bad Bunny won album of the year. For me, it felt like sweet vindication for Latinx artists — reggaetoneros, more specifically — who have long been ignored, and at times vilified, by mainstream media for so many years. But what made me even more emotional was seeing posts on X showing Bad Bunny in 2016 as a bag boy at a local Puerto Rican supermarket. He looks familiar in that picture, like a cousin, brother or childhood friend. That was only 10 years ago. It’s proof to me that so much can change if you believe in your art and in yourself.”
It’s weird that a Latinx artist from an American colony is the most powerful cultural figure in the country at the same time that Latinx people face the most tenuous situation in the U.S. that I’ve seen in my life.
When Bad Bunny takes the stage for the Super Bowl halftime show on Sunday, I wish he’d get up there and call out ICE again on an even-bigger stage or do some kind of spectacular act of protest against the vile political class that has always and continues to push through discriminatory policies against non-white communities.
It’d be awesome if that happens, but even if it doesn’t, there will still be something profoundly radical about him simply being there and performing exclusively in Spanish.
(Jackie Rivera / For The Times; Martina Ibáñez-Baldor / Los Angeles Times)
The latest on Trump’s immigration enforcement
(Joel Angel Juarez / Getty Images)
After killing two U.S. citizens, forcibly extracting immigrants and using force against protestors, some 700 federal agents are being pulled out of Minnesota. About 2,000 officers will remain in the state, White House border czar Tom Homan said early this week.
On Tuesday, immigration officers in Minneapolis pulled their guns on and arrested protestors who were trailing their vehicles, the AP reported.
The duo was released thanks to a ruling from the U.S. District Judge Fred Biery.
“[T]he case has its genesis in the ill-conceived and incompetently-implemented government pursuit of daily deportation quotas, apparently even if it requires traumatizing children,” the judge wrote in his ruling.
Stories we read this week that we think you should read
Unless otherwise noted, stories below were published by the Los Angeles Times.
Just five days after Philip Glass, one of the world’s most famous and revered living composers, canceled the world premiere of his “Lincoln” symphony at the Kennedy Center, President Trump announced he would close the nation’s premier arts center for two years for major renovations.
The arts world — already spinning from the sweeping changes to the venue that began almost a year ago when Trump fired the board and installed himself as chairman — was gobsmacked by the shocking news. And although the president said in a social media post that the closure was about building a “World Class Bastion of Arts, Music, and Entertainment, far better than it has ever been before,” speculation abounded that the unexpected move was more about saving face.
Embarrassment could have been a factor in the rash decision, but Trump is not a man who appears to be afflicted by that particular emotion, which takes its cue from a certain amount of self-awareness and humility. For this reason, I am venturing another guess about the president’s motive for pulling the rug out from under the storied venue: retribution.
If ungrateful artists don’t want to play at the Kennedy Center, the Kennedy Center will no longer be around for them to use. Take that.
The Kennedy Center was supposed to mark a vainglorious Trump’s ascendance to the pinnacle of cultural cachet, but instead the culturati shunned and humiliated him — refusing to join his party. New York City high society did the same before he was president. It was a pattern both familiar and painful. So Trump, like the man-child he is, took his ball and went home.
In this case, that ball happens to be the complex that serves as the symbolic seat of the nation’s vibrant, messy, questioning, deeply political and hugely alive arts and culture scene. To lose access to this beating heart — and all that it represents — is a grievous loss for our national identity. Its meaning was enshrined in President Kennedy’s vision for the center, and written on its walls, as the realization of a country, “which commands respect throughout the world not only for its strength but for its civilization as well.”
Like many of Trump’s controversial construction projects, the wholesale re-imagining of the Kennedy Center will likely face immediate and lengthy pushback in court. This could mean that it never gets done, and the center remains closed indefinitely. Or we could wake up tomorrow to news that bulldozers have arrived onsite and have begun the process of razing architect Edward Durell Stone’s historic 1971 building — as happened with the East Wing of the White House.
Roma Daravi, the center’s vice president of public relations, wrote in an email that the renovations would include, “Repairing and, where necessary, replacing elements on the exterior of the building to ensure the long-term preservation and integrity of the structure,” as well as getting the building up to code and making fixes to the center’s “HVAC, plumbing, electrical, fire protection, vertical transportation systems, and technical stage systems,” as well as improving parking. She also wrote that the center, which hosts 2 million visitors annually, is working closely with the National Symphony Orchestra, and will “continue to support them with funding at the same level as recent years.”
Nonetheless, the most frightening thing about this new era under Trump is that anything is possible, and we sometimes don’t know exactly what that means until it is far too late.
I’m Arts Editor Jessica Gelt, and here’s your arts and culture news for the week.
On our radar
Yunchan Lim performs next weekend with the L.A. Philharmonic.
(LA Phil)
Dudamel Conducts Beethoven and Lorenz Playwright Jeremy O. Harris reconceptualizes Johann Wolfgang von Goethe’s play “Egmont,” with narration by actor Cate Blanchett and maestro Gustavo Dudamel leading the Los Angeles Philharmonic in Beethoven’s complete incidental music. The evening begins with the world premiere of Ricardo Lorenz’s “Humboldt’s Nature,” inspired by the South American travels of philosopher and naturalist Alexander von Humboldt, followed by 2022 Van Cliburn winner Yunchan Lim performing Robert Schumann’s “Piano Concerto in A minor, Op. 54.” 8 p.m. Thursday; 11 a.m. Feb. 13; 8 p.m. Feb. 14; 2 p.m. Feb. 15. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com/events
A scan of the face Nes-Hor, an ancient Egyptian priest whose mummy is featured in “Mummies of the World: The Exhibition” at the California ScienceCenter.
(California ScienceCenter)
Mummies of the World The scientific study of naturally and intentionally preserved corpses illuminates the lives of ancient people, past cultures and the present in this exhibition that includes more than 30 real-life mummies. 10 a.m.-5 p.m., through Sept. 7. California ScienceCenter, 700 Exposition Park Drive. californiasciencecenter.org
Ann Noble as “Richard III” at A Noise Within.
(Daniel Reichert)
Richard lll Guillermo Cienfuegos directs this fast-paced reinterpretation of William Shakespeare’s history play, reset in 1970s Britain with Ann Noble in the title role as one of the most fascinating villains ever. Sunday through March 8. A Noise Within, 3352 E. Foothill Blvd., Pasadena. anoisewithin.org
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The week ahead: A curated calendar
FRIDAY The Abduction from the Seraglio Pacific Opera Project performs its “Star Trek”-themed parody of Mozart’s in L.A. for the first time in a decade. 7:30 p.m. Friday and Saturday; and 3 p.m. Sunday. Thorne Auditorium, Occidental College, 1600 Campus Road. pacificoperaproject.com
Thomas Adès and Yuja Wang Composer Adès leads the L.A. Phil in Tchaikovsky’s “Francesca da Rimini , Op. 32,” the U.S. premiere of William Marsey’s “Man With Limp Wrist” and Adès own work “Aquifer”; and pianist Wang performs Prokofiev’s “Piano Concerto No. 2 in G minor, Op. 16.” 8 p.m. Friday; 2 p.m. Saturday and Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Rickie Lee Jones performs Friday and Saturday at the Wallis.
(Amy Harris / invision/ap)
Rickie Lee Jones The singer, musician and songwriter brings her genre-defying vocals, crisscrossing rock, R&B, pop, soul and jazz, to the Wallis for two shows. 7:30 p.m. Friday and Saturday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Laguna Beach Music Festival Violinist Stefan Jackiw is joined by Kevin Ahfat on piano, the Parker Quartet and story artist Xai Yaj for a program featuring Beethoven and Janáček on Friday; and on Saturday, Jackiw, Ahfat and the Parker Quartet, along with clarinetist Yoonah Kim and musicians from the Colburn School perform works by American composers Florence Price, Leonard Bernstein, Eric Nathan and Aaron Copland, conducted by Steven Schick. 8 p.m. Friday; 7 p.m. Saturday. Laguna Playhouse, 606 Laguna Canyon Road, Laguna Beach. philharmonicsociety.org
SATURDAY asses.masses Patrick Blenkarn and Milton Lim’s immersive, eight-hour video game experience — with intermissions, refreshments and a meal included — involves unemployed donkeys demanding that humans surrender their machines and give the animals back their jobs. 1 p.m. Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Chicano Camera Culture: A Photographic History, 1966 to 2026 The exhibition examines Chicana/o/x lens-based image-making through 150 works by nearly 50 artists. Through Sept. 6. The Cheech, 3581 Mission Inn Ave., Riverside; through July 5. Riverside Art Museum, 3425 Mission Inn Ave. riversideartmuseum.org
Katie Holmes stars in “Hedda Gabler” at the Old Globe Theatre in San Diego.
(Jan Welters)
Hedda Gabler Katie Holmes headlines this new version of Henrik Ibsen’s classic drama adapted by Erin Cressida Wilson and directed by Barry Edelstein. Through March 15. Old Globe Theatre, 1363 Old Globe Way, San Diego. theoldglobe.org
Just Me – Pico Union This concert by the award-winning ensemble Tonality, led by founder and Artistic Director Alexander Lloyd Blake, honors and shares the stories of transgender and non-binary individuals. 7 p.m. Saturday. The Pico Union Project, 1153 Valencia St., Los Angeles. ourtonality.org
Mandy Patinkin in Concert: Being Alive The stage-and-screen star, accompanied by Adam Ben-David on piano, performs Broadway and classic American tunes written by Irving Berlin, Stephen Sondheim, Cole Porter and Harry Chapin. 8 p.m. Saturday. Carpenter Center, 6200 E. Atherton St., Long Beach. carpenterarts.org
The orchestral collective Wild Up performs Saturday at the Broad.
(Ian Byers-Gamber)
Wild Up The orchestral collective presents “The Great Learning, Paragraphs 2 and 7” by Cornelius Cardew, a community collaboration with 30 pre-appointed non-musicians. 8 and 10 p.m. Saturday. The Broad, 221 S. Grand Ave., downtown L.A. thebroad.org
SUNDAY From Fugue to Fantasia: Debussy, Mozart, and More Colburn alum and violinist Blake Pouliot is joined by Jonathan Brown on viola and percussionist Matthew Howard. 4 p.m. Sunday. Thayer Hall, Colburn School, 200 S. Grand Ave., downtown L.A. colburnschool.edu
MONDAY American International Paderewski Piano Competition Twenty-five young professional pianists vie for a $10,000 grand prize named for Ignacy Jan Paderewski, a celebrated European concert pianist and composer, who helped lead Poland’s battle for independence after World War I and later served as the nation’s prime minister. 1 p.m. Monday-Wednesday; 11 a.m. Feb. 13 and 5 p.m. Feb. 14. Murphy Recital Hall, Loyola Marymount University, 1955 Ignatian Circle. paderewskimusicsociety.org
Right in the Eye Jean-François Alcoléa, Fabrice Favriou and Thomas Desmartis play more than 50 instruments in this live concert, designed by Alcoléa, that serves as a soundtrack for 12 silent shorts by pioneering filmmaker Georges Méliès. 7 p.m. Monday. USC Cinematic Arts, Norris Cinema Theatre at the Frank Sinatra Hall, 3507 Trousdale Parkway. https://cinema.usc.edu/events/event.cfm?id=72935
TUESDAY House on Fire The new music trio of Andrew Anderson, Wells Leng and Richard An perform a program of works for pianos, keyboards and other instruments by Tristan Perich, Erin Rogers, Matthias Kranebitter, Yifeng Yvonne Yuan, Erich Barganier, and group members An and Leng 8 p.m. Tuesday. 2220 Arts + Archives, 2220 Beverly Blvd. pianospheres.org
sex, lies and videotape The Los Angeles Film Critics Assn. presents a screening of Steven Soderbergh’s breakout 1989 indie starring James Spader, Andie MacDowell, Peter Gallagher and Laura San Giacomo with Giacomo in conversation with critic Lael Loewenstein. 7:30 p.m. Tuesday. Egyptian Theatre, 6712 Hollywood Blvd. egyptiantheatre.com
WEDNESDAY Amadeus A new production of Peter Shaffer’s music-infused drama stars Jefferson Mays as Salieri, Sam Clemmett as Mozart and Lauren Worsham as Constanze, with Tony Award winner Darko Tresnjak directing. The Pasadena Conservatory of Music will offer 10-minute Micro Mozart Concerts before every performance Wednesday through March 8. Pasadena Playhouse, 39 S. El Molina Ave. pasadenaplayhouse.org
Yefim Bronfman The pianist performs works by Schumann, Brahms, Debussy and Beethoven in a Colburn Celebrity Recital. 8 p.m. Wednesday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Here Lies Love Snehal Desai directs an all-new production of the musical about former First Lady of the Philippines Imelda Marcos, with concept, music and lyrics by David Byrne and music by Fatboy Slim and choreography by William Carlos Angulo. Through March 22. Mark Taper Forum, 135 N. Grand Ave., downtown L.A. centertheatregroup.org
THURSDAY Intersect Palm Springs Arts + Design Fair Collectors, designers and curators convene in the Coachella Valley to present new work and share ideas with one another and the public. 4-6 p.m. VIP only and 6-8 p.m.Thursday; 11 a.m.-6 p.m. Feb. 13-15; 11 a.m.-5 p.m. ; Feb. 16. Palm Springs Convention Center, 277 N. Avenida Caballeros. intersectpalmsprings.com
Culture news and the SoCal scene
More on the Kennedy Center Times classical music critic Mark Swed weighed in on the Kennedy Center’s closure with a deeply knowledgeable piece about the history of the storied venue, and how it has always been a place marked, and sometimes marred, by politics — just never in this way. “The Kennedy Center proved political from Day 1. Leonard Bernstein was commissioned to write a theatrical piece for the center’s opening in 1971, which turned out to be an irreverent ‘Mass’ — musically, liturgically, culturally and, most assuredly, politically. Most of all it was an unmistakable protest against the Vietnam War. In his own protest, President Nixon stayed home,” Swed writes.
Many nights at the opera Meanwhile, arts and entertainment writer Malia Mendez penned a lovely piece announcing L.A. Opera’s 2026-27 season — the first under its new music director, Domingo Hindoyan, who takes over after longtime leader James Conlon steps down. Fun fact: Hindoyan and soon-to-depart Los Angeles Philharmonic music director Gustavo Dudamel have been friends since their days together in Venezuela’s world-renowned youth orchestra El Sistema.
Mark your calendar On Thursday, Malia scored another exclusive, reporting on LACMA’s announcement that the David Geffen Galleries, the pinnacle of a two-decade campus transformation, will officially open April 19. Museum members will have two weeks of priority access to the galleries, with general admission beginning May 4. It was nearly a decade ago that business magnate David Geffen made a record-high $150-million donation toward the construction of a new museum building to be designed by Pritzker Prize-winning architect Peter Zumthor. The $720-million structure will serve as the new home for LACMA’s permanent collection with 90 exhibition galleries organized thematically rather than by medium or chronology. “It’s kind of a worldview,” LACMA Director and Chief Executive Michael Govan told The Times. “It’s big enough that it can hold the world.”
Will Swenson stars as “Sweeney Todd” at the La Mirada Theatre for the Performing Arts.
(Jason Niedle / TETHOS)
A bloody good time Comedian, musical theater star and “Seinfeld” alum Jason Alexander directed a revival of “Sweeney Todd: The Demon Barber of Fleet Street” at La Mirada Theatre for the Performing Arts, and Times theater critic Charles McNulty was there to catch it. “Alexander’s production of ‘Sweeney Todd’ has breadth and heft, but also intimacy and lightness,” McNulty writes in his review.
New Hammer hires Exciting staffing news arrives from the Hammer Museum at UCLA, which announced two new leadership appointments: Michael Wellen has been named the museum’s new chief curator; and Regan Pro is being brought on in the newly created role of chief of learning, engagement, and research, taking the lead on public programs and community partnerships, as well as K-12, family, and university initiatives. Both new hires will report to museum director Zoë Ryan. Wellen arrives from London’s Tate Modern where he is currently senior curator of international art; and Pro is a longtime arts leader and educator who most recently served as the deputy director of public programs and social impact at the Lucas Museum of Narrative Art.
Alexander Shelley has been named music director of Pacific Symphony.
(Curtis Perry)
Taking the baton Pacific Symphony announced its 2026-27 Classical Series, marking the orchestra’s 48th season, and its first under the leadership of its new artistic and music director, Alexander Shelley. The season’s two opening programs will celebrate the 20th anniversary of the Renée and Henry Segerstrom Concert Hall, and the 40th anniversary of Segerstrom Center for the Arts. The opening night celebration in September features violinist Joshua Bell, after which Shelley will guide the season through a series of classic works, beginning with Mahler’s Second Symphony. A season highlight will be a program called America 250, which celebrates the country’s semiquincentennial and includes work by Leonard Bernstein, Igor Stravinsky and Aaron Copland. Also on the calendar: John Adams’ Pulitzer Prize-winning opera, “Nixon in China,” and a two-week Beethoven Revolution Festival.
Last Tuesday, Philip Glass withdrew the delayed premiere in June of his latest symphony, No. 15. Originally meant to celebrate the 50th anniversary of the John F. Kennedy Center for the Performing Arts in 2022, it is a portrait of Abraham Lincoln, but the composer decided the values of the current Kennedy Center were “in direct conflict to the message of the symphony,” which is inspired by Lincoln’s 1838 Lyceum Address.
In rebuke to Glass, Kennedy Center spokesperson Roma Daravi’s quick response was: “We have no place for politics in the arts.”
Two nights later, the chairman of the Kennedy Center board (who also happens to be president of the United States) hosted at the “no place for politics” center a bevy of Republican politicians and donors for the gala premiere of “Melania,” a documentary about and produced by his wife, the first lady.
Three days after that, the president, with no warning to Congress (which administers the Kennedy Center), center staff or the public, announced on his social media platform that he would close the facility July 4 for two years to undertake a major renovation. This may get the center off the hook for putting together a new season, what with all its departures (voluntary and not) of competent artistic directors, but it also means the center’s one remaining major institution, and its crown jewel, the National Symphony, is suddenly homeless.
The fact is, the Kennedy Center has always been political. The same goes for orchestras. And Lincoln’s seeming role as a symphonic football is nothing new, either.
But political doesn’t — or, at least, once didn’t — necessarily imply partisan. In March 1981, two months into his presidency, Ronald Reagan turned up at the Kennedy Center for the premiere of a new production of Lillian Hellman‘s “The Little Foxes,” and was photographed happily congratulating a smiling Elizabeth Taylor backstage. Also present was the gruff playwright.
Hellman, who had been a member of the Communist Party and was called up in front of the House Un-American Activities Committee in 1952, and Reagan, an avid anti-Communist, couldn’t have had much use for each other politically. But there they were, soaking up art and glamour (if maybe not in that order) together. It was also in 1952 and thanks to Sen. Joseph McCarthy’s Communist witch hunts that the first inklings of a national performing arts center in Washington, D.C. developed.
Aaron Copland’s “Lincoln Portrait,” for speaker and orchestra, written in 1942 in the wake of the Pearl Harbor attack, had been slated for a performance at Dwight D. Eisenhower’s inauguration in 1952. Complaints about Copland’s leftist leanings pressured Eisenhower to cancel the performance, but left inklings in Ike’s mind that the nation needed a performing arts center in Washington, D.C. In 1955, he instituted a District of Columbia Auditorium Commission and that led to the National Cultural Center Act of 1958.
Bipartisan support became a no-brainer. Kennedy was an enthusiast and, in his presidency, both First Lady Jacqueline Kennedy and former First Lady Mamie Eisenhower worked together to support the cultural center. In 1963, just days before his assassination, JFK hosted a White House fundraiser for the center. A year later, President Lyndon B. Johnson broke ground for what was to become “a living memorial to John F. Kennedy” with the gold-plated spade that President Taft had used for the Lincoln Memorial.
President Lyndon B. Johnson lifts a shovel full of dirt during ground-breaking ceremonies for the John F. Kennedy Center for the Performing Arts in 1964 while members of the Kennedy family look on.
(Bettmann Archive / Getty Images)
The Kennedy Center proved political from Day 1. Leonard Bernstein was commissioned to write a theatrical piece for the center’s opening in 1971, which turned out to be an irreverent “Mass” — musically, liturgically, culturally and, most assuredly, politically. Most of all it was an unmistakably protest against the Vietnam War. In his own protest, President Nixon stayed home.
“Mass” was ridiculed by critics and sophisticates. And so was the Kennedy Center in its monstrosity. But the composition ultimately came to be seen as a precursor of musical Postmodernism and possibly Bernstein’s greatest work, a monument in its own right. The Brutalist monumentalism of the Kennedy Center also grew over time to be loved, increasingly bringing cachet to a diverse nation’s artistic needs.
All of that has, however, been called into question by a new administration noisily remaking the center as partisan and politicizing even renovation and Lincoln.
You don’t take on renovation of a single concert hall overnight, let alone an entire performance center with several theaters, including a major concert hall and opera house. This requires architects and acousticians deeply schooled in theaters, and each has its own acoustical needs. You touch anything, and it will affect the sound. Both the opera house and concert hall could use acoustical work, but that is a very big deal. If this sudden renovation comes as a surprise to staff, that means there have been no consultations, no proposals, no models, no feedback. Best to add to the budget some hundreds of millions of dollars to fix mistakes.
Before even considering anything else, a space has to be found for the National Symphony. It is possible to create temporary structures or renovate existing buildings into acoustical wonders, as architect Frank Gehry and acoustician Yasuhisa Toyota have proved. In Munich, the temporary Isarphilharmonie, which has Toyota acoustics, is so successful that some are saying the city doesn’t need a new concert hall after all.
So, given the timing of this precipitous announcement, it is hard to believe that something isn’t also going on with attitudes toward Lincoln and Glass’ displeasure with the Kennedy Center administration. For what it’s worth, Presidents Ford, Carter, George H.W. Bush, Clinton and Obama have all narrated Copland’s “Lincoln Portrait.”
Lincoln has been central to Glass’ work for more than four decades. The composer first used Lincoln in Act V (known as “The Rome Section”) of Robert Wilson’s 12-hour opera, “the CIVIL warS: a tree is best measured when it is down” (a prescient title for current Kennedy Center thinking), which had been intended for the 1984 Olympic Arts Festival in L.A. but was never produced here for lack of funds.
Lincoln shows up in Glass’ 2007 opera, “Appomattox,” commissioned by San Francisco Opera and later revised and expanded for Washington National Opera in 2015. The opera offers a look at how the Civil War ended with high-minded statesmanship. The first act of Glass’ 2013 opera, “The Perfect American,” about the last days of Walt Disney, ends with a flashback of Walt, who idolized Lincoln, visiting Disneyland and getting into an argument about slavery with the animatronic Lincoln, which gets so worked up it attacks Walt.
Politics are rarely far away from orchestral or operatic life. At a recent appearance of the Chicago Symphony at the Soraya, Italian conductor Riccardo Muti followed an impressively grand performance of Brahms’ Fourth Symphony by telling the audience how the arts keep us honest and played as an encore the overture to Verdi’s “Nabucco,” as an example of how an opera could motivate public support for Garibaldi’s nationalist movement. Garibaldi also makes an appearance with Lincoln in the Glass/Wilson “Rome Section.”
A few days later at the Renée and Henry Segerstrom Concert Hall, the thrilling Orquesta Sinfónica de Minería from Mexico City revealed an inspiring model of Latin American cooperation. On the program was Cuban composer Paquito D’Rivera’s “Concerto Venezolano,” featuring the fearless improvising Venezuelan trumpet soloist Pacho Flores. The concerto also featured solos on the Venezuelan cuatro by Héctor Molina, but his name was only announced last minute, due to current travel uncertainty.
One of the greatest recordings of Shostakovich’s Fifth Symphony, his grab-you-by-the-gut answer to Stalin and celebration of Russia, is by the National Symphony under Mstislav Rostropovich, recorded in 1994 at the Kennedy Center. Stalin saw the symphony as his deification. Rostropovich exuded, in the Kennedy Center aura, the expression of an overwhelmingly triumphant celebration of the end of the Soviet repression. You can take the symphony and the opera out of the Kennedy Center, but you can’t take the essence of the Kennedy Center, the living memorial to the ideal of something larger than political ego, out of the symphony and opera.
At this year’s Grammy ceremony, the Recording Academy called on artists Post Malone, Lauryn Hill and Reba McEntire to honor the musicians who died last year.
The annual In Memoriam segment paid tribute to artists including Roberta Flack, D’Angelo and Ozzy Osbourne. From heavy punk numbers to jazzy R&B ballads and solemn country-infused performances, the academy celebrated those who have shaped music, whether the artistry or the business.
It started off with a candlelit tribute from McEntire, Brandy Clark and Lukas Nelson. The trio performed McEntire’s “Trailblazer.” McEntire lost her late stepson, talent manager Brandon Blackstock, last year. As the performance continued, images of people like Connie Francis, Roy Ayers, Joe Ely and Ace Frehley appeared on the screen behind.
Then Post Malone, backed by Andrew Watt, Slash, Duff McKagan and Chad Smith — all artists who worked with Osbourne over the past few years — covered Black Sabbath’s “War Pigs,” complete with bursts of fire and endless guitar riffs. The camera continued to pan over to teary-eyed Kelly and Sharon Osbourne, daughter and wife of the Black Sabbath frontman, who attended the ceremony.
Then, it was Hill’s turn to pay tribute to late R&B pioneer D’Angelo. Behind dark shades and covered in diamonds, the singer started off by saying, “Make time for the people you love while you can.”
The singer was backed by a massive band and started to sing her own track “Nothing Even Matters.” She was soon joined by musicians Lucky Daye, Leon Thomas and Jon Batiste. As they continued to blend the sounds of “Brown Sugar” and “Devil’s Pie,” the giant ensemble shifted gears to pay tribute to Flack.
Throughout the remainder of the segment, Hill acted as a conductor, calling on each musician to sing their parts. They were soon joined by Chaka Khan and John Legend, who sang “Where Is the Love?” By the end of the performance, the setlist came back to the Fugees’ “Killing Me Softly With His Song.” The entire stadium erupted in applause, got on their feet and started to dance along with everyone on stage.
In between the live performance, the academy also showed video tributes for Brian Wilson of the Beach Boys, Bob Weir of the Grateful Dead and Sly Stone.
If 31-year-old Puerto Rican rapper Bad Bunny wins the Grammy for album of the year Sunday, it will be the first time the award goes to a Spanish-language LP. A week later the singer, known as “the King of Latin Trap,” will headline the Super Bowl halftime show.
These twin feats by one of the world’s most famous performers — a proud Latino and a vocal critic of President Trump’s stance on immigration — plays out against the heartbreaking and chaotic backdrop of the federal government’s aggressive tactics on the streets of American cities, including Minneapolis, where two citizens were shot dead by federal agents.
For the record:
3:12 p.m. Jan. 30, 2026In the “On our radar” section of the newsletter, the item on “Beginnings: The Story of Creation in the Middle Ages” at the Getty mischaracterized the exhibition. The show primarily draws from the Getty’s collection of manuscripts, which are displayed alongside four works by contemporary artist Harmonia Rosales.
This is likely why a painting by an L.A.-based Puerto Rican artist named Ektor Rivera, a reimagining of Emanuel Leutze’s iconic 1852 painting, ‘Washington Crossing the Delaware,” is attracting a wave of attention online. An Instagram post about the painting by Rivera — which features Bad Bunny alongside a host of other Puerto Rican cultural heroes, including Lin-Manuel Miranda, Sonia Sotomayor and Tito Puente — has more than 170,000 likes and 2.3 million views, spurred in part by the fact that Ricky Martin, who is also featured in the tableau, shared it.
Titled “The Discovery of Americans,” the 5’ x 8’ acrylic-on-canvas painting was commissioned by Seth Goldberg, a talent agent who spent his career working with Latin celebrities from his homebase in Miami. In a phone interview, Golberg said he felt disappointed by the controversy that erupted after the announcement that Bad Bunny would play at the Super Bowl — particularly when people didn’t seem to realize that as a Puerto Rican the singer is an American.
A detail of “The Discovery of Americans,” Ektor Rivera, acrylic on canvas, 2025.
(Ektor Rivera)
“And I thought that maybe if we reframe that Leutze painting with these cultural icons, maybe it changes who we see and celebrate as American, or at least makes a few people think about it a little more,” Goldberg said.
Rivera, who met Goldberg at a dinner with his manager five years ago, ran with the idea, placing a cast of Puerto Rican luminaries in the famous rowboat alongside Bad Bunny — who is draped in the Puerto Rican flag and standing in Washington’s place.
“As a Puerto Rican, I have U.S. citizenship, but I’m still asked if I have my green card,” Rivera said in a recent phone interview. “The people who voluntarily don’t want to learn about the great aportación [contributions] Latinos are giving to this country, and in my case, Puerto Ricans, is really frustrating, and how ICE is dealing with our people is something that is very sad.”
It is notable in the painting that the boat is literally breaking the ice on the river as it moves across the water, Rivera said.
Rivera — a graduate of the School of Plastic Arts and Design of Puerto Rico — is also an actor. He starred in a Puerto Rican production of Lin-Manuel Miranda’s early musical, “In the Heights,” during which time he met the famous actor and composer. Miranda and his father, Luis Miranda, later commissioned Rivera to paint a portrait of Rita Moreno, which now hangs in Centro de Bellas Artes de Santurce in San Juan.
The joy Moreno showed when the painting was unveiled has stayed with Rivera, who now lives and works in Santa Clarita. He is raising his children to know and love their Latin heritage — during a trying time when Latinos are often denigrated by the current administration.
Trump recently told the New York Post that he won’t be going to the Super Bowl this year, noting of Bad Bunny and the band Green Day, which will open the telecast, that he is “anti-them.”
“I think it’s a terrible choice,” Trump said. “All it does is sow hatred. Terrible.”
In Rivera’s painting, Levi’s Stadium in Santa Clara — where the Super Bowl will take place this year — can be seen on the horizon. Those in the boat are smiling. They are looking forward to being part of the mix. It’s a loving representation, filled with hope and possibility.
“We’re celebrating that we are putting our identity as Latinos on one of the major stages in the world,” said Rivera. “And that’s huge. That’s going to educate people, and make them interested.”
America, Rivera said, is not just for certain people.
“America is everybody. America is the world.”
I’m arts editor Jessica Gelt and I’ll be rooting for Bad Bunny at the Grammys this weekend. Here’s your arts and culture news for the week.
On our radar
“Creation” by Harmonia Rosales, 2025. Oil, gold leaf, gold paint and iron oxide on panel. 121.9 × 91.4 cm (48 × 36 in.).
Beginnings: The Story of Creation in the Middle Ages The Getty exhibition explores how people in the Middle Ages imagined the creation of the world through manuscripts, alongside works by LA-based artist Harmonia Rosales, who utilizes West African Yoruba mythology and Black resilience and identity.
Through April 19. J. Paul Getty Museum, 1200 Getty Center Drive, L.A. getty.edu
Tiffany Townsend performs Saturday and Sunday in Long Beach.
(Mia McNeal)
Crash Out Queens: A Tiffany Townsend Recital The soprano officially kicks off the Long Beach Opera’s season with an exploration of women in opera that expands into a multidisciplinary collaboration with pianist Lucy Yates, dancer Jasmine Albuquerque, scenic designer Prairie T. Trivuth and more. 7:30 p.m. Saturday; 4 p.m. Sunday. Altar Society, 230 Pine Ave. in Long Beach. longbeachopera.org
Midori Francis and Noah Keyishian rehearsing for “Sylvia Sylvia Syvia” at Geffen Playhouse.
(Jeff Lorch)
Sylvia Sylvia Sylvia A woman struggling with writer’s block and her own husband’s literary success takes refuge in the Boston apartment once occupied by Sylvia Plath and Ted Hughes in the world premiere of this tragicomic thriller from playwright Beth Hyland. Directed by Jo Bonney. Wednesday through March 8. Geffen Playhouse, 10886 Le Conte Ave., Westwood. geffenplayhouse.org
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The week ahead: A curated calendar
FRIDAY
Soprano Masabane Cecilia Rangwanasha appears with the L.A. Phil Friday and Saturday.
(LA Phil)
Mahler, Bartók & Ravel Dudamel Fellow Elim Chan conducts the L.A. Phil in a program culminating with Mahler’s Fourth Symphony featuring South African soprano Masabane Cecilia Rangwanasha. 11 a.m. Friday; 8 p.m. Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Miles Davis Centennial Concert The Miles Electric Band, led by Emmy- and Grammy Award-winning producer/drummer Vince Wilburn Jr., features a fusion of Miles Davis alumni and next-generation talents, including Darryl Jones, Robert Irving III, Munyungo Jackson, Jean-Paul Bourelly, Antoine Roney, Keyon Harrold and DJ Logic, plus special guests. 8 p.m. Friday. Carpenter Center, 6200 E. Atherton St., Long Beach. carpenterarts.org
Lifeline Written by Robert Axelrod and directed by Ken Sawyer, this drama finds a mother volunteering at a suicide hotline following a life-altering event. 8 p.m. Fridays and Saturdays; 2 p.m. Sundays, through March 1. The Road Theatre, NoHo Senior Arts Colony, 10747 Magnolia Blvd. roadtheatre.org
101 Dalmatians The 65th anniversary release of the Disney animated classic gets a one-week run in movie palace splendor. Tickets are $10 and include a complimentary small popcorn. 10 a.m., 1, 4 and 7 p.m. daily, through Thursday. El Capitan Theatre, 6838 Hollywood Blvd. elcapitantheatre.com
“metal mettle metal mettle” by Steve Roden, 2020. Acrylic with paper collage
(Robert Wedemeyer/Courtesy Vielmetter Los Angeles)
Steve Roden/Sophie Calle A pair of new exhibitions open today in Orange County: ‘Wandering” focuses on the late Los Angeles–based artist Steve Roden’s works on paper, presenting drawings and collages as forms of travel without a set destination; and “Overshare” is a survey of French conceptual artist Sophie Calle’s photography, text, video and installation work that mines intimate relationships and chance encounters. Through May 24. UC Irvine Langson/Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. ocma.art
Sweeney Todd Jason Alexander directs Stephen Sondheim and Hugh Wheeler’s musical thriller about the Demon Barber of Fleet Street and has assembled a topflight cast led by Tony nominee Will Swenson and Olivier Award winner Lesli Margherita. Through Feb. 22. La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd. lamiradatheatre.com
SATURDAY Garrick Ohlsson and Richard O’Neill Pianist Ohlsson and violist O’Neill team up for an evening of Schubert and Rachmaninoff. 7:30 p.m. Saturday. Broad Stage, Santa Monica College Performing Arts Center, 1310 11th St. broadstage.org
SUNDAY Common Ground The Los Angeles Master Chorale performs the world premiere of “The Beatitudes” by five-time Emmy Award-winning composer Jeff Beal, who will play the piano and flugelhorn, and Henryk Górecki’s “Miserere,” inspired by the 1980s Polish Solidarity movement. 7 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org
TUESDAY
Jacob Aune, left, and Sam McLellan in the North American tour of “The Book of Mormon.”
(Julieta Cervantes)
The Book of Mormon The latest national tour of the Broadway smash comes to town. When the show had its L.A. debut at the Pantages in 2012, Times theater critic Charles McNulty wrote, “Just know that this exceedingly naughty, though in the end disarmingly nice, show is devised by the minds behind ‘South Park’ and that risqué ‘Sesame Street’ for theater-loving adults, ‘Avenue Q.’ In other words, leave the kids at home with a baby-sitter” Through Feb. 15. Hollywood Pantages Theatre, 6233 Hollywood Blvd., Hollywood. Feb 24-25. The Granada Theatre, 1214 State St., Santa Barbara. thebookofmormontour.com
Adams, Cheung & Lanao John Adams curates the third installment of the LA Phil Etudes, highlighting the orchestra’s principal musicians in solo pieces by contemporary composers Francisco Coll, Samuel Adams, Nico Muhly, Sílvia Lanao and Anthony Cheung. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Dr. Strangelove Steve Coogan plays four roles in this screening of the National Theatre stage adaptation of the 1964 Stanley Kubrick film recorded live in London. 7 p.m. The Wallis, 9390 N. Santa Monica Blvd. Beverly Hills. thewallis.org
THURSDAY
Cheyenne Jackson plays the Wallis Thursday night.
(Vince Truspin)
Cheyenne Jackson The Broadway heartthrob performs a “musical memoir” with tunes made famous by Frank Sinatra, Elvis Presley, Sam Smith and Chappell Roan, plus his own song “Ok,” detailing his father’s unconditional love for his gay son. 7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd. Beverly Hills. thewallis.org
— Kevin Crust
Culture news and the SoCal scene
Eddie Izzard brings Shakespeare’s “Hamlet” to Los Angeles in a new solo staging, adapted by Mark Izzard and directed by Selina Cadell.
(Carol Rosegg)
Eddie channels tragedy Times theater critic Charles McNulty weighed in on the gender-fluid British comedian Eddie Izzard’s solo performance of “Hamlet,” running through Sunday at the Montalbán Theatre in Hollywood. McNulty calls the show “a daredevil feat of memory, theatrical bravado and cardio fitness,” noting that, “As a spectacle, it’s as exhilarating as it is exhausting. The thrill of seeing a fearless, indefatigable performer single-handedly populate the stage with the myriad figures of this masterwork never lets up. But fatigue can’t help setting in once it becomes clear that this marathon drama will be delivered in the broadest of strokes.”
Father and son McNulty also headed to Matrix Theatre’s Henry Murray Stage to catch a Rogue Machine world premiere of L.A. writer Justin Tanner’s solo show, “My Son the Playwright.” McNulty calls Tanner “one of the signal voices of L.A.’s wild and free intimate theater scene.” The show is divided into two acts, one that presents the father’s side of the relationship, and the other, the son’s. “Tanner plunges into these ostentatiously autobiographical roles, heedlessly, hectically and without a psychiatric net,” McNulty writes.
Academy cuts Arts and entertainment writer Malia Mendez got the scoop that the Academy Foundation laid off all five staffers with its Oral History Projects team, “effectively dissolving the department responsible for conducting and preserving interviews with notable members of the film industry.” In a statement posted on social media, the Academy Foundation Workers Union, AFSCME Local 126, called the cuts “a sad and reckless choice.” (Also, two of the laid-off staffers were placed in other roles in the organization.)
Breaking Glass I jumped on the news that composer Philip Glass abruptly canceled June’s world premiere of his Symphony No. 15 “Lincoln” at the Kennedy Center, saying its message does not align with the vision for the venue under the Trump administration. “Symphony No. 15 is a portrait of Abraham Lincoln, and the values of the Kennedy Center today are in direct conflict with the message of the Symphony. Therefore, I feel an obligation to withdraw this Symphony premiere from the Kennedy Center under its current leadership,” Glass wrote Tuesday in a letter to the board that was shared with The Times.
The hits keep coming Speaking of the Kennedy Center: As the artistic losses continue to mount at the beleaguered performing arts center in the wake of President Trump’s takeover — and renaming — of the venue, the Washington Post reported that Kevin Couch, who was recently announced as the new senior vice president of artistic programming for the venue, resigned less than two weeks later. No reason was given, and Couch declined a Post request for comment.
50 is nifty In happier local news, San Diego’s Opera Neo — a summer opera festival and young artist training program — celebrating its 50th anniversary season, and has announced its upcoming lineup. Highlights include Antonio Vivaldi’s, “Arsilda,” Louise Bertin’s “Fausto” and Gioachino Rossini’s “Il turco in Italia.”
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