When her home burned down in the Eaton fire, artist Susannah Mills felt lost and adrift — but never alone. Her home was part of an Altadena artists collective called JJU, or John Joyce University, named after a beloved carpenter who lived there for 26 years. And although the residents were forced to scatter in the wake of the January 2025 devastation, they remained in contact, looking for ways to support one another through what is still an ongoing process of recovery.
A few months after her loss, Mills was accepted into an artist residency at BKN, a retreat in the northern Stockholm Archipelago, where she expanded her watercolor practice from relatively small works to large scale, and explored installation. Like JJU, BKN prides itself on building community, and while there Mills began talking with BKN curator Anna Viola Hallberg about bringing other L.A. fire survivors to Sweden to experience the same sense of connection and relief Mills was feeling.
Hallberg had already been thinking along those lines and suggested they create another residency to do just that. In the fall of 2025, Mills and Hallberg, with the help of another L.A. artist, Rick Gradone, started an organization named Los Angeles Wildfire Survivors, or L.A.W.S., and raised the funds to send 13 Eaton and Malibu-based artists to BKN for two months.
The result was life-altering for the artists, most of whom were still working to rebuild from the devastating loss — and some of whom had been so occupied with the logistics of recovery that they had not been able to make time to work.
“It creates a network, and people who work together in the residency continue to help each other,” said Hallberg in a recent interview. “So there’s a really true new arts community that lingers beyond the residency.”
It soon became clear to the team behind L.A.W.S. that more needed to be done, and they solicited another round of applications for a residency, set to begin later this month at Pilchuck Glass School in Washington state. Eight Eaton fire survivors have been selected in a competitive process, and plans are in the works to bring another cohort of artists to Sweden next Spring.
“We want to expand this outside of Los Angeles ultimately, because there are fires everywhere and there is climate disaster everywhere,” Mills said, explaining that the group’s mission is growing as changing weather patterns result in escalating cataclysm and displacement of artists globally.
“The media focuses on the disaster really fast, and they don’t understand just how long the recovery takes,” Gradone said in a recent interview. “So this puts some kind of resource in place where people can continue to to get help, especially artists who lose everything that they’ve made, lose their studio spaces and homes. That can’t be recovered in six months.”
L.A.W.S. operates as a not-for-profit and has applied for official nonprofit status, a process that can take some time in California. It is also actively looking for fiscal sponsorship. Up until now the group has relied on its personal connections to raise money to support its artist residencies. Mills’ partner, Brian Huskey, is a comedian and actor who has rallied celebrity friends to auction off small pieces of art on cards in support of L.A.W.S. But there is a need for more help as the group grows.
“Word has really caught on with people who want to have this experience, which I’m really happy about,” said Mills.
I’m arts editor Jessica Gelt, wishing I could turn back time, Cher-like, to an era before the world fast-tracked climate change with its laissez faire approach to global warming. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
Bruce Willis, left, talks with director M. Night Shyamalan on the set of the 2000 film “Unbreakable.”
(Frank Masi / Touchstone Pictures)
Unbreakable M. Night Shyamalan’s 2000 superhero thriller with a twist stars Bruce Willis, Charlayne Woodard, Robin Wright, Samuel L. Jackson and Spencer Treat Clark. 7 p.m. Vidiots, The Eagle, 4884 Eagle Rock Blvd. vidiotsfoundation.org
SATURDAY
“the wheat leaping constantly from the shute,” Marley Freeman (2026). Oil, acrylic on linen, 58 by 54 inches.
(Marley Freeman / Parker Gallery)
Marley Freeman The artist’s new exhibition of paintings, “worthless serpentine,” takes its title from the writings of Joan Didion. Opening, 6-8 p.m. Saturday; 11 a.m.-6 p.m., Tuesday–Saturday, through Oct. 31. Parker Gallery, 6700 Melrose Ave. parkergallery.com
SUNDAY
Doyle Lane: Master Of Clay The first major museum retrospective of the Los Angeles ceramic artist features more than 100 works from the 1950s through the 1980s, from functional pottery to monumental murals, as well as archival documents. Through Feb 22. The Huntington, 1151 Oxford Road, San Marino. huntington.org
Marie Atoinette A 20th anniversary screening of the semibiographical period film with a postpunk- and new wave-fueled soundtrack with writer-director Sofia Coppola and star Kirsten Dunst in person. Coppola and photographer Andrew Durham will sign copies of their new book, “Making Marie Antoinette,” at the Academy Museum Store in a separately ticketed event prior the screening. 6:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
TUESDAY
Andrea Bocelli performs live in Vienna on Aug. 22.
(Thomas Kronsteiner / Getty Images)
Andrea Bocelli The Italian tenor arrives at the Hollywood Bowl for two nights on his Romanza 30th Anniversary World Tour. 8 p.m. Tuesday-Wednesday. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com
WEDNESDAY
Elliott Hundley “Book of Sand” is an exhibition of new paintings, sculptures and tapestries focusing on the artist’s “own exuberant internal universe” created through compiling paint, paper cutouts, string, encaustic and other found materials. Artist led walk–through, 11 a.m.; opening reception, 6-8 p.m.; 10 a.m.-6 p.m. Tuesday-Saturday, through Oct. 24. Regen Projects, 6750 Santa Monica Blvd., Los Angeles. regenprojects.com
The Peterson Show The world premiere of Janine Nabers’ play about a group of former child stars from a beloved TV show about a Black family come together after a scandal entangles their famous TV father. Directed by Michelle Bossy. Previews, 8 p.m. Wednesday-Friday, opens, 8 p.m. Saturday (sold out), runs through Oct. 26. Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.com
THURSDAY
The Case-Book of C. Auguste Dupin The world premiere of a new play adapted and directed by John Strysik, based on the stories of Edgar Allan Poe. 7:30 p.m. Thursdays-Saturdays, 2 p.m. Sundays, through Oct. 18. Mary Levin Cutler Theatre, 241 S. Moreno Drive, Beverly Hills. theatre40.org
The Ford/Hill Project A Waterwell Production created by Lee Sunday Evans and Elizabeth Marvel, this documentary theater piece is based on the verbatim Senate testimony of Anita Hill and Christine Blasey Ford during Supreme Court confirmation hearings, 30 years apart. The cast includes Rosemarie DeWitt, Betty Gabriel, Dulé Hill and Jerry O’Connell. 8 p.m. Thursday-Saturday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
The SoCal scene
A view of the Lucas Museum of Narrative Art in Los Angeles from a garden.
(Ariana Drehsler / For The Times)
Hey, have you heard? The Lucas Museum of Narrative Arts will open Sept. 22 and began member previews late last week. Just kidding. Of course you have heard, because hot takes currently abound on the new $1-billion museum. Love it or hate it, it’s here to stay, and Team Arts spent the week rolling out a spate of stories explaining how we got here, as well as what you can find in the shiny new 300,000-square-foot Ma Yansong-designed building.
Randolph Thompson, Desiree Mee Jung, Adam J. Smith, Nicole Javier and Julanne Chidi Hill in “Pericles” at Boston Court Pasadena.
(Brian Hashimoto)
Times theater critic Charles McNulty spent an evening at Boston Court Pasadena watching Ellen McLaughlin’s modern verse translation of Shakespeare’s “Pericles,” which takes place at a disaster relief center, where anxious evacuees improvise a play to escape their fear of the storm they are fleeing. “It’s hard to allow yourself to fully believe in the incredible turn of events when the prevailing attitude is so emphatically tongue-in-cheek,” McNulty wrote of the West Coast premiere.
McNulty also had lunch in Manhattan with playwright Samuel D. Hunter, who has two plays running in L.A.: “Grangeville,” which McNulty calls “Los Angeles’ most acclaimed theatrical offering of the summer” and has been extended at Ruskin Group Theatre through Sept. 21; and “A Case for the Existence of God,” in a recently opened Rogue Machine production at the Matrix Theater’s Henry Murray Stage. “Drama in Hunter’s hands is built around an encounter. He doesn’t force his characters to jump through hoops,” writes McNulty in a profile. “He listens to them, as they navigate their complicated feelings, closely tracking the way their intersecting paths lead them toward incremental revelation.”
IAMA Theatre Company is set to launch its ninth annual New Works Festival, which will take place Sept. 14-28 at Atwater Village Theatre, and will feature staged readings of six new plays. Tickets are $18 for each reading and can be found at iamatheatre.com. This year’s festival includes “The Half-Sibling Play” by Agyeiwaa Asante; “All Remaining Assets” by Serena Berman; “The Starters” by Laura Winters; “Betta Mus Come” by Alicia Carroll; “Werewolves” by Liba Vaynberg; and “The Great Florida Python Challenge” by John Lavelle.
Additional tumult is coming for the Smithsonian Institution as secretary Lonnie Bunch announced he will step down from his leadership position. The news comes in the midst of President Trump’s pressure campaign on the organization and his administration’s attempts to alter what Smithsonian museums include in their exhibitions.
A contestant on The Voice UK shared the inspirational support he’d received behind the scenes.
The Voice UK star was left emotional (Image: ITV)
A coach on The Voice UK was left in tears moments before Saturday’s episode came to an end.
The ITV competition has returned, with Kelly Rowland joining will.i.am, Sir Tom Jones and duo Tom Fletcher and Danny Jones. During the third round of the blind auditions on Saturday (September 5), viewers saw a show-first, as a Scottish singer made history, becoming the first contestant to be given the Rewind. ITV had earlier teased the game-changing format, saying: “If a coach realises they have made a mistake, they can hit Rewind, bring the act back, and offer them a place on their team.
“However, with only one Rewind available to each coach, they must choose their moment wisely. For an act who thought their journey was over, it could change everything…”
Elsewhere during the show, an emotional final audition left Kelly wiping back tears. 24-year-old Aaren was the last performer that day, hoping to impress the coaches.
Before taking to the stage, the ambulance care assistant, from Warrington, opened up about the support he’d received behind-the-scenes. He shared: “I live with my nan, she means the absolute world to me, she’s like a second mum.”
He went on to reveal that his nan had been diagnosed with breast cancer, adding: “There was a level of uncertainty there, whether we would have to say goodbye, when that would be, so I moved over to look after her.”
Aaren’s nan went on to praise him as “such a lovely person, inside and out”. “This is all you’ve wanted to do,” she added, talking about his audition.
Aaren shared: “This is one of the most nerve-wracking things I’ve done, and probably ever will do. But the amount of times my nan will say, I wish I’d have done this when I was younger. I don’t ever want to get older and have any regrets, I want to be able to say that I’ve tried.”
After his performance, both Kelly and Sir Tom turned around, hoping to win Aaren onto their team. Kelly shared: “I turned around because I love a male soulful voice, that wants to croon. Like nobody sings from their gut, heart and soul anymore… it’s a talent.”
As she heard about Aaren’s nan, she broke down in tears. She said: “That was sweet, to watch him love his grandmother like that, I love that.” She added: “You always want them to have this really sweet space for a woman who is a rock in their life.”
After the auditions came to an end, Kelly added: “Aaren had me moved to tears, he just makes me kind of putty. He’s so honest, he was a really special guy so I’m really excited.”
MIS-TEEQ will reunite for a one-off 25th anniversary concert next Saturday – and have hand-picked a special line-up of UK garage artists to warm up the crowd.
Mis-Teeq, from left, Su-Elise Nash, Sabrina Washington and Alesha Dixon, are playing a huge reunion show next SaturdayCredit: Getty
We understand the supporting acts are Damage, Egypt, Kele Le Roc, Malika, Gracious Kay and Monsta Boy and Rampage Sound – who are presenting the acts on stage.
A source said: “This concert is all about celebration for Mis-Teeq and they knew they wanted to have multiple acts to really whip the audience up.
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“They’ve secured Damage, Egypt, Kele Le Roc, Malika, Gracious Kay, Monsta Boy and Rampage Sound.
“It’s going to be off the charts.”
Kele Le Roc, performing during Kisstory On Blackheath in July, is among the supporting artistsCredit: GettyInsiders confirmed Damage, here in their hey-day in the Nineties, were also on the billCredit: Getty
Tickets have already sold out, as excitement builds for their reunion following their huge performance at Capital’s Summertime Ball in June.
Alesha and Su-Elise, both 47, and Sabrina, 45, confirmed they were reuniting for a one-off show in May, after The Sun exclusively revealed their plans earlier this year.
Speaking about their return, Alesha said: “We’ve been offered reunion stuff over the years, but it’s never felt right.
“This time, everything just lined up. “It feels like it is just slotting back into place.”
The band’s reunion is to celebrate the 25th anniversary of their debut album, Lickin’ On Both Sides.
The record, which came out in October 2001, peaked at No3 in the Official Album Charts and bagged them five Top Ten singles including All I Want, One Night Stand and B With Me.
The trio, pictured here during their chart-topping days, reunited to celebrate the 25th anniversary of their album Lickin’ On Both SidesCredit: Getty
Daisy Chain Fields arrived on a sweltering summer Saturday, plopped in the middle of Irvine’s suede hills, inside Orange County lines. The festival, hosted by Olivia Rodrigo at the Great Park, was a spiritual successor to Sarah McLachlan’s Lilith Fair of the late ‘90s, born out of frustration with promoters and radio stations that refused to play two female artists in a row.
Like McLachlan’s event, Daisy Chain Fields boasted an all-female lineup, featuring some of the most coveted names in the contemporary music scene. The festival also gave a nod to some of the industry’s women pioneers, such as Bikini Kill and Garbage.
Anticipation for the festival was high after Rodrigo unveiled it in late June, with tickets selling out just 30 minutes after release. This translated directly onto the grounds, which were swarmed by 45,000 attendees, comprising teenage girls, moms, dads and everyone in between.
The event raised $10 million to benefit 10 girl- and women-focused nonprofit organizations, all of which made an appearance on stage before each artist’s set. Each musician on the lineup performed for free.
Festivalgoers walk past the Great Park Balloon.
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1.Festival goers pose for pictures in front of a daisy backdrop.2.Nara Brown from Costa Mesa ties together a flower headpiece.
As the sun went down and Rodrigo took the stage, she announced that proceeds had been 100% matched by billionaire and philanthropist Melinda French Gates, bringing total donations to $20 million.
The Times was on site to witness the festival in all its glory, amid astounding 94 degree heat and an unwavering, tangible electricity among fans. Here is our recap of the best moments from the festival. —Julius Miller
Livies get loud on the Metrolink The 2 p.m. Metrolink train from Union Station in L.A. to Orange County was absolutely mobbed with Livies (a.k.a. Olivia Rodrigo fans) on Saturday. For such a car-brained region, it was sweet to see public transit packed with young fans in festival regalia, making the grind to Irvine more sane and green. Let’s have this vibe for every major SoCal festival (including the car-free Ocean Way next month). Yet, for new train fans, a gentle reminder: one spirited round of singing “Get Him Back!” as you’re climbing onboard? Endearing, a delight for all. Keeping it up for an hour, next to civilian commuters who looked ready to climb onto the tracks themselves by Buena Park? Maybe save that for the pit. —August Brown
Festivalgoers sing as Olivia Rodrigo performs during Daisy Chain Fields.
Devon Again performs during Daisy Chain Fields.
Devon Again felt so lucky that she gets to know you
25-year-old alt-pop princess Devon Again was a last-minute addition to the Daisy Chain Fields bill, replacing global girl group Katseye, who pulled out of the festival on Thursday due to a member’s ankle injury. Luckily, Devon Again, a personal friend of Rodrigo who will open for her tour starting in November, was there to answer Rodrigo’s call with a resounding “Duh, b—! Obviously I want to do it!” as she relayed to the Saturday afternoon crowd. Though Katseye’s presence was felt — members Lara Raj, Megan Skiendiel and Yoonchae Jeong took the stage to introduce nonprofit partner Baby2Baby before the set, and Devon Again’s drummer wore a Katseye shirt in tribute — Devon Again’s self-confessed impostor syndrome was misplaced. With a rollicking mix of high-energy country twang, twisty ballads and production-heavy pop hits bolstered by her crisp belt, she made the stage her own. —Eloise Rollins-Fife
Die Spitz dives into a great early set
The set began with a five-minute delay due to technical issues, during which bassist Kate Halter — impressively — performed several handstands to pass the time. By 1:45 p.m., the band was ready to go, with frontwoman Ellie Livingston kicking off the performance. Draped in a torn white skirt and black fishnet gloves to complement, she wailed “I hate when girls die.”
Die Spitz’s set felt like the epitome of what Daisy Chain was all about. The band members took turns strutting around stage and acknowledging, “I know it’s f— hot!” But that didn’t stop the crowd from forming mosh pits on the left and right side of the yellow Marigold stage. At one point, Livingston even jumped in herself, to the despair of security and the delight of fans. —JM
Eleanor “Ellie” Livingston of Die Spitz performs during Daisy Chain Fields.
Santigold’s set was worth fighting for
Santigold’s eclectic, genre-defying sound may be a hallmark of the “indie sleaze” era, but her standout midday Daisy Chain set proved she has plenty of staying power in 2026. Dressed in all white and flanked by a pair of straight-faced dancers in futuristic sunglasses, the 49-year-old artist performed back-to-back hits like “Run the Road” and “L.E.S. Artistes” to a crowd ready to dance the pain away. She even brought a handful of fans onstage — mostly, adorably, children — for a follow-along dance contest during “Unstoppable,” with a winner determined by cheers. Wrapping up the set with “Disparate Youth,” Santigold reminded the audience to keep believing in “a life worth fighting for.” –ERF
Santigold transports the crowd to the early aughts era of indie sleaze during Daisy Chain Fields.
Bikini Kill double dares Daisy Chain crowd to keep fighting the power
“This government hates us and wants us dead,” proclaimed punk icon and Bikini Kill frontwoman Kathleen Hanna: a critical guiding light for Olivia Rodrigo’s feminist consciousness, as well as that of thousands of Daisy Chain attendees on Saturday. Since the band’s inception in 1990, the OG riot grrrls of Bikini Kill made social justice the centripetal force of their furor — long before Daisy Chain Fields, and even its late ‘90s predecessor Lilith Fair. Powered by Tobi Vail on drums (and occasional vocals), Kathy Wilcox on bass and Sara Landeau on guitar, the electric Hanna buffered classic songs like “Double Dare Ya” and “Feels Blind” with parables from her own revolutionary life — much of which she spent fighting back against objectification from men. Dudes in Saturday’s crowd got a special directive: “You guys gotta talk to your friends [about misogyny],” said Hanna. “[Women] are not gonna stop this on our own!” Sealed with a kiss and delivered with a snarl, the band closed its rip-roaring set with the anthemic battle cry of “Rebel Girl,” and were flanked onstage by a few lucky young fans. —Suzy Exposito
Bikini Kill’s Kathleen Hanna preaches a message of anti-misogyny to the crowd during Daisy Chain Fields.
Mitski brought melodrama and musical magic
Whether you’ve been rocking with Mitski since the “Lush” days or discovered her music via pandemic-era Tik Tok, when industrial ballads like “Washing Machine Heart” unexpectedly popped off, there’s no denying her captivating stage presence — not to mention her stunning vocals. Longtime fans may have wished for a few more of the hits (no “Your Best American Girl” after the recent “Puberty 2” 10th anniversary re-release was a surprise), but indie music’s favorite sad-woman still brought her A-game to the Dandelion Stage, incorporating her signature “Butoh” performance style — a form of avant-garde Japanese dance-theatre — underscored by a backdrop of 1940s melodramas. During her set she implored Rodrigo to make the festival an annual tradition. “When do you get to be the first anything anymore?” she said. “For the rest of our lives, we could be like, ‘I’m OG DCF.” – ERF
Mitski performs during Daisy Chain Fields.
The Breeders deliver ‘Last Splash’ classics
Hand it to Kim Deal: As one of the OGs on the bill at Daisy Chain Fields, the Breeders frontwoman used her band’s performance to shout out an even earlier pathbreaker by wearing an old Shirley Chisholm campaign T-shirt featuring the first Black congresswoman’s slogan of “Unbought and unbossed.” Deal and her bandmates (including her twin sister Kelley) drew deeply from their classic 1993 “Last Splash” LP, loping through the country-ish “Drivin’ on 9,” chugging on a fuzzed-out “Saints” and pricking up Gen Z ears with the perennially TikTok’d “Cannonball.” — Mikael Wood
The Breeders play songs from their 1993 classic album “Last Splash” during Daisy Chain Fields.
Doechii does it for the girls
Under the hot afternoon sun, Grammy award-winning rapper Doechii celebrated all things girls in her typical over-the-top fashion. She and her dancers arrived onstage painted in hot pink, the swamp princess’ hair fashioned into high pigtails. A dance breakdown to a hardcore take on Beyoncé’s “Run the World (Girls)” introduced the set, and though she fed fans by performing some of her most popular singles — a version of “Anxiety” that morphed into a cover of the original sample “Somebody I Used to Know” by Goyte, “Alter Ego” and tracks like “Nissan Altima” and “Boiled Peanuts” from her 2024 album “Alligator Bites Never Heal” — she also reminded festivalgoers of the influential Black women artists who came before her — Lauryn Hill, Queen Latifah, Beyoncé — by mixing their iconic songs into hers. Glowing magenta, she twirled above what looked to be a rising river, a physical representation of the swirling, engulfing thoughts that anxiety can provoke as she performed the song by the same name. And just to ensure there was zero confusion, the Florida rapper ended her set by simply stating: “We do this for the girls, we do this for the gays and we do this for trans women.” —Danielle Dorsey
Doechii performs during Daisy Chain Fields.
Doechii
Garbage gives grunge power to Gen Z
With its blend of serrated alt-rock guitars and sleek machine rhythms, Garbage always sounded a little ahead of its time when the band broke out in the post-grunge mid-’90s. But as frontwoman Shirley Manson evoked an age of digital surveillance and pharmacological dependence in “I Think I’m Paranoid” — one of the era’s great snarling pop singles — what you realized is that history had finally caught up with the band. — MW
Shirley Manson, lead singer of Garbage, performs during Daisy Chain Fields.
Chappell Roan reigns with a hit-heavy set
It’s funny to think that Chappell Roan has only really been in the American music scene for the past six years, with just one studio album to her name.
Roan appeared from the back of stage, revealing her leather, periwinkle stewardess outfit and red mod bob — an apparent nod to Luc Besson’s 1997 film “The Fifth Element.” Naturally, the crowd roared as she dove bob-first into “Super Graphic Ultra Modern Girl.” She’d occasionally crouch down to take a sip from her water bottle, which matched her ensemble.
Roan looked especially happy to be there, happily performing for free and her set did not disappoint.
“Only the hits today,” she said, smiling. “Only the hits.” —JM
Festivalgoers dance in the “MicroRave.”
Not for Radio crank up the volume
Just after sundown, the Marías’ enigmatic leading lady, María Zardoya, emerged to perform songs from her nocturne solo project, Not for Radio. Circled by a verdant reproduction of an enchanted forest, and dressed in a black swan-like two-piece by Ann Demeulemeester, Zardoya held the audience captive with her purring soprano and vampy stare. But make no mistake: by dialing up their otherwise elegant chamber pop with a little extra crunch and distortion, the players of Not for Radio came ready to rock out with the Daisy Chain crowd. It was during a performance of the new track “Comet,” which has only been recorded live thus far, that Zardoya bewitched fans into head-banging along with her. —SE
Olivia Rodrigo does duets with her idols
Sarah McLachlan, left, and Olivia Rodrigo perform during Daisy Chain Fields.
Rodrigo’s enduring virtue as a pop star is being a great fan first. The job requires commanding attention and devotion for yourself, but she’s never been shy about situating herself in the long arc of women who came before (and after) her, or just being moon-eyed to live inside her favorite songs with her heroes onstage. For her Daisy Chain Fields closing set, she dueted with generations of women that shaped her sense of what’s possible in music — Stevie Nicks for a gorgeous “Landslide,” and a surprise Alanis Morissette cameo for “Ironic” that felt like girl-gang karaoke night at its finest. She joined Lilith Fair founder Sarah McLachlan — a specific inspiration for this festival — for “Building a Mystery” and a deeply tender “Angel.” Even Rodrigo’s backing band, full of absolutely shredding women instrumentalists, played beside her on equal footing for exquisitely tasteful, post-punky revisions of songs across her three albums. The boys in the crowd got a brief chance to growl in the lead on “Expectations,” but here they were just allies — the headline act was Rodrigo’s talent framed as a gift received from other women, and given again to the young fans on the field. —AB
Lulu performed her own James Bond song, The Man with the Golden Gun, at the BBC Proms at the Royal Albert Hall
12:21, 30 Aug 2026Updated 12:22, 30 Aug 2026
Lulu blew the entire audience away(Image: BBC)
Lulu appeared to be moved to tears following her showstopping performance at the BBC Proms.
Host Nick Mohammed set the tone from the very start of the evening, joking that his appearance at the concert was doubling up as an audition for the next James Bond.
“I will say, while a decision hasn’t yet been made about who’s going to be the next James Bond, I am kind of seeing this as my audition,” he told the audience.
“I know it’s a bit unconventional. I’d usually just do a self-tape on my phone, but I thought, why not hire out the Royal Albert Hall with the full support of an orchestra?”
Introducing conductor Daniel Bartholomew-Poyser, Mohammed joked: “Tonight, we provided the illustrious leader of our special operation with a short wooden stick, but when aimed in a particular direction, is able to do this. May I present the man with the golden baton.”
The Royal Albert Hall played host to the beloved and instantly recognisable theme tunes from the Bond franchise, alongside memorable soundtracks from other spy films, with Mohammed describing their mission as a celebration of “more than 60 years of 007 soundtracks and songs, arguably some of the most iconic film music ever created.”
The BBC Concert Orchestra, led by Bartholomew-Poyser, delivered the music alongside a lineup of special guest vocalists.
Yet it was Lulu who truly stole the show. The legendary Scottish singer took centre stage to perform her very own James Bond number, The Man with the Golden Gun.
Fans flocked to X to share their reactions, with one writing, “Ahhh! The eternally delicious LuLu x x x,” reports the Daily Record.
Another praised, “I was so looking forward to this…best thing? Lulu.” Lulu looks and sounds fabulous,” a third chimed in, while another gushed, “Lulu looks and sounds phenomenal.”
One fan noted that Lulu “Seemed emotional at the end there,” while another enthused, “Best singer so far…go on Lulu!”
The audience erupted in cheers and applause for Lulu, who stood on stage, visibly tearful, following her breathtaking set.
The BBC Proms is available to watch on BBC iPlayer.
Yayoi Kusama, the Japanese artist known for her hypnotic, repetitive polka dot artworks, died earlier this week at the age of 97. Hers was the third in a string of deaths this week that left me feeling quite melancholy. First Dolly Parton, then Tim Curry and finally, Kusama.
The silver lining in the death of an artist, whether they be musician, actor, writer or visual artist, is that they leave a trail of comfort for fans through their work. I can (and did) sit in my breakfast nook weeping to the sound of Parton’s voice in songs including 1971’s “Coat of Many Colors.” When it comes to mourning Kusama, I am planning a trip to the Broad museum in downtown L.A., which houses two of her famous Infinity Mirror Rooms.
“Longing for Eternity” (2017) is on view on the third floor and can be accessed with a free general admission ticket. “Infinity Mirrored Room —The Souls of Millions of Light Years Away” (2013), however, requires a separate free reservation. A rep for the museum said reservations are currently available through September with many time slots already completely full. The museum is also accommodating as many walk-ups as capacity allows — and these walk-ups have increased in the wake of Kusama’s death.
In an email to The Times, Broad founding President and Director Joanne Heyler wrote that Kusama’s Infinity Mirror Rooms, “have been among the most beloved works at The Broad since we opened in 2015.”
Heyler noted that the Broad’s 2017 exhibition, “Yayoi Kusama: Infinity Mirrors,” “was an incredible moment in the museum’s early history. It was a beautiful show, and unprecedented operationally: the only time our ticketing system broke down due to demand, minutes after release. Her work is both wildly popular and conceptually rigorous; her journey as an artist is complex, full of resilience and a refusal to be limited. Visitors have found deep connection inside the Infinity Mirror Rooms at The Broad — smiles, tears, even marriage proposals. We’re grateful to be one of the places where people can go to spend time with her work and remember her, and we’ll keep working to ensure her art is experienced as she intended: by everyone, infinitely.”
This is welcome news, and the devoted interest makes sense. In many ways, these physically small but emotionally vast rooms encapsulate the essence of Kusama’s practice throughout her life. Built in a distinctively analog way, the rooms create the illusion of endless space through the use of light, mirrors and splashes of color. Kusama incorporated hand-sewn cloth, and later, multimedia video projections, but at their core the rooms remained largely technology-free.
It’s a pity because all the people who stepped into those rooms with their cellphone cameras at the ready missed a profound opportunity to inhabit a floating dreamscape of true peace and quiet — the kind we rarely grasp in our digital-notification suffocated world.
I can still remember the first time I had the opportunity to experience one of Kusama’s Infinity Mirror Rooms. It was dark and glittering with tiny pinpricks of colored light. I felt as if I were suspended in a deep, black pool of energy that extended beyond me in all directions. I could hear my blood rushing in my ears and briefly wondered if this could be what it felt like in the womb.
I got dizzy and recovered, and then — for what felt like a long time but was only a matter of seconds — I was free.
I’m Arts editor Jessica Gelt taking moments of solace where I can get them. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
Babatunde Akinboboye The baritone fuses classical opera with hip-hop on “Toreador,” “Funiculi, Funicula,” “O Sole Mio” and more. 8 p.m. Friday and Saturday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org
Director Richard Linklater at the 2023 Toronto Film Festival.
(Jay L. Clendenin / Los Angeles Times)
Richard Linklater A three-movie American Cinematheque tribute featuring Q&As with the Texas filmmaker. In a recent interview, Times film writer Mark Olsen asked Linklater what it’s like to reflect on his work: “What resonates with me in my mind is the experience of making the movie more than the movie itself — all the people you worked with and the cast and all those good feelings.” “Boyhood,” 7:30 p.m. Friday; “Waking Life,” 4 p.m. Saturday. Aero Theatre, 1328 Montana Ave., Santa Monica; “Dazed & Confused,” 7:30 p.m. Saturday. Directors Village, 961 Broxton Ave. Westwood. americancinematheque.com
Pericles Boston Court, in partnership with Play On Shakespeare, presents the West Coast premiere of Ellen McLaughlin’s modern verse translation of Shakespeare’s rarely performed adventure tale. Directed by Margaret Shigeko Starbuck. Through Sept. 27. Boston Court Pasadena, 70 N. Mentor Ave. bostoncourtpasadena.org
Romeo & Juliet A site-specific, immersive, queer adaptation of Shakespeare’s tragedy. 7:30 p.m. Friday and Saturday; 1 p.m. Saturday and Sunday. Sassafras Saloon, 1233 Vine St. eventbrite.com
SATURDAY
Place Is the Space A four-hour immersive performance experience created by artist Edgar Arceneaux and co-creator Frank Lawson employs live jazz improvisation, theatrical storytelling and multimedia design inspired by Sun Ra’s philosophy and his film “Space Is the Place.” Presented by CAP UCLA, the event includes an audience procession to the Hammer Museum in conjunction with the current exhibition, “Space Is the Place,” for a final performance. 1 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Joshua Smith Untitled (Yellow Heart), 2026 Acrylic on canvas 14 ¾ x 14 ½ in.
(839 Gallery)
Joshua Smith: Hearts and Triangles The artist’s first Los Angeles solo show includes brightly colored monochrome paintings on shaped canvases. Opening reception, 5-8 p.m. Saturday; exhibition continues through Oct. 17. 839, 839 N. Cherokee Ave. 839gallery.com
Winter’s Bench The world premiere of Mike Kenny’s play about a woman who returns to a park where she thinks a tree once spoke to her. Starring Anne Gee Byrd and Shih-wei Wu. Directed by Debbie Devine. All performances will feature Spanish supertitles. Previews, 8 p.m. Saturday; 2 p.m. Sunday; 7:30 p.m. Wednesday, Thursday and Sept. 4; 8 p.m. Saturdays, 2 p.m.; Sundays, 8 p.m.; Sept. 7 and 14; through Oct. 25. 24th Street Theatre, 1117 W. 24th St. 24thstreet.org
SUNDAY
Element Band Led by Ara Dabandjian, the ensemble features 12 musicians and vocalists, including Soseh Aramouni Keshishyan and Natalie Avunjian, in a celebration of Armenian heritage, creativity and live music. 7:30 p.m. The Ford, 2580 Cahuenga Blvd. East. theford.com
TUESDAY
Dvořák & Bruch Conductor Anja Bihlmaier and violinist Bomsori join the Los Angeles Philharmonic. 8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com
THURSDAY
Amadeus in Concert The Los Angeles Philharmonic, led by conductor Norman Huynh, conductor, and the Pacific Chorale perform live to Milos Forman’s 1984 Oscar-winning best picture starring Tom Hulce and F. Murray Abraham. 8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com
The Arsonists Max Frisch’s 1953 absurdist satire, translated by Alastair Beaton and directed by Luke Harlan. 8 p.m. Thursdays through Saturdays; 5 p.m. Saturdays; 2 p.m. Sunday; through Sept. 20. Skylight Theatre, 1816 1/2 N. Vermont Ave. skylighttheatre.org
Under the Oaks A weekly salon series featuring performance and music: “Currents: Composers in Concert” (Sept. 3); “Beer! A New Musical-in-Development” (Sept. 10); “Cabaret Theatricum Sings Marvin Gaye” (Sept. 17); and “The Voice of Dr. King” (Sept. 24. 7:30 p.m. Thursdays through Sept. 24. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd. Topanga. theatricum.com
Arts everywhere
Sarah Bareilles in the documentary “Sarah Bareilles: Good Grief.”
(A Group Effort Films / Naked Edge Films)
Sara Bareilles: Good Grief The Grammy-winning Broadway star and pop singer’s return to the recording studio for the first time in seven years is captured in this intimate documentary directed by Josh Alexander receiving a one-night-only theatrical release. The film looks at Bareilles’ experience of channeling her own pain to create art and the healing journey that accompanied it. Bareilles will perform at the Dolby Theatre, Oct. 12-14. 7 p.m. Wednesday. Laemmle and AMC theaters. sarabmusic.com
Culture news and the SoCal scene
Dolores Huerta photographed at Dolores Huerta “Help Wanted/Leave Now” exhibit at California Museum.
(Beth Baugher / California Museum)
Dolores Huerta has prioritized involving herself in projects relating to labor and women’s rights in the wake of going public with sexual abuse allegations against former labor leader Cesar Chavez. One of those projects can now be seen at the California Museum in Sacramento in an exhibition called “Help Wanted/Leave Now: ‘Operation Wetback’ and the Revolving Door of Mass Deportation,” which, according to a story by contributor Isa Farfan, “examines decades of the federal government’s deportation campaigns against Mexican immigrants even while it recruited millions of these farmworkers and rail workers to fill labor shortages during and after World War II.”
Contributor Leah Ollman reviews a new Eileen Cowin retrospective called “Between Panic and Paradise” at Los Angeles County Museum of Art. Labeling Cowin a “wry disruptor,” Ollman notes that over the artist’s nearly six-decade career, she has toyed with time in a novel way: “By deviating from straightforward chronology, the installation resonates smartly with one of Cowin’s key operating principles — that we don’t experience time as a continuous line moving in one direction, but as episodic, fragmented, interrupted, layered.”
Gustavo Dudamel at the end of the first half his show at the Hollywood Bowl on Aug. 20.
(Jason Armond / Los Angeles Times)
Gustavo Dudamel is really leaving — although it feels as if the city has been mourning the eventuality for years. Times classical music critic Mark Swed was, of course, on hand to bear witness to Dudamel’s final farewell: a four-night Hollywood Bowl extravaganza. “Dudamel addressed the audience, sounding very much like he had 17 years ago at the Bowl, extolling in our being a crowd of many types together for many musics. L.A., he said, made him an Angeleno,” Swed wrote.
Swed also attended a Tuesday night show at the Hollywood Bowl after the Dudamel farewell extravaganza and found it rather empty and a bit “forlorn,” a situation, he writes in a review, that “left Anna Handler, who becomes the Los Angeles Philharmonic’s conductor-in-residence this fall, with the trickiest conducting assignment of the summer anywhere.”
Theater Director Bart DeLorenzo on the set of “Enemy of the People” at the Odyssey Theatre on Friday, Aug. 21, 2026.
(Ariana Drehsler / For The Times)
Times theater critic Charles McNulty recently sat down for a lunchtime conversation with Bart DeLorenzo, “L.A.’s most playfully provocative theater auteur,” about his decision to direct (and adapt) Henrik Ibsen’s “Enemy of the People” at Odyssey Theatre. “If ever there was a moment to revive ‘An Enemy of the People,’ it’s now,” McNulty writes. “The demoralizing spectacle of the U.S. Senate’s inquisition of Dr. Anthony Fauci last month, led by Sen. Rand Paul (R-Ky.) in unapologetic witch-hunt mode, was yet another reminder that Ibsen’s drama about a public health crusader being targeted by politicians and business leaders when his medical advice goes counter to their interests hasn’t lost its punch.”
The drama never stops at the beleaguered Kennedy Center as it deals with the continued tumult resulting from President Trump’s takeover early last year. Most recently the Justice Department claimed in a recent court filing that Trump’s “efforts and prestige provide the sole hope for the Center’s financial survival, and structural renewal.” If the center isn’t shut down for the two-year renovation Trump demands, it may need to be demolished, the filing reads.
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Visitors line up outside the Japanese American National Museum for a 2022 event recalling World War II incarceration camps.
(Genaro Molina / Los Angeles Times)
After closing in early January, 2024, the Japanese American National Museum has announced it will reopen its newly renovated Pavilion on Jan. 23, 2027. Renovations include a new main entrance and new first-floor galleries for a brand new exhibition titled “In the Future We Call Now: Realities of Racism, Forging Democracy.” The special exhibition galleries on the second floor have also been updated and will feature the inaugural exhibition, “Pictures of Belonging: Miki Hayakawa, Hisako Hibi, and Miné Okubo.”
The Broad has announced its next fall exhibition, “Has the myth been shattered,” opening Nov. 21. The exhibition is set to include recent acquisitions by Guadalupe Rosales, Hank Willis Thomas and Mickalene Thomas. “Gathered together, works in the exhibition create unexpected connections across six decades, prompting an examination of how media has shaped history, memory, and collective experience,” a news release notes.
Dolly Parton may be gone, but her spirit of self-expression is still making waves — this time in a Texas federal court.
U.S. District Judge David Hittner on Tuesday cited the late artist in his decision to strike down Senate Bill 12, a 2023 law that sought to restrict drag shows. His decision, which blocks the Texas attorney general from enforcing the law, noted that the prohibition was “an unconstitutional restriction on speech.”
Just as many people “chastised Dolly Parton as a voluptuous sex symbol because of her big hair, flamboyant clothes and breast exposure … there are erotic elements in countless popular performances that could be subject to both civil and criminal penalties under S.B. 12,” Hittner wrote in his decision.
And because the law doesn’t specify who determines whether a performance “appeals to the prurient interest” or that the work be considered as a whole, a single sexual or erotic moment in a performance could result in penalties, he wrote. Those penalties include civil fines of up to $10,000 for businesses and a misdemeanor charge that carries up to a year in jail for participating individuals.
Parton was referenced several times in court records associated with the case. One of the plaintiffs, Brigitte Bandit, a drag queen and longtime activist, frequently performs as the Grammy-winning artist.
In an Instagram post on Tuesday, Bandit wrote that Parton had been a “huge influence” on her life and her drag performances. She even brought a children’s book about Parton to testify at the Texas Capitol, which eventually got back to the country music star, who then gifted Bandit a signed rhinestone-covered guitar.
“Dolly has shaped much of my life as a drag artist,” Bandit wrote on Instagram, calling her a “queen who has changed the world with her love, artistry, and GLAM! my diva forever.”
After the 2016 mass shooting at Pulse, a gay nightclub in Orlando, Fla., Parton called herself a “patron saint” of the gay community in an interview with Billboard.
“All those drag queens, sometimes I see some of them look more like me than I do,” said the star, who famously lost a Dolly Parton lookalike contest.
Tuesday’s ruling wasn’t the first time the law, widely touted as a “drag ban,” has been deemed unconstitutional by the courts.
Hittner initially struck down the law in September 2023, just a few months after the Texas Legislature passed it. In November 2025, a three-judge panel of the 5th U.S. Circuit Court of Appeals vacated the lower court’s injunction and returned the case to district court with instructions on how to reconsider it.
In the end, the high court’s directions did not change Hittner’s determination that the law violates the 1st and 14th amendments.
Hittner wrapped up his decision with a suggestion for those who oppose or are offended by the performances: “[T]he solution is relatively simple … just don’t go.”
Jack Tucker descends from the rafters inside L.A.’s Montalbán Theatre like a kamikaze crash landing into his big moment. He’s flanked by fountain fireworks while a buff guitarist with a blond mullet and glittery spandex shorts wails on guitar to the tune of Lenny Kravitz’s cover of “American Woman.” With the garish gusto of a WWE wrestler, Tucker’s entrance as the ringleader of the show “Stamptown” electrifies the stage.
But the show truly starts when it falls apart with technical mishaps. Everything breaks, guns go off, an illusionist loses his clothes and jumps fully nude into the crowd — all within the first five minutes.
It’s a chaotic comedy world created by classically trained performers, including clowns, who’ve studied the art of physical humor and shredded the rule book. For more than 10 years the Stamptown troupe led by Tucker, the alter ego of comedian Zach Zucker, has created an insane asylum on stage — from Elysian Theater in Echo Park to the Edinburgh Festival Fringe in Scotland. The show’s comedy thrives on failure, interruption and never actually getting to the “script.” This week the madness leaps from the stage to the screen as Stamptown premieres its first Netflix special Tuesday.
“This is a lot of people’s first time being exposed to this,” Zucker said, cracking a mischievous smile while sitting in a red velvet chair inside the empty Elysian Theater where his crew has performed “Stamptown” for years. “I have seen a man light his penis on fire 45 times in my show. I forget that when it comes to comedy, most people are used to seeing a person with one microphone stand still and talk.”
Filmed over the course of three performances during Netflix Is a Joke Fest in May, the spliced together “Stamptown” special directed by Rachel Lee Goldenberg and edited by show co-creator Dylan Woodley captures the chaos of clowning mixed with a cerebral roast of traditional comedy and plenty of playful danger. The result isn’t a piece of art but rather “a pile of art,” Zucker said.
“Our strength is being a ‘you gotta see it to believe it’ type of performance, but if I really had to boil it down, it’s a modern day vaudevillian variety show that features any and all alternative performances … our ethos is, ‘against all odds, this show works,’ ” Zucker said.
Zach Zucker tosses props in the air inside the Elysian Theater.
(Carlin Stiehl / For The Times)
On a recent afternoon, the lanky, mustachioed Zucker, wearing a T-shirt, ballcap and small hoop earrings, bears little resemblance to his comic alter ego who sports a tattered suit with gag props stuffed in every pocket. In real life, the New York native is a former baseball and basketball star athlete who went down an extremely different path to become “a bisexual traveling clown.” After enrolling in what he assumed would be an easy acting class during his senior year of high school, Zucker became obsessed with improv and comedy. His teacher advised him to check out the renowned improv troupe Second City. So he flew to Chicago to see the show “Spoiler Alert: Everybody Dies” featuring Tim Robinson, Sam Richardson, Timothy Edward Mason and more. “It changed my life,” he said.
After taking up comedy classes and street performances on the East Coast, Zucker quickly transitioned to working in theater and eventually moved to L.A. at 18 to pursue comedy, interning at Upright Citizens Brigade. He scrubbed toilets in exchange for free improv classes. It was at UCB where he first crossed paths with celebrated clown teacher Philippe Gaulier, whose former students include Sacha Baron Cohen, Rachel Weisz and Geoffrey Rush. The wily, frizzy-haired Frenchman with red-framed spectacles taught Zucker everything he knows about clowning.
“Our strength is being a ‘you gotta see it to believe it’ type of performance, but if I really had to boil it down, it’s a modern day vaudevillian variety show that features any and all alternative performances … our ethos is, ‘against all odds, this show works,’” Zach Zucker said.
(Carlin Stiehl / For The Times)
“Philippe is by far my greatest influence,” Zucker said. “There’s not a day that goes by that I don’t think about him or that I’m not actively implementing all the lessons he taught me as a man and as an artist.”
One of those lessons became the ethos of “Stamptown”: “If you’re having fun, maybe we like you. If you’re not having fun, for sure we hate you.”
Inspired by his wisdom, Zucker moved to France for two years to study with Gaulier. It was there that he met his future “Stamptown” collaborator Jonny Woolley, a Canadian performer who became the show’s sound tech, adding to the menagerie of aural mayhem through sound effects that punctuate the show’s every move.
“There’s a lot of different ways of approaching clowning, but ultimately, for us, it’s more of a philosophical approach to making art than it is like a rigorous set of rules or styles. It’s just being a lovable idiot,” Woolley said.
The name “Stamptown” is a tribute to the place where they learned their artform: the town of Estampes (which loosely translates to “Stamp”) in France where they studied with Gaulier, who died this year before the special was filmed.
Though he‘s known for his offbeat humor, Zucker’s brain is firing on a perpetual metronome. He’s snapping his fingers incessantly during our interview while describing the comedic timing of each show, which grooves like a jazz band on stage.
”Sometimes there’s a few different rhythms that I’m balancing at once. I can really zone in on what is the most fruitful at the moment while still keeping these other balls in the air,” he said. “Thankfully we’re not always pushing a message. Sometimes it is just about entertaining the crowd at all costs.”
Before “Stamptown,” Zucker was performing with Norwegian friend and fellow clown Viggo Venn as “Zach & Viggo,” a side act in the original variety show Zucker started with his friends in 2017 in Melbourne called “Midnight Madness” that eventually turned into “Stamptown.”
Working with Venn, Woolley and Woodley, Zucker devised the show to include a rotating cast of clowns, and comedic performers from around the world, including L.A. Staples in the local clown community include the slapstick of clown kingpin Chad Damiani playing a janitor, comedic actor Natalie Palamides as a comedy nepo fetus birthed by Riki Lindhome of “Garfunkel and Oates” and the riotously robotic gyrations of Courtney Pauroso as fembot temptress Vanessa 5000.
“‘Stamptown’ is extraordinary; it’s finely calculated nonsense,” said actor Neil Patrick Harris, a longtime friend and supporter of Zucker who appears on the Netflix special, in a statement to The Times. “Each performance is unique — stand-ups colliding with circus artists, and improvisers swapping talents and fluids, even the stagehands’ utter chaos and running gags, a ridiculous fever dream … it’s absurdly genius.”
The international performers who have become part of the “Stamptown” universe run the gamut from jugglers to steel drum players to acrobats to pianists. Trans comedian Jordan Gray is extremely unafraid to bare it all, including her soul, when behind the piano. The physicality of the performances goes beyond regional references and punchlines that might get some laughs in one country but not in others. Venn says it’s clear that at their core people tend to share the same sense of humor.
“It was fascinating to us to see that in Australia and France and England and the U.S., they really laugh at the same things if it’s like a deeply human kind of failure,” Venn said. “That’s the beauty of this show.”
Zach Zucker sits inside the Elysian Theater in Los Angeles.
(Carlin Stiehl / For The Times)
A tangled web of masterfully timed sound effects has unintentionally become the heartbeat of “Stamptown” . With Woolley now living full time in London, the duties for the U.S. shows were recently passed down to fellow performer Jeremy Elder, who did the sounds for the Netflix special tapings. He says the show is at its best when they throw out the game plan for the night, even while filming for Netflix.
“I think it’s as soon as we went off script, the audience could feel that. In the final product, we planned so much, but once you’re in the room with people it’s a very clown-like sentiment to just roll with what the audience is feeling,” Elder said.
While traditional stand-up is Netflix’s bread and butter for comedy programming, this form of comedy is mostly a target for mockery in “Stamptown” to show how limiting it is compared with the physical comedy of clowning. The one caveat, Zucker says — a clown is by far the most embarrassing brand of comedian you can be.
“It’s not cool, you don’t do this to be cool,” he said, laughing. “The whole point is that with all the love and fantasy and pleasure of your life, you have to step in a bucket of s— over and over and over and enjoy it. ‘Isn’t it awesome how I humiliate myself for you?’ And you embrace it.”
Match of the Day’s Joe Hart discusses Manchester City’s Marc Guehi and his performance in midfield, with plenty of praise for the centre half in a different position against Bournemouth.
I’d like to pen an ode to the once-L.A.-based artist Mel Kadel on the occasion of the release of her first coloring book for women and girls, published by Secret Headquarters in Atwater Village. Titled “Dream Drops,” the detailed hand drawings allow blossoming artists to participate in Kadel’s elaborate, imaginative world of fragile, brave, timid, hopeful, brash, adventurous women — characters she’s drawn for decades now.
I first met Kadel more than 25 years ago when I moved to L.A. from Boston with my then-up-and-coming indie rock band called the Movies. The band moved into a two-bedroom triplex in Silver Lake that cost $845 per month and immediately fell in with a ragtag group of iconoclastic and wildly talented artists including Kadel, photographer Alex Prager, painter America Martin, artist Mercedes Helnwein and bands and musicians such as the Silversun Pickups, Jimmy Tamborello, the Jealous Sound, Earlimart, Radar Bros. and Irving.
Kadel and her then-partner Travis Millard — another prolific and accomplished artist — lived in a cabin near the wild mountainy edges of Echo Park, and friends would gather there to draw, drink and make music. Kadel always had her head bent over her work, page after page of detailed line drawings that later appeared on friends’ bedroom and living room walls and sometimes on fliers for shows at Spaceland or the Silverlake Lounge.
It was Kadel who encouraged many of us to try our hand at creating art, and she once staged a group show at an Echo Park record shop called Sea Level that was owned by a friend of ours. I painted a self-portrait on a piece of wood for the show that still hangs on my wall today.
Kadel created the album cover for the Silversun Pickups’ debut EP, “Pikul,” which was released on Dangerbird Records in 2005, and later, after the band and the label soared to new heights, she covered Dangerbird headquarters near Sunset Junction in Silver Lake with a building-sized mural featuring her otherworldly woman clad in blue stripes with forever flowing flowered hair.
In many ways it is Kadel whom I credit with opening a young me up to the magical world of art and the ideas that flow from it — Kadel and those early L.A. friends, many of whom I no longer see regularly, but whose accomplishments I relish in when they come to my attention. Which is just what I did when I saw that Kadel had released her coloring book — a project that she has worked on (no doubt in the same intentional, intense way that she always has) for the past year.
I’m arts editor Jessica Gelt, glad for what was and looking forward to what will be. 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 of L.A.
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The week ahead: A curated calendar
FRIDAY
Eleanora Owen in “Being Piaf.”
(Doug Engalla )
Being Piaf Written and performed by Eleanora Owen, this solo theatrical piece explores the life and songs of French singer and lyricist Edith Piaf. Directed by Tim Byron Owen. 8 p.m. Fridays and Saturdays; 4 p.m. Sundays; through Aug. 30. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
Green Corridors The West Coast premiere of Natalka Vorozhbyt’s darkly humorous drama about the plight of four Ukrainian women — refugees from the full-scale Russian invasion in 2022. Translated by John Freedman with Natalia Bratus. Directed by Frédérique Michel and produced by Charles A. Duncombe. 8 p.m. Fridays and Saturdays; 4 p.m. Sundays; through Sept. 27. City Garage Theater, Bergamot Station Arts Center, 2525 Michigan Ave T1, Santa Monica. citygarage.org
Tercera Raíz The contributions of the African diaspora to Mexican culture are celebrated with dance and mariachi music. Produced in partnership with Grandeza Mexicana Folk Ballet Company. 8 p.m. The Ford, 2580 Cahuenga Blvd. East. theford.com
SATURDAY
New–Music Game Night! Brightwork Ensemble and People Inside Electronics present an evening of game-inspired works by Cristina Lord, Isaac Schankler, Siobhán Dougall and Richard An, and audience participation. 8 p.m. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org
SUNDAY
Eileen Cowin: Between Panic and Paradise The Los Angeles–based photographer and artist’s 50-year career has produced visual narratives that incorporate cinema, literature, poetry and painting, erasing the boundaries between fiction and nonfiction. Through Jan 3, 2027. Los Angeles County Museum of Art, 5905 Wilshire Blvd. lacma.org
Jamar Gilbert and Amber Liekhus in “Ma Rainey’s Black Bottom” at a Noise Within.
(Daniel Reichert)
Ma Rainey’s Black Bottom A Noise Within opens its season with the seventh of the 10 plays in August Wilson’s Century Cycle to be produced by the company. Amber Liekhus stars as an iconic blues singer during a tempestuous recording session in 1927 Chicago. Directed by Gregg T. Daniel. Previews, 2 p.m. Sunday; 7:30 p.m. Wednesday-Aug. 28; Aug. 29-Sept. 20. A Noise Within, 3352 E. Foothill Blvd., Pasadena. https://www.anoisewithin.org/play/ma-raineys-black-bottom/
TUESDAY
Beethoven’s Fifth with Anna Handler
Da-da-da-DUM. The Los Angeles Philharmonic’s incoming conductor-in-residence leads the orchestra in one of classical music’s most iconic pieces, along with the composer’s rarely heard Triple Concerto and the U.S. premiere of Grace-Evangeline Mason’s “Ablaze the Moon.” 8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com
Jeff Goldblum and the Mildred Snitzer Orchestra will play Blue Note LA on Tuesday and Wednesday.
(Blue Note LA)
Jeff Goldblum & the Mildred Snitzer Orchestra As they’ve been doing for three decades, the actor-musician and his band perform contemporary arrangements of classic jazz and American Songbook standards. 7 and 9:30 p.m. Tuesday and Wednesday. Blue Note Los Angeles, 6372 Sunset Blvd. bluenotejazz.com
Looking West: How the Myth of the Western Frontier Got Its Start Muse/ique takes a deep dive into the legends and reality of the American West through classic Hollywood film scores, folk songs and contemporary compositions that reclaim the era’s diversity. Led by artistic and music director Rachael Worby with Damon Daunno, Raye Zaragoza, Glynn Turman and Muse/ique Orchestra. 7:30 p.m. Tuesday and Wednesday. The Huntington, 1151 Oxford Road, San Marino; 3 pm. (premium RSVPs only) and 7:30 p.m. Aug. 30. Skirball Cultural Center, 2701 N. Sepulveda Blvd. muse-ique.com
WEDNESDAY
California African American Museum The museum augments two of its ongoing shows with special events. On Wednesday, Justen LeRoy of Art + Practice offers a curatorial walkthrough of “The Sound of Gordon Parks,” an immersive exhibition highlighting the sonic dimension of the photographer, composer, author, poet and filmmaker’s work. Thursday night, poets Pam Ward, Luis Rodriguez and Lynne Thompson share original work inspired by “A New Song: Langston Hughes in the West.” Gordon Parks, 2 p.m. Wednesday; Langston Hughes, 7 p.m. Thursday. CAAM, 600 State Drive, Exposition Park. caamuseum.org
“Conscience” by playwright Joe DiPietro will have its L.A. premiere at International City Theatre in Long Beach.
(Justin Patterson)
Conscience The Los Angeles premiere of Tony Award-winning playwright Joe DiPietro’s drama about pioneering politician Margaret Chase Smith, who famously challenged Joseph McCarthy’s tactics and was the first woman to serve in both houses of the U.S. Congress. Directed by Caryn Desai. Previews, 7:30 p.m. Wednesday and Thursday; 7:30 p.m. Thursdays-Saturdays; 2 p.m. Sundays; through Sept. 13. International City Theatre the Beverly O’Neill Theater, 330 E. Seaside Way, Long Beach. ictlongbeach.org
THURSDAY
Rachmaninoff & Adams Gemma New conducts John Adams’ “Short Ride in a Fast Machine,” ahead of Sergei Rachmaninoff’s Second Piano Concerto (with Jeneba Kanneh-Mason in her L.A. Phil debut) and Symphonic Dances. 8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com
— Kevin Crust
Retrospective
L.A. Times arts coverage from the past …
Eisa Davis, playwright and actor, who appeared in Melissa Jane Gibson’s play “This” at the Kirk Douglas Theater in Culver City in 2011.
(Mel Melcon / Los Angeles Times)
A double life as actor, playwright
Aug. 14, 2011
“I’m in a play called ‘This.’ ”
“OK, what is it called?”
“No, no, it’s called ‘This.’ ”
“Yes? What? It’s called what?”
With a lighthearted laugh, Eisa Davis says she often encounters this response when revealing that she is in a new production of “This,” which recently opened at the Kirk Douglas Theatre. The perplexity may be fitting for the universe playwright Melissa James Gibson has created: a world of confusion in which close friends enter a vulnerable time of unforeseen circumstances testing their expectations — a time also known as middle age.
Davis’ work as an actor and a playwright has contributed to a textured career. She was a finalist for the Pulitzer Prize in drama in 2007 for her play “Bulrusher,” about a biracial orphan infant found in a basket and raised by a quiet schoolteacher. She went on to write and star in the autobiographical “Angela’s Mixtape,” which was among the New Yorker’s best plays of 2009. Other plays she has written include “Ramp,” as well as “The History of Light,” which is returning to the stage this fall in New Jersey. READ MORE
– Jasmine Elist
Culture news and the SoCal scene
Conservators examine “Portrait of Mai” by Joshua Reynolds at the Getty museum.
(Genaro Molina / Los Angeles Times)
A 250-year-old portrait by painter Joshua Reynolds recently arrived at the Getty and is being examined by conservators before going on view in its West Coast debut later next month. “The Portrait of Mai” was acquired by the Getty for $61 million in a rare joint purchase with the National Portrait Gallery in London and depicts a young, regal-looking Tahitian man who arrived in London with Capt. James Cook in 1774.
If you’ve seen the recent national tour of Disney’s “Beauty and the Beast” at the Hollywood Pantages Theatre, you may have wondered how on earth the actor playing the living chandelier Lumiere sings and dances for more than two hours while wearing lighted candles on both of his hands. The answer has arrived via this fun story written by Times contributor Jenelle Riley, who headed backstage during a recent performance to trail Danny Gardner as he donned the 7-pound props and went about the business of performing in the rigorous show.
The group show “To Share a Stomach” recently opened at the Brick in East Hollywood. Times contributor Sharon Mizota wrote a review that included her take on the unique and difficult-to-execute concept. The show was made manifest when 25 Iranian artists, working under challenging wartime conditions, sent instructions to artists counterparts in L.A. for how to create artworks using various levels of collaboration. Mizota found the results understandably uneven, but deeply touching and impactful.
The Kennedy Center’s National Symphony Orchestra performs at the Hollywood Bowl under musical director Gianandrea Noseda on Aug. 18.
(Carlin Stiehl / For The Times)
The newly homeless National Symphony Orchestra, whose fate has become uncertain as a court battle wages over whether or not the Kennedy Center will close down for two years, performed at the Hollywood Bowl earlier this week. Times classical music critic Mark Swed was there to watch, along with many effusive supporters of music director Gianandrea Noseda’s now wandering orchestra. Swed found the program lacking in imagination, but noted, “with its smooth strings, creamy brass, pungent winds and friendly percussion, Noseda’s NSO came across as a gracious orchestra meant to please, and, consequently, a seemingly marvelous anomaly in an otherwise divisive present-day D.C.”
Speaking of the Kennedy Center, last week proved a pivotal one for its fate. The Kennedy Center Board of Trustees voted late in the week to move forward with President Trump’s plan to close the building for renovations for two years. According to multiple news reports, the board also voted to inscribe Trump’s name on the building using the language “Restored and Renovated by President Donald J. Trump.”
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Brett Littman has been named the new director and chief executive of the the Museum of Contemporary Art San Diego.
(Don Stahl)
The Museum of Contemporary Art San Diego announced earlier this week that it has appointed Brett Littman as its new director and chief executive. Littman is replacing Kathryn Kanjo, who left to become the new director of the UC Irvine Langson Orange County Museum of Art. Littman has previously served in a variety of leadership roles in the arts in New York City, including as director of the Isamu Noguchi Foundation and Garden Museum; executive director of the Drawing Center; and deputy director of MoMA PS1. He was also co-director of Dieu Donné Papermill and associate director of UrbanGlass. He will start at MCASD in early October as the fifth director and chief executive in the museum’s history.
The Perenchio Foundation has awarded a $2,040,000 grant to the Los Angeles Children’s Chorus, representing the largest grant in the Grammy-winning organization’s history. The 2026 General Operating Support grant, which aids many aspects of the organization’s programming and community offerings, will be distributed over three years, and arrives at LACC celebrates its 40th anniversary.
She was “an assassin,” a “very skilled politician” who “made mincemeat of Nithya throughout the debate, both stylistically and substantively.”
If you think that assessment came from a Bass supporter, think again.
The words come from none other than Spencer Pratt, the erstwhile mayoral candidate, a Republican who routinely referred to Bass as Basura (that’s trash in Spanish) during the primary campaign.
There was no mention of Basura in Pratt’s Substack recap of Wednesday night’s debate before the Sherman Oaks Homeowners Assn. To be sure, his post was titled “Surviving the Dumb and Dumber Debate,” but even so Pratt praised the mayor’s performance against Councilmember Nithya Raman.
Not that he was thrilled by the prospect of four more years with Mayor Bass, however.
“A Karen Bass Mayorship is depressing,” he wrote. “A Nithya Raman Mayorship is terrifying.”
Pratt suggested Bass was borrowing from his own playbook, citing her comments saying street vendors shouldn’t be on the sidewalk outside restaurants and her call for the long-term involuntary hospitalization of people on the street who pose a threat to themselves. Bass herself said that backing involuntary hospitalization was a “controversial thing to say.”
Pratt didn’t respond to a text from The Times about whether he was considering endorsing the mayor in the runoff.
Bass is likely to welcome conservative voters during the Nov. 3 general election as she faces off with Raman, who is a member of the Democratic Socialists of America.
And it’s not just Pratt who seems to be leaning toward Bass from the right.
Rick Caruso, who ran against Bass in 2022, referred to her as a “very good partner” when he recently celebrated the reopening of his Palisades Village shopping center. He didn’t respond to a request for comment.
In The Heights
Raman traveled to Boyle Heights Monday to join activists calling for Lineage to leave the neighborhood after the devastating fire at the company’s warehouse in June.
It wasn’t Raman’s first visit to Boyle Heights since the blaze, but it was her first public appearance and news conference.
“Lineage shouldn’t be permitted to open this warehouse again,” Raman said to cheers from the crowd.
Bass followed suit Thursday, after Lineage blew past its own self-imposed deadline for cleanup.
They “do not deserve to rebuild,” Bass said in a statement, while also calling on city lawyers to pursue litigation, a lien and other legal options for cost recovery against Lineage. Bass had already ordered the company’s building permits delayed at the end of July.
Raman was joined at the news conference by Eastside Padres Contra la Privatización and the Alliance of Californians for Community Empowerment — a group that has endorsed her — to call for the closure of the facility.
Raman also called for Lineage to pay for Boyle Heights residents’ healthcare, for environmental testing, cleaning and relocation assistance, lost wages and more.
“Families and taxpayers should not be left with the bill when a corporation runs up the tab,” she said.
Raman’s news conference appeared to draw the ire of at least one council colleague, Ysabel Jurado — who represents Boyle Heights.
Jurado didn’t mention Raman by name, but after winning council support for a motion Wednesday continuing the state of emergency in Boyle Heights, she thanked her colleagues who called and texted before they “did a press conference about the issue.”
Jurado spokesperson Mason Santa Maria declined to say whether the remark was directed at Raman. Raman spokesperson Liz Garcia said Raman was invited to the presser.
Jurado, who has endorsed Bass, did not attend.
No shows at H&H
Raman has been outspoken about her removal from the chairmanship of the council’s housing and homelessness committee, suggesting she is being punished by Council President Marqueece Harris-Dawson for challenging Bass.
Harris-Dawson rejects that narrative, saying the committee needed a chair who can focus undivided attention on the crisis.
Raman doesn’t officially lose that post until the end of the month. So on Wednesday, she was still listed as chair of the committee’s 2 p.m. meeting. But she wasn’t there, and neither were two of her colleagues.
Councilmember Bob Blumenfield took the gavel instead, delaying the session until 3 p.m. in the hope that a third member would show up to join him and Councilmember Tim McOsker, giving the committee a quorum.
An hour later, Blumenfield came back.
“This meeting is going to have to be canceled for today,” he told the audience. “So I apologize for making you wait.”
Raman spokesperson Stella Stahl, in an email, said her boss already had other plans, with the Sherman Oaks Homeowners Assn. debate happening later that same day.
“At the time, Nithya was near Sherman Oaks and had pre-planned campaign activities in advance of the mayoral debate,” Stahl said.
Stahl said the committee had a “last-minute cancellation from a council member who was expected to attend,” but didn’t provide a name.
Jurado, who takes over as chair of the newly renamed homelessness and health committee next month, also wasn’t there. Her spokesperson said Raman’s team was told the previous week that Jurado had a personal matter and couldn’t attend.
Devyn Bakewell, a spokesperson for Councilmember Heather Hutt, said her boss let Raman know Wednesday morning that she would not make it to committee due to a family issue.
The committee won’t meet again until next month. Raman will remain on the panel.
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State of play
— SHAM SURVEY: The Times broke the story of the faked poll in the Los Angeles mayor’s race that purported to show Bass leading Raman by around 12 percentage points. The poll was faked as a “social experiment,” according to Median Strategies Polling, the group behind the fake survey. The creator of the fake poll revealed himself to the Guardian on Thursday as 21-year-old Rahil Prakash.
— FLIP IT AND REVERSE IT: The Los Angeles City Council has rescinded camping bans on a dozen locations in Hollywood, Echo Park and Silver Lake at the urging of the area’s council member, Hugo Soto-Martínez, who called the bans ineffective in addressing homelessness.
— THE RUMBLE IN THE VALLEY: Los Angeles Mayor Karen Bass and City Councilmember Nithya Raman slammed each other Wednesday over their handling of homelessness, public safety and many other issues during the first face-to-face debate of the Nov. 3 election campaign.
— THE BEST LANE PLANS: A long-running dispute between cemeteries and bike-lane and safe streets advocates in the San Fernando Valley has escalated to become a campaign issue in the Los Angeles mayoral race.
— LIGHTS, CAMERA, INACTION: Despite improvements to the state’s tax incentive program, Los Angeles and California continue to struggle to keep movies, television series and even game shows from fleeing elsewhere. Production levels have failed to bounce back since the pandemic and the labor strikes by writers and actors, and they remain at historic lows.
— HEALTH WOES: Hundreds of Boyle Heights residents suffered health problems after a fire at a cold storage facility burned stubbornly for days, including respiratory infections, eye disorders and persistent cough, according to a new study.
QUICK HITS
Where is Inside Safe? This week the mayor’s signature program was in Eunisses Hernandez’s district in Westlake, where it moved 37 people indoors from Ocean View Avenue and Lake Street.
On the docket next week: After a Saturday meeting, the Democratic Socialists of America will vote next week on whether to endorse Raman for mayor.
Stay in touch
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