Beasley is expected to enter a guilty plea during a Dec. 9 hearing, a spokesperson for the U.S. Attorney’s Office for the Eastern District of New York confirmed in an email to The Times.
The NBA journeyman, who spent half of the 2022-2023 season with the Lakers, and several others were charged this summer with conspiracy to commit wire fraud, bribery in sporting contests, honest services wire fraud conspiracy and conspiracy to commit money laundering. Beasley entered a not guilty plea to all charges on July 1.
It is not clear the charges to which Beasley will be entering a guilty plea.
Beasley has been accused of illegally manipulating his performance in NBA games to ensure gamblers won prop bets on at least four occasions while he was playing for the Milwaukee Bucks in 2023-2024. According to the indictment, he and co-defendant Ed Davis, also a one-time Laker who was teammates with Beasley on the 2020-2021 Minnesota Timberwolves, conspired for Beasley to under- or overperform during certain games relative to specific statistics on which others involved in the scheme would place bets.
Beasley had previously borrowed money from Davis after accumulating millions of dollars in gambling losses. In exchange for fixing his performances, the indictment says, Beasley’s debts to Davis were “reduced or paid off.”
Also indicted were Paolo Zamorano, William Brown, Robert Gorodetsky and Ernesto Plascencia. All six defendants initially pleaded not guilty to all charges, but Brown has since pleaded guilty to one count of conspiracy to commit wire fraud, and Gorodetsky and Plascencia also both scheduled for change of plea hearings in November.
On the same week that a court filing showed that construction on President Trump’s hotly contested triumphal arch could begin as soon as Nov. 5, another less reported development pointed to the possibility that the government might be misrepresenting its plans for Trump’s National Garden of American Heroes in West Potomac Park.
On Monday, the National Park Service held a meeting about a proposed redesign to the park, which is part of the National Mall and also where Trump wants to put his Garden of Heroes featuring more than 250 statues ranging from Humphrey Bogart to Kobe Bryant to Benjamin Franklin. Trump first proposed the idea in 2020, but it wasn’t until his second term — when he began a crusade to remake much of Washington, D.C.’s historic core according to his own predilections — that the plan looked as if it might manifest. The One Big Beautiful Bill Act even appropriated $40 million for the project.
The Garden of Heroes has remained largely in the background while preservationists focused on the demolition of the White House East Wing and the construction of a massive ballroom in its place, as well as the botched painting of the Reflecting Pool, and, of course, the gigantic triumphal arch.
But Monday’s NPS meeting about plans for West Potomac Park rang alarm bells for some when Judy Chesser, chair of the nonprofit conservation and preservation group the Committee of 100 on the Federal City, asked, “How does this relate to the Garden of Heroes that is being discussed in West Potomac?” to which the NPS spokesperson replied, “This is just an update to the tidal basin master plan we started before. This is not the Garden of Heroes.”
However, the Washington, D.C.-based education and advocacy organization Cultural Landscape Foundation noted that the rendering in NPS’ presentation and the illustrated “Pledge Agreement” from the National Garden of American Heroes Foundation contain similarities that “go way beyond coincidental.”
“Each includes a great lawn, a giant oval/circle, an amphitheater, a fountain, and a staircase to the Potomac River,” Charles A. Birnbaum, founding president and chief executive of the foundation, wrote in an email.
“In addition, the new design shown Monday amputates part of the FDR Memorial to accommodate the Oval. This is intentional. Clearly the Oval is meant to host something else or it would be re-scaled so as not to interfere with the FDR Memorial,” the email continued.
In that instance lawyers repeatedly said there were no plans to renovate the golf course (thus preventing U.S. District Judge Ana Reyes from issuing an injunction against said renovations), only to chop down hundreds of trees on the course with no notice over a holiday weekend. Reyes was irate and sources familiar with the feud say that the judge expects the case to go all the way to the Supreme Court.
Meanwhile, as of 2 p.m. PDT, Thursday, opponents of Trump’s arch have filed a motion for an injunction on the possible Nov. 5 construction, arguing that Congress needs to approve any plan moving forward. This head-snapping whirlwind of motions and counter motions is expected by critics to continue to be the norm as Trump tries to push through as many of his D.C.-based renovations as possible before a new Congress is seated in January.
“What better way to celebrate the nation’s 250th anniversary than to shut down the legally required review process, ignore some 100,000 negative public comments, and fast track the construction of a bloated and deeply unpopular monument that the president claims is for him,” wrote the Landscape Foundation’s Birnbaum in a statement about the arch.
I’m Arts editor Jessica Gelt pitching preservationists for my personal garden of heroes. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
American Sound Takes Flight MUSE/IQUE explores the nation’s music from Aaron Copland to Paul Simon in a concert setting infused with storytelling and cultural context. Featuring Brandon Victor Dixon, Liv Redpath and the MUSE/IQUE Orchestra, led by Artistic and Music Director Rachael Worby. 7:30 p.m. Friday, 2:30 and 7:30 p.m. Saturday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Bach to Broadway The 31st annual concert, featuring Pueri Cantores SGV, the St. Andrew School Choir, Los Angeles Children’s Chorus and members of the L.A. Opera and L.A. Master Chorale benefits the restoration of historic St. Andrew Church. 7:30 p.m. St. Andrew Church, 311 N. Raymond Ave., Pasadena. saintandrewpasadena.org
Ballet Festival: Jerome Robbins at the Ahmanson Theatre
(Steven Pisano / The Joyce Theater Foundation)
Ballet Festival: Jerome Robbins Three programs of the choreographer’s masterworks, curated by New York City Ballet principal dancer Tiler Peck, with dancers from New York City Ballet, Paris Opera Ballet and other major companies performing to live chamber music 7:30 p.m. Friday, 7:30 p.m. Saturday, 2 p.m. Sunday. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. musiccenter.org
Andrew Bird The acclaimed multi-instrumentalist and songwriter joins with the Los Angeles Philharmonic to mark the 20th anniversary of his album, “The Mysterious Production of Eggs,” with orchestral arrangements, plus popular songs from his catalog. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Aymeric Hainaux and François Chaignaud The musician and choreographer team up for “Mirlitons,” a marathon vocal and dance duet. 8 p.m. Friday and Saturday. The Nimoy, 1262 Westwood Blvd. cap.ucla.edu
Museum on Haunted Hill: A Celebration of Vincent Price The institution pays homage to its original patron, the noted actor, art collector, advocate and historian, with an evening of after-hours access to exhibitions, casual screenings of classic Price films, drinks and snacks, music, a photo booth and haunted decor. 5-8 p.m. Vincent Price Art Museum, East Los Angeles College, 1301 Avenida Cesar Chavez, Monterey Park. vpam.org
PLAY: A Play EmIly Mast’s unscripted conceptual performance features six players, guided by a coach, working against a clock and an evolving set of rules to examine “the invisible systems that govern power, behavior and care.” With Hugo Armstrong, Gregory Barnett, Chu-Hsuan Chang, Jessica Emmanuel, Jessica Hemingway, Aramazd Stepanian and Maxwell Transue. 7:30 p.m. Friday-Saturday, 4:30 p.m. Sunday. The Geffen Contemporary at MOCA, 152 N. Central Ave., Little Tokyo. moca.org
Sinners: Sounds That Summon This exhibition examines the standout Club Juke scene in Ryan Coogler’s Oscar-winning 2025 film focusing on the guitar played by the character Sammie Moore (Miles Caton), costumes, objects and archival material. Through March 14, 2027. California African American Museum, 600 State Drive, Exposition Park. caamuseum.org
SATURDAY
Grand Ave Arts: All Access Tenth annual celebration of L.A. downtown cultural corridor with free exhibitions, tours, performances, family-friendly activities and more from participating organizations including the Broad, Center Theatre Group, Colburn School, Classical California, Dataland, Gloria Molina Grand Park, Grand Performances, L.A. Opera, L.A. Phil, Los Angeles Central Library, Metro Art, MOCA, the Music Center and REDCAT. 11 a.m.-4 p.m. Grand Ave., between Temple and 6th Streets, downtown L.A. grandavearts.org
Kabuki in Motion: The Lion Returns U.S. Kabuki Ken Kyu Kai presents this program of kabuki dance, Nihon buyō (Japanese classical dance), and live koto and shamisen music featuring artists from Japan and California. 4:30 p.m. The Huntington, Rothenberg Hall, 1151 Oxford Road, San Marino. huntington.org
Picasso Ceramics From the Rosenbaum Collection The exhibition presents 63 original prints and limited-edition ceramics, including vessels, plates, pitchers and sculptural forms created by the artist after 1947. Through Feb. 28, 2027. Bowers Museum, 2002 N. Main St., Santa Ana. bowers.org
SUNDAY
Lucile Dollat The French organist performs music from the 16th century to the present. 7:30 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
TUESDAY
Jason Moran Presents Duke Ellington: My Heart Sings The pianist and composer performs with members of the Pacific Symphony to engage with Ellington’s work through a contemporary frame. 8 p.m. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org
The Music Man Meredith Willson’s Tony Award-winning musical comedy brings smooth-talking con man Harold Hill to River City, where his schemes are curtailed when he falls for Marian, the local librarian. Through Nov. 8. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. centertheatregroup.org
Orchestre Symphonique de Montréal with Rafael Payare The Canadian ensemble and its charismatic Venezuelan conductor (who also leads the San Diego Symphony) perform Dmitri Shostakovich’s “Symphony No. 10 in E minor, Op. 93,” plus Felix Mendelssohn’s “Violin Concerto in E minor, Op. 64” with Leonidas Kavakos. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
The 39 Steps Patrick Barlow’s adaptation of Alfred Hitchcock’s 1935 spy thriller (itself an adaptation of a novel by John Buchan) about an ordinary man entangled in international intrigue. Directed by Hunter Foster. Through Nov. 22. Laguna Playhouse, 606 Laguna Canyon Road, Laguna Beach. lagunaplayhouse.com
The Who’s Tommy The band’s 1969 rock opera featuring “I’m Free,” “See Me, Feel Me,” “Sensation” and, of course, “Pinball Wizard,” is transformed into a Broadway musical by composer Pete Townshend and original director Des McAnuff. Through Nov. 15. Hollywood Pantages Theatre, 6233 Hollywood Blvd. broadwayinhollywood.com
WEDNESDAY
Nedra Ryan Taylor and Sarah Scott Davis in the play “Confederates.”
(Davis Northern)
Confederates Institutional racism, as experienced in two different eras by Black women, is the subject of Dominique Morisseau’s 2022 dramatic comedy. Best known for her three-play cycle “The Detroit Project” as well as the book for the musical about the Temptations “Ain’t Too Proud,” Morisseau juxtaposes the plight of an enslaved rebel and Union spy during the Civil War with that of a contemporary political science professor facing a threatening work environment. Fountain Artistic Director Raymond O. Caldwell directs this sharp-eyed satire examining an unbroken thread of racial and gender bias in American history. (Charles McNulty) Previews, 8 p.m. Wednesday-Thursday, play runs through Dec. 13. Fountain Theatre, 5060 Fountain Ave. fountaintheatre.com
THURSDAY
Seasons of America With Teddy Abrams & Ray Chen The world premiere of Abrams’ L.A. Phil commission, written especially for violinist Chen, along with Julia Perry’s “A Short Piece for Orchestra.” Charles Ives’ “Three Places in New England, S. 7” and George Gershwin’s “An American in Paris.” 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A.laphil.com
Sasha Velour: Travesty The Season 9 winner of “RuPaul’s Drag Race” performs a new solo work that spans queer history through lip-sync performances embodying various personas including a witch burned in a field, a clown who builds a theater and patrons of an underground gay bar. 7:30 p.m. Thursday-Oct. 30. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
The SoCal scene
Katie Folger gets ready at her home before her performance of “Getting in Bed With the Pizza Man” at the Elysian Theater.
(Carlin Stiehl / For The Times)
ICYMI, the best of this week’s L.A. Times arts coverage:
A marble torso sculpted during the early Roman Empire set a new world record for ancient classical sculpture at auction earlier this week when it sold at Sotheby’s New York for $34.3 million. That was almost three times more than its pre-sale estimate of between $8 million and $12 million.
The “Rookie” actor appeared in a short video posted Sunday to the show’s Instagram Stories with her temporary partner, Alan Bersten — who is filling in for suspended pro Val Chmerkovskiy — to promote their upcoming routine.
“Hi, everybody,” Dewan said while standing beside Bersten during rehearsals. “It’s ‘Dedication Night’ and we are dancing a Viennese waltz to ‘Unchained Melody’ by the Righteous Brothers, the greatest, most romantic song ever.”
The “Step Up” star shared on social media that she is dedicating this dance to her mother.
“My mom has always been my biggest cheerleader,” Dewan wrote in her Sunday Instagram post. “The one who believed in me before I even knew what was possible for myself. Who encouraged me to dream big, to keep going, and most importantly, to never lose sight of who I am along the way.”
She added: “There’s something so beautiful and full circle about getting to honor the woman who first encouraged my love of dance, through the very thing she helped me fall in love with.”
The short teaser was shared shortly after it was announced that Chmerkovskiy would be suspended for a week for posting a message on TikTok that seemed to reference Will Smith‘s infamous 2022 Oscars slap. That incident involved Smith rushing the stage and slapping host Chris Rock with an open hand after the Oscars host made jokes about Jada Pinkett Smith.
“Keep my wife’s name out your … mouth!” Smith shouted at Rock afterward.
Chmerkovskiy’s since-deleted TikTok post appeared to be in response to judge Carrie Ann Inaba‘s harsh critique of the performance by pro Jenna Johnson, his wife, and partner Harry Shum Jr. during Tuesday’s “Super Bowl Night” episode of the show.
“You almost saw Fresh Prince enter the ballroom last night,” Chmerkovskiy reportedly wrote.
“DWTS” producers BBC Studios responded with a widely reported statement that the “well-being of everyone who works on Dancing with the Stars is non-negotiable. Val’s social media post was inappropriate and does not reflect the values or standards expected of anyone connected with the show. As a result, he will not participate in next week’s show.”
Chmerkovskiy has since apologized for his remark, saying in a statement provided to Deadline that he had merely reacted on “instinct” to “defend [his] wife.”
“In a moment where my instinct was to defend my wife, I made a poor decision to reference a meme to ‘keep my wife’s name’ out of the conversation, without stopping to think through what else that reference could imply, which was genuinely never my intention,” the statement read. “Carrie Ann certainly didn’t deserve to get caught in the middle of my bad judgment, and I hate that she was.”
The dancer also reportedly posted an apology to his Instagram Stories on Thursday.
“I want to apologize from the bottom of my heart for my recent post,” he wrote. “I have reached out to Carrie Ann to apologize directly and personally, and I also want to apologize publicly as I understand my words affect so many outside of our internal DWTS family.”
Bersten, who is filling in this week as Dewan’s partner, was previously paired with celebrity chef Giada De Laurentiis before they were eliminated earlier in the season.
Bryan Mbeumo’s goal is not enough to win it for beleaguered United as Dominic Calvert-Lewin levels for Leeds.
Published On 18 Oct 202618 Oct 2026
Manchester United ended a turbulent week with a frustrating 1-1 draw at Leeds on Sunday that does little to ease the pressure on beleaguered manager Michael Carrick.
The Red Devils travelled to the Yorkshire home of their bitter rivals desperate to find a spark after just two wins in nine games in all competitions this season.
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The sense of a growing crisis at the club was exacerbated in midweek by an outburst from defender Lisandro Martinez, who took aim at the United hierarchy after a 2-0 defeat at Atletico Madrid in the Champions League.
The Argentina centre-back said Carrick, in his first full season in charge at Old Trafford, had been left with an under-strength squad after an underwhelming summer transfer window.
The United boss insisted on Friday that the club had “moved on” from the incident and Martinez was named in the starting lineup at Elland Road.
Both teams were fully committed in a feisty start to the match in Leeds but there was little goalmouth action.
The first effort on target came in the 26th minute when United goalkeeper Senne Lammens clawed away a Nico Elvedi header destined for the top corner after bouncing up off the turf.
Bryan Mbeumo, playing as United’s target man, headed wastefully wide a minute later after a fine cross from Youri Tielemans and then shot tamely at Leeds goalkeeper James Trafford.
But he finally broke the deadlock in the 35th minute when Tielemans again delivered a low ball from the right which Mbeumo guided into the bottom corner for his fourth Premier League goal of the season.
Martinez went off at half-time as Morocco’s Noussair Mazraoui was brought into the action.
Leeds started strongly after the break and were level in the 51st minute when Dominic Calvert-Lewin controlled the ball on his chest and finished at full stretch after Tarik Muharemovic got his head to the ball following a corner.
The home team were now well on top, largely limiting Carrick’s team to counter-attacks.
The Man United boss made attacking substitutions in the search for a winner, bringing on Mason Mount and Matheus Cunha, but neither team could force a winner.
The point left 20-time English champions Manchester United in 13th place in the table with just one win in seven games while Leeds are seventh.
Brighton stun Crystal Palace with five-star display
Elsewhere on Sunday, Brighton leapfrogged Arsenal into second place, at least temporarily, after humbling Crystal Palace 5-0, including a sensational Diego Gomez effort from the halfway line.
Fabian Hurzeler’s team were three goals up inside 10 minutes after an own goal from Palace defender Jaydee Canvot, Gomez’s spectacular effort and a strike from Yasin Ayari.
Further goals from Charalampos Kostoulas and substitute Jack Hinshelwood in the second half deepened Palace’s pain.
The Gunners, six points behind Manchester City, are in action at Nottingham Forest in the late-afternoon kickoff.
Arsenal need a win to rein in City, who have won all seven of their league games this season.
Enzo Maresca’s men have put together their impressive run despite off-field distractions after the club was charged with multiple breaches of Premier League financial rules.
Bournemouth beat 10-man Sunderland 2-0 with goals from Marcus Tavernier and Evanilson for their first league win of the season.
“For me, performance can’t be everything,” Miley Cyrus declared on Friday night, and you had to admire her choice of setting: onstage at the Hollywood Bowl in front of approximately 18,000 people who’d turned up precisely to see her perform.
A star since her teenage days on the Disney Channel’s “Hannah Montana,” the 33-year-old musician and actor was maybe half an hour into the first of two sold-out concerts at the iconic hillside amphitheater — a place close to Cyrus’ heart, as she explained in a videotaped intro recalling a gig she and her fiancé, Maxx Morando, caught last year by the French band Air.
“I step into wine, which soaks onto my boots,” she said in the dramatic black-and-white clip. “I don’t mind stained leather — it only adds to their character.”
Cyrus’ shows were billed as part of the rollout of her latest album, “Bass Persuades,” which came out in September (and which found her dropping her last name to go simply by Miley). Yet the two-night engagement is really meant to mark her grand return to the stage after she said a few years ago that she’d sworn off touring because it was too harmful to her mental health.
Is “grand” the right word for a comeback as equivocal as this one? Despite all the hype surrounding this weekend’s concerts, Cyrus spoke again and again Friday about how much less space for performance she has in her life these days than she used to; she talked repeatedly about her quest to balance her fans’ emotional needs with her own.
At one point, after singing a couple of numbers on a small B-stage about halfway up the bowl, she walked through the crowd back to the main stage, gripping and grinning the entire way. Then she described the toll her trip had just taken: “I appreciate each of you guys reaching out and touching me, and me getting to feel you. But I do want to say — it is a lot for me,” she said. “It is a little bit overwhelming.”
In an era of parasocial pop stardom, the radical honesty of Cyrus’ approach — her clear-eyed appraisal of the relationship that binds an idol and her audience — was kind of a thrill to behold. The problem was that her singing for the most part wasn’t.
As she described being overwhelmed, her band slowly revved up her song “Wrecking Ball.” It’s one of the great power ballads of the last 25 years, with a chorus as cathartic as any in modern pop; Cyrus, the showbiz lifer, surely understood the payoff she was building toward. Except when the moment arrived, she inexplicably dodged it, skipping the song’s first chorus and soft-pedaling the second — an anticlimax for the ages.
Indeed, Cyrus let the audience and her backup singers handle vocals for many of her biggest hits, among them “The Climb,” “Party in the U.S.A.” and “We Can’t Stop”; during that last one, she twerked for a second, evoking memories of the infamous 2013 MTV performance that briefly scandalized a nation.
She sang more heartily in songs from “Bass Persuades,” which would’ve been better news if that tuneless mishmash of bleary synths and dated club beats weren’t one of the year’s least likable pop records. (This month Variety reported that, after debuting at No. 1 on the Billboard 200, the album took the biggest fall in chart history in its second week of release.)
The paradox of Cyrus’ career at this stage is that she wants to do the thing that nobody wants her to do — “Bass Persuades” is just the latest in a string of crummy LPs — and doesn’t want to do the thing that everybody wants her to do. Truly, her bad taste should be studied: On Friday, she welcomed Wayne Coyne of the Flaming Lips to the B-stage for a duet on “Karen Don’t Be Sad,” from the miserable psych-rock record they made together in 2015. Naturally, Cyrus said it was her favorite of her albums.
One highlight of the show was Cyrus’ tribute to her late godmother, Dolly Parton, whom she memorialized with a rendition of “Jolene” and with a funny and touching account of the time Parton tried unsuccessfully to get Cyrus to sing with her at the Bowl.
I also found myself moved near the end of the night by Cyrus’ performance of the only keeper on “Bass Persuades” — a dreamy little love song called “Let’s Get Married” for which Morando joined her onstage. As he played drums, she ran her hand tenderly over his chest before laying her head on his shoulder; the moment reminded me of that goofy intro video about the Air concert, which she likened to a bubble containing only the two of them.
“That’s how it feels when we’re together,” she said. “I think I’d live in that bubble.”
Remember Edward Warchoki? The Polish humanoid robot that went viral in April for chasing wild boars through a parking lot in Warsaw? Even late-night comedian John Oliver did a bit on him, calling Warchoki “a pretty canny PR campaign for anthropomorphic robots. All I’m saying is, ‘That is a nice way to get us all used to him before he’s inevitably one day used as a weapon of war.’ ”
Warchoki has not yet turned into a weapon of war — unless you consider being an online influencer a form of digital warfare. As the first robot influencer, Warchoki has his own social media accounts and appeared at Poland’s parliament. Last week he entered the art world when he was among the first visitors to what looks to be a fascinating exhibition, “How to Feel Real. Art, Technology and Us,” at MO Museum in Vilnius, Lithuania. The show is a collaboration of the modern art museum with ZKM | Center for Art and Media Karlsruhe, which specializes in media art.
According to a news release, the show “explores questions that are becoming increasingly urgent in a world shaped by technology: How do we feel real, and what does it mean to be alive?” Apparently Warchoki was there to address the issue head on.
“People keep asking me if I’m real, so when I heard about an exhibition asking what ‘real’ actually means, I thought: Finally, someone is asking the right question. I’m coming to the beautiful Vilnius to see what the artists have to say — and, of course, to check whether they think I’m real,” Warchocki said in the release.
A number of works in the exhibit explore artificial intelligence, automation, “and the ways machines are increasingly taking on roles we once considered distinctly human,” said MO Museum director Milda Ivanauskienė. “Bringing Edward into the museum is a playful extension of this idea, as his deliberately human-like and slightly absurd persona makes the questions raised by the exhibition tangible — inviting us to wonder why we are so eager to find the human in a machine.”
I am intrigued by this last question and wonder about it myself: Why exactly are we so quick to anthropomorphize AI? Every time I’ve interacted with a chatbot I feel the urge to be polite in my dealings, to say “please” and “thank you” when I ask questions. I certainly don’t do that with a Google search. And once, when I saw a delivery robot hopelessly stuck in a pothole, I felt genuinely bad for it. “Poor little guy,” I thought. I imagine if I met Warchoki, I’d react the same way.
I’m glad MO Museum is exploring these impulses by using artist’s thoughts and interpretations as a way to offer answers to an issue that is not going away — but only growing more powerful and omnipresent by the day.
I’m Arts editor Jessica Gelt and I’ve got a pickle-kimchi lollipop to sell you. This is your arts and culture news for the week.
You’re reading Essential Arts
Our critics and reporters guide you through events and happenings in the SoCal arts scene. In your inbox every Friday.
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
The week ahead: A curated calendar
FRIDAY
Elim Chan conducts the L.A. Phil in 2024.
(Gina Ferazzi/Los Angeles Times)
Elim Chan Conducts the L.A. Phil It will be a busy couple of weekends in L.A. for the San Francisco Symphony music director-designate. First up is a program featuring Dongshoon Shin’s “Dance Card,” Franz Liszt’s “Piano Concerto No. 2 in A major, S. 125” with pianist Yefim Bronfman, and Pyotr Ilyich Tchaikovsky’s suite from “Swan Lake.” Next week will be “A Symphonic Ballet,” with Claude Debussy’s “Prelude to the Afternoon of a Faun, L. 86,” Karen Gomyo premiering Samuel Adams’ “Violin Concerto No. 2 (The Wheel),” and Igor Stravinsky’s “Petrushka (1947).” “Swan Lake,” 8 p.m. Friday-Saturday, 2 p.m. Sunday. “Symphonic Ballet,” 8 p.m. Thursday, 2 p.m. Oct. 17-18. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Kuniko Kato Presents Reich90 The North American tour of the Steve Reich Project, conceived and produced by Japanese percussionist Kato arrives downtown in honor of the composer’s 90th birthday. 7:30 p.m. Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A. colburnschool.edu
Victoria Marks : A Deer Walks into a Dance The award-winning choreographer and four performers (Rian Alcid, Maya Billig, Karen Chuang and Aaron Mason) explore the idea connection in a world of division via movement, text and the deconstruction of a (bad) joke. 8 p.m. Friday-Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd., Westwood. cap.ucla.edu
SATURDAY
L.A. Opera’s new music director, Domingo Hindoyan, conducts a dress rehearsal of “Carmen.”
(Jason Armond / Los Angeles Times)
Carmen Los Angeles Opera’s new music director, Venezuelan conductor Domingo Hindoyan, opens the company’s season with a new production of Bizet’s “Carmen.” It stars mezzo-soprano Rihab Chaieb, who has dazzled in Mozart at L.A. Opera. The Spanish gothic new production is by director/designer Thaddeus Strassberger and choreographer Antonio Najarro. (Mark Swed) The season-opening performance will be broadcast live in high definition, free of charge, at Steinmetz Park in Hacienda Heights and at the Santa Monica Pier. Through Nov. 7. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. Free simulcast, 6 p.m. Saturday, Santa Monica Pier and Steinmetz Park, 545 S. Stimson Ave., Hacienda Heights. laopera.org
Strauss, Ravel, Beethoven Music Director Jaime Martín conducts the Los Angeles Chamber Orchestra in Richard Strauss’ “Metamorphosen,” Maurice Ravel’s “Piano Concerto in G Major” with Conrad Tao, and Ludwig van Beethoven’s “Symphony No. 3 in E-flat Major (Eroica).” 7:30 p.m. Saturday. Zipper Hall, 200 S. Grand Ave., downtown L.A.; 4 p.m. Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laco.org
SUNDAY
Dale Brockman Davis, Alonzo Davis and David Hammons.
(Museum Associates)
The Brockman Gallery: Los Angeles,1967-1990 For more than two decades, the Leimert Park gallery, founded by Alonzo and Dale Davis, served as a vital cultural hub, staging exhibitions, festivals, concerts, literary events and more. Named after the brothers’ maternal grandmother, born enslaved, the Brockman Gallery was a flourishing, ongoing act of self-determination in the wake of the 1965 Watts Rebellion. It showcased Black artists whose opportunities were severely limited at mainstream, white-run institutions and galleries: David Hammons, Suzanne Jackson, John Outterbridge, Elizabeth Catlett, Betye Saar, Carrie Mae Weems, Senga Nengudi, Noah Purifoy and many more. More than 60 works by artists associated with the gallery will be included in this first full-scale consideration of the Brockman’s scope and impact. (Leah Ollman) Through Jan. 24. Los Angeles County Museum of Art, 5905 Wilshire Blvd. lacma.org
Pacific Jazz Orchestra: A Tribute to Quincy Jones Led by Chris Walden, and featuring vocalists Nayanna Holley and Adam ‘Aejaye’ Jackson, the ensemble performs early work by the late producer/composer. Presented by Ventura Music Festival, 3 p.m. Sunday. Rancho Campana Performing Arts Center, 4235 Mar Vista Drive, Camarillo. pacificjazz.org
TUESDAY
Mendelssohn & Brahms Members of the Los Angeles Philharmonic perform a program of chamber works from Joseph Haydn, Felix Mendelssohn and Johannes Brahms. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Ulysse Marion A new work by choreographer Dimitri Chamblas, created with former Paris Opera Ballet dancer Marion Barbeau and dancer and musician Ulysse Zangs, explores the journey of a performer throughout a life in art. 8 p.m. Tuesday-Wednesday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
THURSDAY
At the Very Bottom of A Body Of Water The latest work by Benjamin Benne, a dramatist many have been keeping close tabs on, continues his collaboration with veteran director (and fellow L.A. native) Juliette Carrillo, and dives even further into magical realism in an unconventional work exploring the oceanic depths that grief can reveal. (Charles McNulty) Through Nov. 29. Boston Court Pasadena, 70 N. Mentor Ave. bostoncourtpasadena.org
Judy Baca, detail from the 1960s segment of the Great Wall of Los Angeles mural.
(Judy Baca and the SPARC Archives.)
Skirball Cultural Center Three new exhibits open: “The 1960s — A Generation on Fire: Judy Baca’s Great Wall of Los Angeles” presents new murals as part of the evolving L.A. landmark; “Patrisse Cullors: Wishes Made Material” features three new works inspired by conversations between Black and Jewish communities; and “Jenny Yurshansky: What We Carry” explores local immigration stories, memories and family history through collected objects. Skirball Cultural Center, 2701 N. Sepulveda Blvd. skirball.org
The SoCal scene
Zoe Ryan, director of UCLA’s Hammer Museum.
(Christina House/Los Angeles Times)
ICYMI, the best of this week’s L.A. Times arts coverage:
Climate activists in Tallahassee this week unveiled a statue of Florida Gov. Ron DeSantis that was created to melt. “In response to the Governor’s recent ‘Don’t say climate change’ action in state law, 350Action (one of the world’s most influential climate change advocates) built quite a visual — a statue that couldn’t withstand Florida’s daily climate. It’s provocative but for a purpose, to encourage young people to vote in a few weeks for candidates that recognize the threat from climate change,” a news release noted of the “climate denial statue.”
And finally, not strictly arts related, but some Halloween fun for you: Street Food Cinema is hosting its annual Boo-ze, Bites and Frights events with some spooky horror film screenings at Heritage Square and the Ford over the next few weekends, including a Saturday showing of “A Nightmare on Elm Street,” which is a film that still genuinely terrifies me.
Los Tigres Del Norte will perform this Saturday at Anaheim’s Honda Center. Ahead of rocking the Pond with its classic hits, the famed norteño band brought its signature sound and activism to NPR’s Tiny Desk Concert. The performance closed out the series’ Hispanic Heritage Month celebration, dubbed as “El Tiny.”
Composed of the Hernández brothers (Jorge, Hernán, Eduardo and Luis) and cousin Óscar Lara, Los Tigres Del Norte was founded in the late 1960s in the Sinaloan town of Rosa Morada and settled in San José. It has sold millions of records worldwide with songs about the drug trade, unrequited love and immigrant life in this country.
That theme of immigrant struggle within the U.S. was top of mind when the group performed at NPR’s Washington, D.C., offices.
The group was recently honored by the city of Minneapolis in September for defending the rights of immigrant communities for decades, and for standing in solidarity with the city following the large-scale immigration enforcement campaign that took place there earlier this year. Minneapolis Mayor Jacob Frey proclaimed Sept. 9 Los Tigres del Norte Day.
“[Following the Immigration and Customs Enforcement raids], they told the people of Minneapolis, the Latino American community that we are one, that we are united and that we’re going to do everything possible for the people that we love,” Frey said in a September news conference.
Los Tigres’ director and lead vocalist Jorge Hernández told The Times the honor came as a surprise to the group, who was in town for the 39th annual Hispanic Heritage Awards to present the people of Minnesota with the Humanitarian Award for their collective acts of solidarity with the immigrant community throughout the ICE raids.
The frontman said he was humbled by the action and was touched to spend time with members of the Minneapolis community who worked on the front lines during the ICE surge.
“There were Latinos present who set an example for how to support people in [a time of chaos],” Hernández said. “Those who were documented brought food to families who were undocumented so that they didn’t have to go outside to face the problems that were made possible due to [the Trump administration]. It’s because of action like those that we showed up for the city.”
Immediately after its time in Minnesota, the band flew out to film the Tiny Desk set.
The performance was a long time coming, according to Hernández.
“It was something beautiful and historic for us which should’ve happened 10 to 15 years ago,” he said, blaming conflicting schedules for the delay.
Though postponed, the 73-year-old musician knew the band’s messages would land with as much timeliness as ever.
In his introduction for Los Tigres Del Norte, NPR’s “Alt.Latino” host and “El Tiny” coordinator Felix Contreras spoke about why he wanted the band to perform as part of Tiny Desk’s month-long celebration of Latinidad.
“Our community is under attack and it’s not the first time … and it takes away our humanity,” Contreras said before Los Tigres kicked off the set with their hit “Somos mas Americanos.” “And for as long as I can remember, these gentlemen have been giving us back our humanity.”
Opening with the 2001 track was notable as the song flips jingoist U.S. narratives about who can call themselves American. The lyrics assert that Mexicans are more American than “gringos” and highlight how a large swath of the U.S. once belonged to Mexico.
Los Tigres let their songs do all the talking as they played straight through a series of tunes from across several decades, including 1995’s “Golpes en el Corazón,” 1997’s “Quiero Volar Contigo,” 1989’s “Ni Parientes Somos” and the 1986’s bittersweet single “La Puerta Negra.”
Hernández said the group wanted to use the platform to bring further awareness to the struggles immigrants continue to face in this country with an audience that notably skews more American than Los Tigres is accustomed to.
“We performed songs that talk about the problematic systems [in the U.S.] that have been around for years, but that are right now worse than ever before,” Hernández said. “The songs we sang [for Tiny Desk] have a lot to do with our society. I hope the wider public can listen to it and translate the songs to English so that they can connect to the lyrics.”
He said he hopes that the band can set an example for younger people that political messaging through music can empower artists, not hinder them.
“We’ve been singing songs since the ’70s about immigration and problems our community faces,” Hernández said. “As an artist, if you see a problem that affects your community, no matter how much you ignore it, you must realize that you are an active participant. You can’t stay quiet, your songs should talk about your problems so that through your work you can connect with and inform people.”
One thing that has continued to surprise and inspire Hernández over the last few years is seeing younger generations of fans celebrate his group’s music.
“They are the future and we sing our songs to them so that they can hear about the problems in our community that have existed and that persist,” he said. “At some point in life you will face big problems and it will be important that you know your history, what you stand for and how to defend yourself. We want to help people know their rights and be prepared to know how to act in difficult times like right now.”
As swiftly as Barry Manilow returned to the stage following a health-related hiatus, he has stepped away.
On Friday, Manilow cut his concert short just two songs after it began. The 83-year-old crooner abruptly told the crowd to talk among themselves as he walked off stage, according to concertgoers who detailed the incident on social media. The curtain dropped, and a few moments later the audience was told the show was a wrap. Manilow’s performance slated for Saturday was subsequently nixed.
The day before, on Thursday, the “Copacabana” singer had returned after a six-week break to perform at the International Theater at the Westgate Las Vegas Resort & Casino, telling the audience, “I’m back!” Manilow appeared to be spry and energetic throughout the show. “God, I feel like I’m a teenage idol again,” he joked when a couple of audience members tossed underwear onto the stage. He picked up a pair of full-coverage briefs and asked if they needed to go to the laundry, then a pink lacy thong and joked, “I’ll keep this pair.”
“After a triumphant welcome-back concert on Thursday, Barry got hit with bronchitis and had to cancel his Friday and Saturday shows,” reps for Manilow told Paste Magazine.
Last year, Manilow revealed that he had been diagnosed with lung cancer and that surgery would require him to postpone several performances. In May, he told The Times that, since he had surgery, he was getting winded just walking down the hallway. “Ninety minutes of screaming in tune, which is what I do for a living — I’m not up for that yet,” he said at the time. “I will be, but it’s taking a long time to get my voice back. They warned me that I’d have to learn to breathe again. So these days, I get up, I go to my piano and I try to be creative. Before I know it, the afternoon’s over.”
The star returned to the stage in June following a six-month hiatus, in support of his latest album, “What a Time,” his first LP loaded with new material in almost 15 years.
But in August, Manilow canceled shows because of vocal and technical problems before telling fans he needed to pause. “We just finished a fantastic summer tour, 29 shows in 68 days,” the singer said. “The shows were fantastic. The audiences were fantastic. And I sounded fantastic. But it seems that we were pushing a little too hard.
“Now we all need to sit down and shut up,” Manilow said.
We are weathering a truly apocalyptic heat wave in L.A., but that hasn’t stopped Halloween from sneaking up on us. For those who like to give themselves the creeps, the city has its fair share of spook shows, including Griffith Park’s Haunted Hayride and the Queen Mary’s Dark Harbor. These mainstays offer hardworking actors seasonal jobs, but usually don’t allow for any real narrative besides jump scares and chainsaws. Which is why I’m so jazzed about a new entry to the immersive Halloween show scene: “Hospital of Emotions After Dark,” with its specially ticketed basement creep-fest, “Below.”
For readers who haven’t been inundated with a million ads for “Hospital of Emotions” on your Instagram feeds, it’s an immersive art show that unspools in 80 discrete rooms over four floors of the shuttered St. Vincent’s Medical Center near downtown L.A. The 45,000-square-foot exhibition opened in late May and was supposed to close in late July, but has extended its run due to popular demand. This month that run includes an after-dark option, which features the regular show — only after-hours — with ambient lighting and roving actors who show up in the most unexpected places (I won’t spoil it, but I got one of the most serious jump scares of my life in one of the exhibit rooms).
A separate ticket (which can be purchased in a bundle with the main exhibition) gets you a ride in an elevator to the hospital’s long-abandoned basement where you are treated to an immersive theater show with a nun for a tour guide. My nun was played by Penny Wiggins, and I’m not sure I have ever witnessed such true commitment in a spook show. Wiggins sold her character — at one point with genuine tears.
I won’t give away the plot, but it’s harrowing, especially if you are someone familiar with the hospital, which opened in the late 1800s and was the first hospital in the city. I had my daughter there in 2016, so it was extra chilling to know that this basement of horrors was there even then. The show uses the building’s actual abandoned infrastructure as its framework, so guests are led through dank subterranean corridors, old examination rooms and specimen labs, as well as an autopsy room.
“Below” isn’t as viscerally gory as “Dark Harbor” or “Haunted Hayride,” but it’s more artistic. There is dancing and an actual script that features a “gotcha” twist — as well as an upsetting demon who appears out of nowhere. I applaud the commitment by the actors who, I imagine, must find it kind of scary just waiting down there for the next round of guests. Plus, it’s good fun to be in the “Hospital of Emotions” at night when everyone is a little wild and there’s a sense that something out of the ordinary might pop out at you at any minute.
I’m Arts editor Jessica Gelt begrudgingly wearing a tank top and shorts in early October. This is your arts and culture news for the week.
You’re reading Essential Arts
Our critics and reporters guide you through events and happenings in the SoCal arts scene. In your inbox every Friday.
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
The week ahead: A curated calendar
FRIDAY
Felipe Dulzaides / Bradley Baboc Cuban-born artist Dulzaides uses photography, drawing, video, performance, sculpture and sound to capture the sublime nature of Havana knife sharpeners in the exhibition “Balance in Place.” L.A. painter Boboc drew on the Toy District as inspiration for a new series of paintings, “Shadoobie (Shattered).” Opening, 6-9 p.m. Friday; 10 a.m.-4 p.m. Thursday-Sunday, through Nov. 8. Arcane Space, 324 Sunset Ave., Unit G, Venice. arcanespacela.com
Ludovico Einaudi The popular Italian pianist and composer returns to Disney Hall for the first time since 2019 on this solo tour. 8 p.m. Friday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Mälkki Conducts Bartók Susanna Mälkki leads the Los Angeles Philharmonic in Béla Bartók’s “Concerto for Orchestra.” 11 a.m. Friday, 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Takács Quartet with Jeremy Denk The Grammy winning ensemble teams up with the MacArthur Grant-winning pianist for a program of chamber music featuring works by Haydn, Mendelssohn and Franck. 7:30 p.m. Broad Stage at Santa Monica College Performing Arts Center, 1310 11th Street, Santa Monica. broadstage.org
SATURDAY
Laura Andreson, 1979, Forrest L Merrill Collection, Photo by M. Lee Fatherree
(Photo by M. Lee Fatherree)
The Eternal Quality of Aesthetic Joy: Laura Andreson and Her Legacy The artist bristled at “superfluous” decoration, favoring distilled jar, box, bowl and vase forms influenced by her love for Scandinavian and Bauhaus design. She became a wizard with glazes, conjuring lustrous surfaces resonant with elements of the Southern California landscape. This show offers a rare opportunity to savor the gorgeous purity of her work, alongside that of several of her mentors and peers, such as Gertrud and Otto Natzler and Glen Lukens, as well as some of her students, including JB Blunk and Bernard Kester. (Leah Ollman) Noon-6 p.m. Tuesday-Saturday, Oct. 10-Jan. 9, 2027. Craft in America Center, 8415 W 3rd St. craftinamerica.org
Haunted Soiree: True Crime An immersive theater experience inspired by the 1928 Hex Hollow murder with cocktails and curious encounters. Selected nights through Oct. 31. Nocturne Theatre, 324 N. Orange St., Glendale. hauntedsoiree.com
Pacific Jazz Orchestra’s Benefit Concert Songwriter and producer David Foster, singers Katharine McPhee, Joanna “JoJo” Levesque, Veronica Swift, Adam “AeJaye” Jackson, violinist Anne Akiko Meyers and pianist Emmet Cohen are the headliners for a celebration of founding Artistic Director Chris Walden’s 60th birthday, which also includes a buffet reception and dancing under the stars. 7 p.m. Private estate in Toluca Lake, address to be provided upon confirmation of attendance. pacificjazz.org
Saint Megan Playwright Joy Gregory, inspired by the journey of the granddaughter of the founder of the controversial Westboro Baptist Church, examines the long history of American Christian zealotry. Opening, 8 p.m. Saturday, 8 p.m. Fridays, Saturdays and Mondays, 2 p.m. Sundays through Nov. 22 (no performance Oct. 12 or Oct. 31. Rogue Machine at the Matrix Theatre, 7657 Melrose Ave. roguemachinetheatre.org
SUNDAY
Akram Khan Company In the London-based dance troupe’s final touring production, “Thikra: Night of Remembering,” an international cast of women perform contemporary and Bharatanatyam dances. 8 p.m. UCLA, Royce Hall, 340 Royce Drive, Westwood, cap.ucla.edu
Camerata Pacifica The chamber ensemble opens its 37th Season with Rachmaninoff’s “Variations on a Theme of Chopin, Op. 22” and Schubert’s “B-Flat Major Trio.” 5 p.m. Sunday. Bank of America Performing Arts Center, Janet & Ray Scherr Forum Theatre, 2100 Thousand Oaks Blvd., Thousand Oaks; 7:30 p.m. Tuesday. The Huntington, Rothenberg Hall, 1151 Oxford Road, San Marino; 8 p.m. Wednesday. The Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A.; and 7 p.m. Thursday. Music Academy of the West, Hahn Hall, 1070 Fairway Road, Santa Barbara. cameratapacifica.org
Heartbreak House The Antaeus Theatre Company launches its 35th season with George Bernard Shaw’s dark comedy. Directed by ATC Artistic Director Nike Doukas. The cast includes Elinor Gunn, Harry Groener, Arye Gross and Bernard Addison, Previews, 2 p.m. Sunday, 8 p.m. Tuesday-Oct. 16; opening, Oct. 17-Nov. 16. Kiki & David Gindler Performing Arts Center, 110 East Broadway, Glendale. antaeus.org
Musical Theater Guild members Valerie Larsen and Gabriel Navarro during a reading of “The Light in the Piazza” in 2024.
(Stan Chandler)
Here’s to Us! The Musical Theatre Guild marks its 30th anniversary with a benefit concert featuring show tunes from “Titanic,” “Fanny, “The Pajama Game” and “Sunday in the Park with George.” 7 p.m. Broad Stage at Santa Monica College Performing Arts Center, 1310 11th Street, Santa Monica. musicaltheatreguild.com
Untitled, n.d. Mavis Pusey
(Neil Lane Collection / Estate of Mavis Pusey)
Mavis Pusey Two exhibitions this fall will help familiarize audiences with this remarkable woman. “Mobile Images” at the Hammer is a full-scale survey co-organized by the Studio Museum in Harlem and the Institute of Contemporary Art at the University of Pennsylvania, and is accompanied by a rich and thorough catalog. “Restless” also adds a Pusey publication to the shelf. The Benton show focuses mostly on Pusey’s prints, drawing exclusively from the collection of Ian White, artist, educator and son of esteemed artist Charles White. (Leah Ollman) “Mobile Images,” through Feb. 28, 2027. UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. hammer.ucla.edu “Restless,” through Jan. 3, 2027. Benton Museum of Art, Pomona College, 120 W. Bonita Ave., Claremont. pomona.edu
MONDAY
Art Of Elan: In The Desert Inspired by a trip to Bryce Canyon, Olivier Messiaen wrote his percussion-rich chamber music masterpiece “From the Canyons to the Stars” as a 1976 U.S. Bicentennial commission from Alice Tully Hall in New York. Replete with Messiaen’s characteristic bird calls, it’s been done out of doors before, and memorably at the Ojai Music Festival. But the San Diego imaginative new music series Art of Elan is now taking it to the desert for a special performance led by percussionist Steven Schick at an outdoor theater in Borrego Springs. (Mark Swed) 6:30 p.m. Stargazing Theater, La Casa del Zorro Desert Resort & Spa, 3845 Yaqui Pass Road, Borrego Springs. artofelan.org
TUESDAY
Angela Hewitt The pianist performs an all-Mozart recital accompanied by Los Angeles Chamber Orchestra concertmaster and violinist Margaret Batjer for the first installment in LACO’s inaugural recital series. 7:30 p.m. Tuesday. The Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A. laco.org
WEDNESDAY
Lisa Batiashvili/Gautier Capuçon/Jean-Yves Thibaudet The superstar violinist, cellist and pianist team up for an evening of Shostakovich, Debussy, and Dvořák. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Joey Soloway.
(Loshara Vova)
A 1 They/Them Show The Emmy and Golden Globe-winning creator of “Transparent” steps out from behind the camera to try out their stand-up routine in L.A. before hitting the road with a deeply personal solo comedy performance exploring family, Hollywood, gender, sex, Judaism, ambition and reinvention. A tour is expected to include a November stop in Chicago. 8 p.m. Wednesday and Oct. 28, doors open at 7 p.m.. The Virgil, 4519 Santa Monica Blvd. dice.fm
THURSDAY
Houston Ballet
(Quinn B. Wharton/Segerstrom Center for the Arts)
Houston Ballet The Texas dance troupe brings celebrated young pianist George Li for an ode to Frédéric Chopin. Making its West Coast debut, and created by Stanton Welch AM, artistic director of the Houston Ballet, the piece, “Sons de L’âme” (Sounds of the Soul), merges choreography with a live performance of Chopin’s famed piano pieces, showcasing the talents of the nation’s fourth-largest ballet company and a rising star of classical music. (Eloise Rollins-Fife) 7:30 p.m. Thursday-Friday, 2 and 7:30 p.m. Saturday, 1 p.m. Sunday. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org
Speaking In Tongues The world premiere of a Luis Alfaro play is always a welcome event. And his latest work, commissioned by Latino Theater Co. and developed at the theater’s Circle of Imaginistas playwriting group, resonates thematically with Alfaro’s 2023 play “The Travelers,” which LTC produced in 2023 and made my list of that year’s best theater productions. The new play, infused with Alfaro’s trademark Chicano humor, returns us to the world of California’s Central Valley and the stories of migrant farmworkers and their spiritual quests in a societal landscape transforming faster than anyone can keep up. (Charles McNulty) Previews, 8 p.m. Thursday-Friday; opening night, 8 p.m. Saturday; 8 p.m. Thursdays-Saturdays, 2 p.m. Sundays, through Nov.. 15. Los Angeles Theatre Center, 514 S. Spring Street, downtown L.A. latinotheaterco.org
The SoCal scene
Cuban-born artist Enrique Martinez Celaya paints the new curtain for the L.A. Opera at the Dorothy Chandler Pavilion.
(Carlin Stiehl / For The Times)
ICYMI, the best of this week’s L.A. Times arts coverage:
L.A. artist Enrique Martínez Celaya hand-painted a brand new 70-foot curtain for L.A. Opera’s new season.
A documentary about Asco, the revolutionary arts group founded in the 1970s, is streaming for the first time on PBS.
As 24th Street Theatre prepares to celebrate its 30th anniversary, it has announced that it raised $3 million to officially buy the converted 1928 carriage house it’s called home for the past 29 years. It also purchased properties next door and across the street in order to expand its mission and community programming, including plans for an outdoor garden and a black box theater, which is, according to a news release, “officially named the 24th Street Black Box Theatre in honor of longtime supporter Jack Black, who is also the new venue’s first donor.” Black is set to host the theater’s gala on Oct. 18.
Tesserae — Andrew McIntosh, left, Ian Pritchard and Joshua Rubin — perform “Bowling, Animals and the Ocean” at the Sierra Madre Playhouse.
(Dania Maxwell / Los Angeles Times)
The 99-seat Sierra Madre Playhouse announced it has received $2.5 million from the State of California for a slew of exciting upgrades to its 100-year-old building — marking the largest gift in the organization’s history. The funds were secured by Pasadena Assemblymember John Harabedian, and will be used toward making the historic venue ADA-compliant, as well as to renovate lobbies and other areas open to the public. It will also help with new programming and building infrastructure.
The LA Phil and Orchestre de Paris have announced the launch of a new opportunity: the Salonen International Conducting Fellowship, which is, according to a news release, “designed to nurture and accelerate the careers of the next generation of orchestral conductors … the fellowship will offer early-career conductors unparalleled access to artistic mentorship, practical podium experience, and professional development opportunities at Los Angeles’ Walt Disney Concert Hall and the Philharmonie de Paris.” The first yearlong program will start in the 2027-28 season, and will feature two to four fellows, who will spend about six weeks working with each orchestra.
The Hammer Museum at UCLA announced this week that Eric Esrailian is succeeding Marcy Carsey as the new chair of the museum’s board (after previously serving as vice chair). Karen Hillenburg will now serve as vice chair. The Hammer also named three new members to its board: philanthropist Leslie McMorrow, attorney Alicia Miñana de Lovelace and Joan Weinstein, vice president of program planning at the Getty.
The anonymous arts group known as Secret Handshake has gone international with its piquant form of satirical anti-Trump artwork, this time placing a playable video game console called “Nuuk ‘Em All” in, yes, Nuuk, Greenland. The group sent a picture of the console to The Times. It sits alone on a barren cliff above the sea, with a smallish iceberg visible in the water below. The peaked roofs of a nearby town can be seen in the distance.
Secret Handshake has created more than a dozen pieces of guerrilla art mocking Trump since last year — all of which appeared on the National Mall in Washington, D.C., until July when a golden, 10-foot tall “Iran War Participation Trophy,” cropped up in New York City. That piece arrived at the Minnesota State Capitol in early August.
Greenland is ambitious though, even for a collective that revels in creating outsize splashes with its work (see the Trump-Epstein “Best Friends Forever” sculpture). Asked via email how the group transported the full-size video game console to the country — which has weathered a series of unwelcome overtures from Trump to become part of the U.S. since he retook office early last year — a representative wrote, “You have no idea — it was honestly very difficult. A true ‘planes, trains, and automo … ships’ situation. Did you know that the arctic is actually quite far? And they’re not used to whipping over arcade games.”
“Nuuk ‘Em All” is the second satirical video game Secret Handshake has released since July when it first introduced the world to “Operation Epic Furious: Strait to Hell,” which finds Trump waging a futile war with Iran while making all kinds of bumbling choices including whether to order a Diet Coke or bomb the country.
The game arrives in Greenland shortly after the Trump administration signed an agreement with the country and Denmark to expand the U.S. military presence in the Arctic while seemingly dropping threats to annex the semi-autonomous Danish territory.
Three additional cabinets of the game were simultaneously placed at the D.C. War Memorial on the National Mall, and can be played online on any old computer. The game begins with an animation of the White House, its lawn covered with cranes and backhoes. “The year is 2026,” the scrolling text reads. “The White House is under constant construction, reconstruction and construction of the reconstruction.”
The action moves to Trump’s Mar-a-Lago headquarters where Trump is approached by Defense Secretary Pete Hegseth, who apologizes for waking Trump from his “tactical nap” to tell him about some “issues with Iran.” Trump asks if the Strait of Hormuz is 100% open and Hegseth replies, “Yes, sir. It’s so open that we’ve used up all our missiles, and gas now costs more than bourbon.”
I haven’t had the chance to play the game for long, but Secret Handshake’s email details what to expect, “In this game, Iran is going great (spoiler — it’s not), so Trump heads north to check on his new frozen frontier. Along the way, he battles unthinkable evils like Fully Vaccinated Children, Woke Yetis, and the happiest people on Earth, the Danish. All the while, the player’s greatest challenge is trying to keep President Trump from falling back asleep.”
Secret Handshake didn’t have any information about how Greenland has responded to the game, with the rep noting, “I think there is a lot of hope and relief over there right now that this agreement is the end of the barrage of bullying and threats from the US. But our feeling—and I truly hope we’re wrong— is that it’s just the beginning. Especially with Trump refusing to answer if an invasion is completely off the table now.”
Regardless of what happens in Greenland, the rep continued, “the thing I really like the most about this new game is that between all the satire, and jokes, and silliness, it actually ends up back in reality — the character is still stuck in an endless loop of war in Iran. And that, sadly, is still just as true as when we released the Iran game almost half a year ago.”
I’m Arts editor Jessica Gelt screaming into the void. This is your arts and culture news for the week.
You’re reading Essential Arts
Our critics and reporters guide you through events and happenings in the SoCal arts scene. In your inbox every Friday.
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
The week ahead: A curated calendar
FRIDAY
Boston Marriage David Mamet’s 1999 epigram-filled comedy about two women sorting out their affairs while maintaining their standard of living at the turn of the 20th century. Directed by Bernardo Cubría. With Nicole Pacent, Heather Wake and Dulce Valencia. 8 p.m. Fridays-Saturdays (and one Thursday, Oct. 22): 2 p.m. Sundays, through Oct. 24. European House LA, 12355 Rye Street, Studio City. ticketsource.com
Yvette Janine Jackson With Radio Opera Workshop The ensemble integrates electronics, acoustic instruments, voice and images to produce new music by the award-winning composer and sound artist. Presented by CAP UCLA in collaboration with the UCLA Herb Alpert School of Music and the UCLA Center for Musical Humanities. 8 p.m. The Nimoy, 1262 Westwood Blvd. cap.ucla.edu
The Little Women Ballet in action.
(Edie Tyebkhan-Melissa O’Gara)
Little Women Ballet The dance troupe’s Autumn Immersive Experience brings audiences into the world of Louisa May Alcott through movement amid Victorian Era architecture. 6:30 p.m. Friday, 3 and 6:30 p.m. Saturday-Sunday. Heritage Square Museum, 800 Homer St., Montecito Heights. littlewomenballet.org
Outside Mullingar An Irish romance written by Pulitzer Prize and Academy Award winner John Patrick Shanley that premiered on Broadway in 2014 finds a middle-age man and woman, longtime neighbors, circling an uneasy relationship in uncertain times. Michael Kirby, Liza Seneca, Armin Shimerman and Kitty Swink star. Directed by Matthew Leavitt. 8 p.m. Fridays-Saturdays, 2 p.m. Saturdays, 4 p.m. Sundays, through Oct. 25. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org
Gretchen Parlato The jazz singer-songwriter performs music from her new album, “The Wise Ones,” joined by her band Alan Hampton on bass and guitar, Mark Guiliana on drums and percussion and Gerald Clayton on piano and keyboards. 8 p.m. Carpenter Center, 6200 E. Atherton St., Long Beach. carpenterarts.org
SATURDAY
Isaiah Collier performs Saturday at the Segerstrom Center for the Arts.
(Johanna Brinckman)
Isaiah Collier Plays Coltrane The rising jazz musician and composer pays tribute to the saxophone legend by applying his own sound and reaffirming the music’s ability to evolve. 7:30 p.m. Segerstrom Center for the Arts, Samueli Theater, 600 Town Center Drive, Costa Mesa. scfta.org
Democracy Sessions 2026 Music collective Wild Up expands upon its successful election-themed 2024 event examining how art can function as a democratic practice in this time of censorship, polarization and shifting public trust. The new month-long festival was developed in partnership with MOCA, REDCAT and CalArts, with related programming independently conceived and presented by Clockshop, 2220 Arts + Archives, Human Resources, Performance Art Museum and Living Earth, for the run-up to the Nov. 3 midterms. Saturday through Nov. 3, various locations. wildup.org
A calavera mask designed by artist Leo Limon and a paper marigold for Self Help Graphics & Art’s Dia de los Muertos Community Art Workshop Series in October 2026.
(Self Help Graphics & Art)
Día de los Muertos Community Art Workshop Series Self-Help Graphics & Art launches the holiday season with five free Saturday community art workshops. Participants of all ages will learn crafts to honor ancestors and loved ones. Each week features papel picado (tissue paper with cutout shapes) and a paper marigold craft activity, plus a special project: Stamp collages with SHG Lead Printer Dewey Tafoya (Oct. 3); Calavera (skull) masks featuring a design by artist Leo Limon (Oct. 10); Recuerdo (memory) posters with Victoria Delgadillo (Oct. 17); “Living candle” mini paintings with Ivan Zuno (Oct. 24); and Candle decorating with Nupur Behera (Oct. 31). Noon-3 p.m. Saturdays through Oct. 31. East Los Angeles County Library, Community Room, 4837 E. 3rd St. selfhelpgraphics.com
Woof A revised version of “Go Play,” written and directed by Barra Grant, featuring the same loquacious dogs with new insights into their clueless owners. Previews, 2 and 7 p.m. Saturday, 2 p.m. Sunday and Oct. 10; opens 7 p.m. Oct. 10; 2 and 7 p.m. Saturdays, 2 p.m. Sundays, through Nov. 8. Odyssey Theater, 2055 S. Sepulveda Blvd. odysseytheatre.com
SUNDAY
Come From Away The award-winning Broadway hit musical, written by the husband-and-wife team of Irene Sankoff and David Hein, tells the true story of a Canadian town that sheltered thousands of airline passengers whose flights had been diverted on Sept. 11, 2001. Directed by Julia Rodriguez-Elliott, with music direction by Rod Bagheri. Previews, 2 p.m. Sunday, 7:30 p.m. Wednesday, Thursday and Oct. 9; opens Oct. 10 through Nov. 8. A Noise Within, 3352 E. Foothill Blvd. Pasadena. anoisewithin.org
WEDNESDAY
The Best Medicine Caroline Aaron stars in the West Coast premiere of this solo comedy by playwright Robin Gerber and directed by Jane E. Unger. Previews, 8 p.m. Wednesday-Friday; Opening, 8 p.m. Saturday; 8 p.m. Fridays-Saturdays, 2 p.m. Sundays, through Nov. 15. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
B+ Mom (An Enthusiastic Guide to Imperfect Parenting) Melissa Greenspan wrote and performs this solo comedy directed by Guy Picot. 7:30 p.m. Wednesdays, through Oct. 28. Rogue Machine at the Matrix Theatre, upstairs on the Henry Murray Stage, 7657 Melrose Ave. roguemachinetheatre.org
Charlemagne Palestine The Brick and Piano Spheres presents the visual artist and musician performing “Strumming Music,” which he describes as “an evolutionary liquid sound continuum process” and performed hundreds of versions over the last 50+ years. 8 p.m. The Brick, 518 N. Western Ave. the-brick.org
THURSDAY
Ronald K. Brown / Evidence The landmark African diasporic dance company led by choreographer Brown recently celebrated its 40th anniversary. West Coast fans will have the chance to experience the New York-based company’s unique blend of contemporary, African and African American dance traditions with this program of four pieces that includes tributes to some of Brown’s most enduring collaborators. (Eloise Rollins-Fife) 7:30 p.m. Thursday-Oct. 10. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Wives East West Players presents the Southern California premiere of Jaclyn Backhaus’ feminist comedy examining a selection of “great men” in 16th century France, 1920s India and 1960s Idaho. A primarily South Asian and South Asian American cast, under the direction of Hypokrit Live Arts NYC co-founder and artistic director Arpita Mukherjee, brings this redress of women’s erasure in history to astringent comic life. (Charles McNulty) Through Nov. 1, check website for specific dates. East West Players, Union Center for the Arts, David Henry Hwang Theater, 120 Judge John Aiso St. eastwestplayers.org/wives
Yamel Cucuy Austin’s Glass Half Full Theatre returns with this production, last seen in L.A. at the Latino Theater Company’s 2024 Encuentro theater festival. The tale of a girl on the verge of adulthood facing the threat of immigration agents and haunted by specters from Mexican folklore is told through live actors, sophisticated puppetry and an original score of Indigenous percussion. Written by Gricelda Silva, Indigo Rael and Caroline Reck, with additional writing by Jesus I. Valles and Connor Hopkins. Directed by Reck. 8 p.m. Thursdays-Saturdays, 2 p.m. Sundays, through Nov. 1. Los Angeles Theatre Center 514 S Spring St. latinotheaterco.org
The SoCal scene
Wendy Raigosa, 27, Long Beach, uses repurposed materials in her art project at Kate Ingold’s bi-monthly Samizdat Sundays workshop at the Wende Museum.
(Carlin Stiehl / For The Times)
Times contributor Miranda Huang wrote about bi-monthly classes at the Wende Museum called “Samizdat Sundays” in which teacher Kate Ingold teaches participants samizdat, “a practice in which Soviet dissidents hand-typed literature, criticism and poetry to bypass state censorship. Each week, Ingold opens the workshop with a new prompt related to speech suppression — an issue with renewed currency today.”
Vincent Price Art Museum is currently staging a unique exhibit featuring the work of Anida Yoeu Ali, a Cambodian-born artist who lives in Tacoma, Wash. It’s called “The Buddhist Bug” and features a 328-foot-long orange insect, which Ali will occupy on opening day, and again on closing day. “Ali’s numerous performance-based exhibits explore her Cambodian American identity and Buddhist and Muslim religions. The bug is her ‘totally humorous take on hybridity’,” writes contributor Siran Babayan.
Ed Ruscha’s new poster for Alejandro Iñárritu’s “Digger,” featuring the Boy Scout Utility Modern font, which Ruscha designed himself and has used exclusively since around 1980.
Segerstrom Center for the Arts turned 40 last month and Times contributor Jenelle Riley made the drive to interview the organization’s leaders, including President and Chief Executive Casey Reitz, about how the campus grew out of windswept lima bean fields to become the epicenter of art and culture in Orange County.
Architecture critic Sam Lubell went to the Lucas Museum of Narrative Art last weekend and was sorry to see that the museum has erected gates around its main courtyard. Lubell, like many, had been under the impression that the courtyard was meant to function as a grand civic plaza, so he penned a piece of commentary questioning the founders’ motives for cordoning off the area. “It’s hard not to wonder whether these barriers represent something more than security: the extension into public space of the gated, closely guarded world inhabited by co-founders George Lucas, Mellody Hobson and those in their orbit,” Lubell writes.
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A rendering of the Las Vegas Museum of Art, designed by architect Francis Kéré.
(Kéré Architecture / Las Vegas Museum of Art)
Culture News
Earlier this week the long-gestating Las Vegas Museum of Art hosted a preview of its Grand Central Galleries — a multipurpose media lab and exhibition space located in Symphony Park down the street from the museum’s future main building. Scheduled to open in April 2027, the 15,000-square-foot space will act as an entry point to the museum and is slated to host a variety of exhibitions and programs while the museum’s Francis Kéré-designed building remains under construction through 2029.
The Grand Central Galleries exhibition program was organized by the LVMA in collaboration with LACMA, and will open with “A Shared Light: Monet, Impressionism, and the American Landscape,” organized by Shannon Vittoria, LACMA’s associate curator of American art, along with David Bardeen, LACMA’s assistant curator of European painting and sculpture. It features nearly 60 works by artists including Claude Monet, Paul Cézanne, John Singer Sargent, Pierre-Auguste Renoir and James McNeill Whistler.
Country music star Zach Bryan signaled his support for Palestinians at the same stadium that recently banned rapper Macklemore over his efforts to do the same.
Grammy winner Bryan donned a black T-shirt emblazoned with the words “Free Palestine” and “Appeal to Heaven” during his Friday concert at Gillette Stadium in Foxborough, Mass., according to photos and videos shared on social media.
Members of his backing band also wore similar shirts, including drummer Nate Head, whose jersey paid homage to Hind Rajab, the 5-year-old girl killed alongside five members of her family in a 2024 attack by Israeli forces in Gaza.
Bryan’s Friday concert marked the first of two at Gillette Stadium, owned by billionaire Robert Kraft. The musician’s public display of support for Palestinians comes weeks after Kraft urged pop star Ed Sheeran to remove Macklemore from his tour, citing concerns over his pro-Palestinian messaging.
Last month, Sheeran and his touring team faced pressure to remove former opening act Macklemore from the rest of the tour. The Grammy-winning “Same Love” musician faced backlash from a number of Jewish advocacy groups over his performances at MetLife Stadium in New Jersey.
Days after the New Jersey shows, Messina Touring dismissed the rapper, who has been a vocal advocate for the Palestinian cause. “Shape of You” singer Sheeran denied playing a part in Macklemore’s departure, but confirmed in a statement that he spoke with Kraft, who was among the stadium owners expressing concern about Macklemore’s further involvement.
The remaining supporting acts for Sheeran’s tour, including Grammy winner Finneas (and brother of Billie Eilish) and folk band Beoga (Sheeran’s backing band), quit Sheeran’s Loop tour in solidarity. Sheeran carried on with his tour, but it hit another snag when his shows at Gillette Stadium last weekend were canceled “due to severe weather warnings” in the region.
Following the fallout, Macklemore announced his Free Palestine tour, which begins later this month with three shows in Dublin, Paris and London. Macklemore said he will be joined by artists “who have shown up and used their stages to stand in solidarity with the Palestinian people.”
The rapper announced on Wednesday that “all three shows sold out immediately.” He also said the full concert lineups and U.S. tour stops will come in a later announcement.
Macklemore, in his announcement, said all proceeds from the tour will go to a handful of charities supporting the Palestinians amid Israel’s war in Gaza. Macklemore previously said he would donate all $1 million of his earnings from his time on Sheeran’s tour to numerous pro-Palestinian charities.
Bryan’s With Heaven on Tour will return Saturday at Gillette Stadium. The “I Remember Everything” and “Pink Skies” singer will conclude his tour Oct. 10 at Jordan-Hare Stadium in Auburn, Ala.
The country star and U.S. Navy veteran, 30, is no stranger to channeling his political views in his music and performances. In 2025, Bryan released “Bad News,” a song critical of nationwide federal immigration enforcement operations.
Bryan’s pro-Palestinian stage gesture adds to a noticeable shift among mainstream artists speaking openly about their support for Palestinians amid Israel’s ongoing strikes on Gaza. Melissa Barrera, Rachel Zegler, Irish rap trio Kneecap and rap-punk group Bob Vylan have been among the entertainers who faced professional backlash for their criticism of Israel.
In April 2025, Cornell University also dismissed Kehlani from her headlining performance at the school after President Michael Kotlikoff accused the singer of espousing “antisemitic, anti-Israel sentiments in performances, videos, and on social media.”
In recent months, however, artists and entertainers, including Mark Ruffalo and the Israeli “NAZA” filmmakers Yuval Abraham and Rachel Szor (co-directors of Oscar winner “No Other Land”), continue to face backlash for criticizing Israel.
MEGAN Thee Stallion has stripped down to a tiny black thong and bra top while announcing she’s performing at the Victoria’s Secret Fashion Show.
The racy rapper, 31, will soon show her recent ex-boyfriendKlay Thompson, 36, what he’s missing when she performs at the very sexy fashion show.
Megan Thee Stallion wore a tiny thong and fishnetsCredit: Victoria’s SecretShe showed off her incredible figure in the processCredit: Victoria’s Secret
“Hotties, my dream has finally come true,” Megan told fans Tuesday when announcing the news on social media.
She added: “I’m in thee Victoria’s Secret Fashion Show.
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“Tune in October 18 to see me get my wings.”
Fans can tune into the live fashion show on October 18 via YouTube, TikTok, and Instagram.
The singer previously tweeted about wanting to be a VS AngelCredit: Victoria’s SecretFans have gone wild over the announcementCredit: Victoria’s Secret
In the video accompanying her announcement, Megan could be seen rocking black thong panties and white bra top as she danced around.
Reacting to Megan’s news of her VS Fashion Show performance, one person said: “REAL LIFE ANGEL IS GETTING HER WINGS.”
Another added: “Sexy & sensual moment.”
While a third wrote: “GO MEG.”
Most read in Entertainment
And a fourth said: “ITS BEEN OVER DUE QUEEN!!!! You’ve been on a run! Cultural ICON.”
Megan previously said she was keen to become a Victoria’s Secret angel.
Back in 2011, the rapper took to X, formerly Twitter, and penned: “I swear ima b a victoria secret model when I grow up.”
Megan is keen to show ex-boyfriend Klay what he is missing, following theirrecent break-up, which was plagued by cheating rumourson his part.
In June, the star took to Instagram and appeared to call out her unfaithful ex.
Megan wrote: “Cheating, had me around your whole family playing house… got ‘cold feet’.
“Holding you down through all your HORRIBLE mood swings and treatment towards me during your basketball season now you don’t know if you can be ‘monogamos’ ????
“B**** I need a real break after this one.. bye yall.”
Dodgers right fielder Kyle Tucker has never shied away from just how bad his performance at the plate was for much of his first season in Los Angeles.
For the first five months of the season, when he’d show brief glimpses of progress before sinking back into an extended slump, Tucker’s .683 OPS was the third-worst among Dodgers hitters with at least 100 plate appearances, better than only Hyeseong Kim and Kyle Freeland, who both spent time in triple A.
In September, however, he found a sustainable adjustment. He fixed his bat path, extending through the ball more consistently instead of pulling off of it. He posted a .889 OPS in September, on par with his four straight All-Star seasons before signing with the Dodgers.
Now, all of a sudden, he looks like a potential difference-maker in the postseason.
“The last month or so is more or less what I expect out of myself,” Tucker said in a recent conversation with The Times. “The biggest thing is we have an opportunity now being in the playoffs to win another World Series. Once the playoffs start, you can forget about any stats or personal numbers. The only one that really matters is the win column. So that’s just what I’m gonna try and contribute towards.”
The Dodgers offense had a lot of success stories like Tucker’s in the final month of the regular season. He helped carry the offense, along with Teoscar Hernández and Mookie Betts, who turned around their seasons down the stretch, and Will Smith, who returned from the IL and quickly found his home run swing.
The Dodgers’ starting rotation is their biggest strength going into the postseason. But the offense’s performance against elite pitching, and the bullpen’s execution in tight games, could make or break a series.
Here’s how some other key players are trending going into the postseason:
Designated hitter Shohei Ohtani: Fortunate to have the bye
Shohei Ohtani appears on the right track for a successful postseason.
(Gina Ferazzi / Los Angeles Times)
Ohtani returned from the IL with five games left in the season, and he went five for 21 with one extra-base hit.
All indications from general manager Brandon Gomes and manager Dave Roberts in video conference calls before the Dodgers’ closed workout Tuesday were that Ohtani was feeling good physically.
“I feel confident that you’re going to see the best version of Shohei of the last two months,” Roberts said. “I know that’s sort of a low bar given his injury, but I do think that he’s as healthy as he’s been in quite some time, and every day from the training staff, it keeps getting better. So, number one, he’ll be a threat being in the lineup, but I do think that the performance piece will be what we’re hoping for.”
First baseman Freddie Freeman: Ice cold
Freddie Freeman did not hit well in September.
(Ronaldo Bolaños / Los Angeles Times)
Freeman, who pushed through a bout with tendinitis in his right knee earlier this month, hit just .184 in September and went 0-for-7 in his last two games.
On Tuesday, Freeman said he had no pain in his knee. But finally acknowledged that the injury could have affected his swing mechanics, while again emphasizing that he wouldn’t use that as an excuse.
Freeman has a plan for the bye week that he hopes will set him in the right direction for the playoffs.
“I’m going to hit on the field every day,” he said Sunday. “I already know how my Tuesday is going to go. There’s going to be a lot of blocked balls to left [field], a lot of flares into left. I’m hoping as Tuesday goes Wednesday, I’ll come back and those will be put down a little more. Thursday they’ll be moved over to shortstop and by Friday I will be feeling good. That is how my head is thinking right now.”
Center fielder Andy Pages: Out of the gate running
It was hard to predict how the center fielder would look at the plate when he returned from a fracture in his left hand. He recorded a 1.181 OPS in six games and homered twice in the final regular-season series against the San Francisco Giants.
“He went into last October really scuffling, and it sort of bled into October,” Roberts said over the weekend. “Where, I think right now he feels really confident, swinging the bat well, and the hope is that this one bleeds into October as well.”
Reliever Edgardo Henriquez: Healthy
Henriquez is “trending really well” after throwing live batting practice, Gomes said. If this week continues to go smoothly, the flame-throwing right-hander is expected to be on the NLDS roster.
“Given the body of work, what he’s done, the unique skill set,” Roberts said, “could be huge for us — will be huge for us.”
Reliever Edwin Díaz: Strong finish
Díaz made five appearances after his latest return from the IL (neck). He gave up just one hit in those games, with a 52.9% strikeout rate.
“I don’t know if we could have asked much more out of Edwin,” Gomes said. “Felt like each outing was more and more sharp and looking more like himself. So feel that he’s in a great place right now. Stuff out of hand is as good as it’s been all year. And we know that he has pitched in the hottest of hot games in the past and in any role, especially in the postseason. So he’s looked great, and glad that he’s in the position that he’s in and was able to bounce back after the IL stint.”
NLDS weather: Sweltering
Los Angeles’ weather forecast for this weekend, when the Dodgers are set to host the first two games of the NLDS, shows temperatures reaching the high 90s. The Dodgers are scheduled to play Game 2 at 5 p.m. on Sunday. But Saturday’s game time will depend on the results of the wild-card round. First pitch for Game 1 could be at 1 p.m. or 6 p.m.
