performance

You thought the Oscars brought awards season to an end? Think again. The iHeartRadio Music Awards took place Thursday night with performances and appearances by Taylor Swift, Miley Cyrus, Sombr, Weezer, Alex Warren, Shaboozey and John Mellencamp, among other stars. Here’s a glimpse at the best looks from the red carpet and the best moments of the show itself, which took place at the Dolby Theatre in Los Angeles.

The Show

Lainey Wilson performs onstage at the 2026 iHeartRadio Music Awards at Dolby Theatre in Hollywood.

Taylor Swift accepts the pop album of the year award onstage at the 2026 iHeartRadio Music Awards at Dolby Theatre in Hollywood.

Miley Cyrus accepts the Innovator Award onstage at the 2026 iHeartRadio Music Awards at Dolby Theatre in Hollywood.

John Mellencamp, right, performs onstage at the 2026 iHeartRadio Music Awards at Dolby Theatre in Hollywood.

Terry Ellis, from left, Cindy Herron and Maxine Jones of En Vogue perform at the 2026 iHeartRadio Music Awards.

Red Carpet

Miley Cyrus on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Ella Langley on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Shaboozey and Kehlani on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Cheryl Porter on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Cindy Herron, Maxine Jones and Terry Ellis of En Vogue on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Teddi Mellencamp on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Brianna Mazzola and Wennely Quezada of ‘3QUENCY’ on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Sublime on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Brent Smith and Zach Myers of Shinedown on the red carpet for the 2026 iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Graham Stanush, Sebastian Gonzalez, Matty Bielawski and London Hudson of Return to Dust on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Public murals are among the best ways to honor our heroes, which is why dozens of murals of civil rights icon Cesar Chavez dot California’s landscape. Those images are now deeply upsetting after shocking revelations published in a recent New York Times investigation that allege Chavez sexually abused girls as young as 12 and raped his fellow labor organizer Dolores Huerta.

According to the nonprofit Travel Santa Ana, the Chavez mural, created in 2008 to commemorate the launch day of the city’s KaBoom playground and Jerome Community Learning Garden, is “one of 30 murals around California that was commissioned by a project commemorating Cesar Chavez, initiated by Maria Shriver and former LA Mayor [Antonio] Villaraigosa.”

That’s 30 from a single project — the total number would be impossible to count. It’s hard to overstate the prominence of Chavez’s legacy in California, where his name and likeness are ubiquitous on the sides of bodegas, in parks, on street signs, on schools and memorialized in statues. He was considered a man of the people, which is why murals, created in unassuming local spaces, seemed especially fitting.

It’s now up to the public that revered him and is now grappling with the pain of his misdeeds to decide what should become of his painted image. California lawmakers announced their intention to rename the upcoming Cesar Chavez holiday “Farmworkers Day,” and that idea could be extended to murals of Chavez. These artworks could be remade to instead celebrate the achievements of the many people — especially the women and girls — who marched and fought for the labor movement.

I expect changes to these murals will come swiftly. A statue of Chavez at Fresno State has already been covered and will soon be removed. Maybe it can be melted down to create something new and uplifting. We can paint over the past, but we should never forget.

I’m Arts editor Jessica Gelt, looking forward to gazing at a mural of Huerta in the very near future.

The week ahead: A curated calendar

FRIDAY
Brokentalkers
Through music and dance, the Dublin-based theater company presents “Bellow,” the story of Irish accordionist Danny O’Mahony as he revisits key moments when mentorship, mastery of the craft and preservation of the art form influenced his path.
8 p.m. Friday and Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

Piano recital with Gilles Vonsattel, solo
Camerata Pacifica presents the third program of “Beethoven 32,” a three-year Beethoven cycle in which principal pianist Vonsattel performs all 32 of the composer’s piano sonatas.
7 p.m. Friday. Academy of the West, 1070 Fairway Rd., Santa Barbara. 8 p.m. Sunday. The Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A. cameratapacifica.org

Sex, Lies and Harold Pinter
Two of the playwright’s darkly comic one-acts, “Party Time” and “The Lover,” are paired.
8 p.m. Fridays and Saturdays; 3 p.m. Sundays, through April 26. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com

SATURDAY
And the Beat Goes On
The Gay Men’s Chorus of Los Angeles performs American classics from R&B, Motown, gospel and musical theater with Emmy Award-winning host and GMCLA alum Melvin Robert and soprano Nicole Heaston.
8 p.m. Saturday; 3:30 p.m. Sunday. Saban Theatre, 8440 Wilshire Blvd, Beverly Hills. GMCLA.org

Cirque Kalabanté’s Afrique en Cirque
A celebration of African culture featuring acrobatics accompanied live Afro Jazz, percussion and kora.
8 p.m. Saturday. Carpenter Performing Arts Center, CSULB, 6200 E. Atherton St., Long Beach. carpenterarts.org; 3 p.m. Sunday. The Soraya, 18111 Nordhoff Street, Northridge. thesoraya.org

Artist Todd Gray has a show at Perrotin.

(Kyungmi Shin)

Todd Gray
A solo exhibition of the artist’s photosculptures, “Portals,” continues his interest in the effects of colonization, the built environment and the natural world. Gray will be in conversation with LACMA chief executive Michael Govan on Tuesday.
Opening reception, 6 to 8 p.m. Saturday; conversation, 6:30 p.m. Tuesday; exhibition continues through May 30. Perrotin Los Angeles, 5036 W Pico Blvd. perrotin.com

Convergence: Contemporary Artists of Armenian Descent
More than 20 artists, in work ranging from abstraction to conceptual installations, interrogate the complexities of their cultural identities.
Through Aug. 9. Forest Lawn Museum, 1712 S. Glendale Ave., Glendale. museum.forestlawn.com

Esther Chung and Ins Choi in “Kim’s Convenience” at the Ahmanson.

(Dahlia Katz)

Kim’s Convenience
Playwright Ins Choi stars in this production of his award-winning comedy drama, about a Korean family-run corner store in Toronto, that inspired the TV series. Directed by Weyni Mengesha.
Through April 19. Ahmanson Theatre, 135 N. Grand Avenue, downtown L.A. centertheatregroup.org

‘KPop Demon Hunters’ singalong
Bop to the beat of this year’s two-time Oscar-winner — animated feature and original song — at this special Academy screening.
11 a.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

Miss Velma in the City of Angels
In the “Religion and Ritual” section of the ongoing Art of the West exhibition, this new installation features a custom-made dress worn by the charismatic co-founder of the Universal World Church in Los Angeles.
Opens Friday. The Autry, 4700 Western Heritage Way. Griffith Park. theautry.org

Ok, Olympia, Let’s Go!
Apollo Dukakis wrote and performs the one-act play “You and Me” alongside Kandis Chappell in a multimedia celebration of his sister, the late Academy Award-winning actress Olympia Dukakis. Playwright and filmmaker Graham Barnard hosts with special invited guests.
8 p.m. Saturday. 3 p.m. Sunday. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com

Song Of The North
Hamid Rahmanian created this multimedia production using shadow puppetry and projected animation to reimagine the Persian epic “Shahnameh” about a fierce heroine and her quest to save her beloved.
2 p.m. Saturday, Sunday and March 28 to 29; 7 p.m. Saturday and March 29. Pasadena Playhouse, 39 S. El Molino Ave. pasadenaplayhouse.org

The exhibition “Turner & Constable” at the Tate in London is featured in a new documentary on the two British painters.

Turner & Constable
Laemmle’s “Culture Vulture” series presents this documentary on two of Britain’s finest artists — J.M.W. Turner and John Constable — their rivalry as very different landscape painters and the current exhibition at the Tate in London. Directed by David Bickerstaff.
10 a.m. Saturday and Sunday; 7 p.m. Monday. Laemmle Glendale, 207 N. Maryland Ave.; Laemmle Town Center 5, 17200 Ventura Blvd., Encino; Laemmle Monica Film Center, 1332 2nd St. laemmle.com

Vertigo in Concert
Sarah Hicks conducts the Los Angeles Philharmonic performing the Bernard Herrmann score for Alfred Hitchcock’s classical psychological thriller live to screen.
8 p.m. Saturday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

SUNDAY
Network
The American Cinematheque presents screenwriter Paddy Chayefsky’s prescient 1976 media satire for its 50th anniversary and in tribute to actor Robert Duvall.
7 p.m. Sunday. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com

Yefim Bronfman
The pianist performs selections from Schumann, Brahms, Debussy and Beethoven. Rescheduled from Feb. 11.
Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Geoff Elliott in “Death of a Salesman” at A Noise Within.

(Daniel Reichert)

Death of a Salesman
A Noise Within co-artistic director Geoff Elliott steps into the shoes of Arthur Miller’s beleaguered working man.
Through April 19. A Noise Within, 3352 E. Foothill Blvd., Pasadena. anoisewithin.org

Ebell + LA Festival: Powered by Women
A free celebration of art, activism and community spirit featuring performances, classes and crafts.
11 a.m. to 4 p.m. The Ebell of Los Angeles, 741 S. Lucerne Blvd. ebellofla.org

Akinsanya Kambon: The Hero Avenges
A conversation between the sculptor known for his work inspired by the Black diaspora, African histories and mythologies, and Hammer curator Pablo José Ramírez, plus the premiere of a new eponymous documentary directed by Gabriel Noguez and Sean Rowry and a book signing of the monograph “Akinsanya Kambon: The Hero Avenges.”
2 p.m. Sunday. UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. hammer.ucla.edu

MONDAY
Lang Lang Plays Beethoven
The piano virtuoso joins the Pacific Symphony for performances of Beethoven’s “Piano Concerto No. 3” and Egmont Overture, plus Dvořák’s Ninth Symphony, “From the New World.”
8 p.m. Monday. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. pacificsymphony.org

TUESDAY
Gerald Barry’s ‘Salome’
Thomas Adès conducts the L.A. Phil in the U.S. premiere of Barry’s new opera, based on the Oscar Wilde play.
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

WEDNESDAY
Alvin Ailey American Dance Theater
The illustrious troupe performs two alternating programs as part of its exclusive multiyear Southern California residency under the leadership of new Artist Director Alicia Graf Mack.
7:30 p.m. Wednesday to March 28; 2 p.m. March 28 to 29. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. musiccenter.org

THURSDAY
Level Up!
A trans tween feels like she can only be herself in her virtual world in the Latino Theater Company’s world premiere of a resonant, family-friendly play by Gabriel Rivas Gómez. Directed by Fidel Gómez.
Previews through April 3. Opens April 4 and runs through May 3. Los Angeles Theatre Center, 514 S. Spring St., downtown L.A. latinotheaterco.org

Arts Anywhere

BroadwayHD
Don’t get out to the theater as much as you’d like? This decade-old streaming service could be a viable supplement to your live theater habit. It offers a nice variety of shows from Broadway and the West End, off-Broadway, plays, musicals and virtually anything in between. BroadwayHD: $20 per month or $200 per year.

“Future Relic: Failures, Disasters, Detours, and How I Made a Career as an Artist” by Daniel Arsham.

(Simon & Schuster)

Future Relic: Failures, Disasters, Detours, and How I Made a Career as an Artist
Part memoir, part how-to, contemporary artist Daniel Arsham’s new book shares pragmatic advice on things like how to get a gallery, why you need a great lawyer, how to run a creative business and the importance of building a network of successful people. Bursting onto the scene more than 20 years ago with a bold vision across multiple mediums and accruing an eclectic list of big-name collaborators, including Merce Cunningham, Pharrell Williams, Pokémon, Tiffany & Co. and Cleveland Cavaliers, he quickly found both critical and commercial success. In a 2014 review of the artist’s work, Times contributor Sharon Mizota wrote, “Daniel Arsham’s casts of everyday or recently obsolete objects in sand, volcanic ash or various kinds of rock are like premature fossils, or perhaps eerie premonitions of ruin to come.” At a time when everything in the world is starting to feel obsolete, including us, “Future Relic” could find a place on the bookshelves of many would-be creatives. (Think of it as a companion to Rick Rubin’s “The Creative Act: A Way of Being.”). Authors Equity: 320 pp. $30.

Out of Vienna
The acclaimed Berlin-based chamber ensemble Leonkoro Quartet, formed in 2019, has released its stellar debut recording after winning a string of prestigious awards across Europe. An exploration of early 20th-century modernism in the Austrian capital, the album features compositions by Alban Berg, Anton Webern and Erwin Schulhoff. Alpha Classics: Available on CD ($19) or download ($9.25).

— Kevin Crust

Culture news and the SoCal scene

Spring is here, and with it many arts and culture entertainment choices.

Team Arts is publishing its Spring Arts preview this Sunday and we have been rolling out the stories online this week, beginning with a roundup of 26 of the most exciting L.A. concerts, theater, art and dance events this season. Theater critic Charles McNulty sat down with three of the city’s most prominent regional theater leaders to talk about how they are working to reimagine live theater in order to boost attendance and morale for the art form during this perilous time of dwindling attention spans and political instability. We also compiled a roundup of this year’s biggest museum openings to illustrate just how huge a year it is for art in L.A.

McNulty has been extra busy lately and has delivered a series of reviews. Harry Potter fans will enjoy his take on Daniel Radcliffe in Broadway’s “Every Brilliant Thing,” which McNulty calls “an ingenious and touching solo performance piece written by Duncan Macmillan with Jonny Donahoe on the subject of suicide — or more precisely, on the ordinary joys that militate against such a drastic step.”

McNulty also dropped in on the Geffen Playhouse to catch “Dragon Mama,” the second installment in a trilogy written and performed by Sara Porkalob about her Filipina American family. “To be frank, I wasn’t sure I was up for a trilogy on Porkalob’s family history. But after ‘Dragon Mama,’ I can hardly wait for ‘Dragon Baby,’ the third and final segment,” McNulty writes.

Pierre Adeli and Adam J. Jefferis in “The Adding Machine.”

(Bob Turton Photography)

Finally, McNulty checks in with the Actors’ Gang, which is running a production of Elmer Rice’s 1923 expressionist satire, “The Adding Machine.” The story, about “an accountant drone aptly named Mr. Zero who, after losing his job to an adding machine, kills his boss and is sentenced to death,” shares uncomfortable modern-day parallels with the threat to workers currently posed by AI, McNulty writes.

Classical music critic Mark Swed got the scoop on the Los Angeles Philharmonic’s new season — its first without revered music director Gustavo Dudamel. “For the first time in 64 years, the L.A. Phil will be without a music director, and with no one in waiting in the wings. But you may barely notice. In little more than three months, Dudamel, although newly installed as music and artistic director of the New York Philharmonic, will be saying hello once again to his old band at Walt Disney Concert Hall for two weeks of Beethoven,” Swed writes.

Workers install the Francis Bacon 1969 “Three Studies of Lucian Freud” oil painting in the David Geffen Galleries at the Los Angeles County Museum of Art.

(Kayla Bartkowski / Los Angeles Times)

I got to watch workers hang a $142.5-million Francis Bacon triptych on the walls of LACMA’s new David Geffen Galleries. The paintings were gifted to the museum by its late trustee, Elaine Wynn. LACMA’s director, Michael Govan, said that part of her interest in supporting the new building was because she wanted the paintings to eventually belong to the public.

Dance writer Steven Vargas penned an interesting profile of choreographer Jacob Jonas and how his battle with Stage 4 lymphoma deepened his connection to his craft.

The news from the Kennedy Center does not stop coming. Late last week, we learned that President Trump had replaced Kennedy Center president Richard Grenell, who presided over the unfolding chaos at the center for a little over a year, with Matt Floca, the vice president of facilities operations at the center. This week, the Trump-appointed board voted to officially close the venue for two years. Trump had already announced his intentions, so the vote amounted to little more than a rubber stamp.

Younes and Soraya Nazarian Center for the Performing Arts — better known as the Soraya — on the campus of Cal State Northridge.

(The Soraya)

The Soraya announced its 2026-27 season, which includes six major debuts: singer and actress Audra McDonald, the Grammy Award-winning Snarky Puppy ensemble, Emmet Cohen’s jazz trio, Dance Theatre of Harlem, the National Symphony Orchestra (which will be roving in the wake of the Kennedy Center closure) and the National Symphony Orchestra of Ukraine. Also arriving at the Soraya, according to a note from its publicist, “Domingo Hindoyan leads the LA Phil and soprano Sonya Yoncheva in the world premiere of a new, LA Phil-commissioned song cycle from Miguel Farias. Farias’ incandescent new work is paired with Barber’s ‘Medea’s Dance of Vengeance’ and Dvořák’s Ninth Symphony.”

The first-ever museum survey of the legendary Chicana artist Ofelia Esparza (“Ofelia Esparza: A Retropective “) at Vincent Price Art Museum has been extended through May — now you have no excuse to not get yourself out to see it.

— Jessica Gelt

And last but not least

In an incredibly detailed and truly impressive investigation, Reuters unmasked the legendary British street artist known as Banksy. I have mixed feelings on that one, which I may explore in a future newsletter.

This Morning presenter Alison Hammond has confessed to an ‘awful’ moment on Strictly Come Dancing.

Alison Hammond has revealed a mortifying Strictly Come Dancing confession, admitting to an embarrassing incident during her time on the programme.

The This Morning host shot to prominence on Big Brother in 2002, and has subsequently featured on shows including Strictly, I’m A Celebrity… Get Me Out of Here!, and as presenter of The Great British Bake Off.

Alison graced the Strictly dance floor in 2014, paired with Aljaz Skorjanec, with the duo placing 10th overall. She has now owned up to “breaking wind” during the competition.

The 51-year-old recounted a particular incident from the show whilst appearing alongside Gavin and Stacey star Ruth Jones, Buffy the Vampire Slayer’s Sarah Michelle Gellar, comedian Richard Ayoade and Ready or Not 2’s Kathryn Newton on The Jonathan Ross Show, broadcasting tonight (Saturday).

She recalled performing to Robin Williams’ Friend Like Me during week seven of the competition, hoisting Aljaz off the ground at one stage, before confessing: “Oh, it was awful. At the time he couldn’t lift me so we thought don’t worry I’ll lift you, I can do it,” reports Birmingham Live.

“There is a moment where he does a cartwheel and I had to kind of pick him up and then help him over. He goes into this cartwheel and I pick him up and I break wind. I look at him and I go, ‘Let’s never talk about this again.’

“I didn’t realise that he’s quite a heavy guy – it literally took the wind out of me.” Alison has previously spoken about her experience on Strictly, and her bond with her former dance partner, Aljaz.

Amid several scandals Strictly has faced in recent years, including Graziano Di Prima and Giovanni Pernice being dropped from the professional line-up, Alison said: “I had Aljaz Skorjanec and he was absolutely incredible and as you know going back into Strictly.

“He was so amazing to me and gentle as well and kind. I’ve never experienced anything bad really.”

Elsewhere on The Jonathan Ross Show, Alison speaks about her new programme, Your Song.

She explains: “Your Song is exactly that. It’s your song that you feel emotionally attached to – it got you through a rough time at school or you know, it reminds you of someone who has passed on. A song that really means something to you.

“People come from around the country and perform it on a stage. People go on stage who have never sung before and they sing a song to a random audience. It’s just one of the most beautiful shows ever.”

The Jonathan Ross Show airs tonight from 10pm on ITV1 and ITVX.

Despite Liverpool’s dominance, the talk at half-time was of Mohamed Salah’s missed penalty. For a man who rarely misses, it was an unusually weak attempt and one that would certainly have got the headlines had Liverpool not progressed.

By now, Salah’s hunger for success is clear and it spoke volumes that instantly after his miss, he forced a save from Ugurcan Cakir.

And the Egyptian was involved in all three of Liverpool’s second-half goals to cap off a terrific all-round display.

First, Salah teed up Hugo Ekitike and it was Ryan Gravenberch who finished after Salah’s strike was saved, for Liverpool’s third.

The goal to make it 4-0 was a work of art as the 33-year-old used his left foot to curl a sublime effort into the top corner from outside the box.

“It says a lot about his mentality,” said Slot. “That was a difficult moment [when he missed the penalty] but then to come out in the second half with a great assist for Hugo and then score a trademark goal coming inside and finding the top corner.

“That tells you a lot about his mental strength, so credit to him and the whole team because adversity is something we can talk about when it comes to this season.”

Salah could have easily had more on a night where he became the first African to score 50 Champions League goals and recorded his 200th and 201st goal involvements for Liverpool at Anfield in all competitions (140 goals, 61 assists) in just 211 appearances.

There was some concern when Salah asked to be substituted in the 74th minute, with Slot saying afterwards that he had felt something.

But this was another timely reminder of his sheer class. Salah’s numbers alone are stupendous and whether or not he is still a Liverpool player come next season, there is little doubt that Liverpool have a stronger chance of knocking out PSG with him fit and firing.

Rainelle Krause, a coloratura soprano who went viral for singing a signature aria while hanging upside down from aerial silks, has died after a short hospitalization, her family announced “with immense sadness” Tuesday on social media. She was 37.

“Rainelle was a force in our lives, a brilliant talent defined by grit, fearlessness, curiosity, intelligence, integrity, and resilience,” the family said in a statement on Instagram. “Onstage, her voice matched the breathtaking power of her spirit. Offstage, she was a loving, caring soul whose vibrant energy lit up everyone around her. Our hearts are full from the years we shared, even as we’re shocked that her skyrocketing career was cut short.”

The family gave no further details about the circumstances of her death but said they were grateful to have Krause’s “preserved performances” to revisit. They said they would be planning a celebration of life “at a later date” but wanted to share the sad news now with friends and fans.

“Rainelle always gave her very best, pouring her heart into her art and those she loved,” the family said. “The best way we can honor her memory is by living her values every day. We encourage you to keep her memory alive by sharing her beautiful performances.”

Krause, whose website dubbed the Queen of the Night in “The Magic Flute” as her signature role, debuted in that role at the Metropolitan Opera over the holidays. She did the same last fall at Opera Atelier in Toronto.

“Although we knew Rainelle for only a matter of months, we will never forget her astonishing talent. We were awed by her bravery and daring and deeply moved by her willingness to draw all of us into her circle of friends,” Opera Atelier said Wednesday on social media. “Beautiful, generous, talented and kind, Rainelle is irreplaceable and will always hold a unique place in our memories.”

Born in Florida, Krause graduated from Indiana University’s Jacobs School of Music with a bachelor’s in music and a master’s degree in music in vocal performance. The English National Opera said she trained with the Sankt Goar International Music Festival and Academy in Germany, the OperaWorks Advanced Artist Program in Los Angeles, Opera Las Vegas, the Taos Opera Institute and Opera Nova Costa Rica.

She performed with opera companies in Nashville and Atlanta, and in Texas she sang with the Dallas Opera, with symphony orchestras in Irving and Plano, and with a master chorale in Amarillo. She was set to debut with the Santa Fe Opera in May.

Internationally, Krause’s “The Magic Flute” performances included gigs in Berlin, Copenhagen and elsewhere. Roles outside of the Queen of the Night included the title role in “Lucia di Lammermoor,” the princess in “The Snow Queen,” Zerlina in “Don Giovanni” and Pat Nixon in “Nixon in China.”

As for her viral acrobatic performances, those appeared to have been on hold in the year before her death.

“I can’t even begin to express how much I miss aerial work,” Krause wrote last March on social media. “I’ve been dealing with horrendous shoulder impingement for months, I’ve been in physical therapy since last summer, I’m continuously learning new ways to attempt to build strength and fluency in order to support my VERY hypermobile joints.

“I am in pain most days,” she continued. “But I’m not giving up, I’m seeing incremental improvements, and I will fly again — this time working in concert with the body I have, instead of forcing myself to ‘just put in the work’ with all the wrong pathways.”

K-POP Demon Hunters fans shared their reactions to watching HUNTR/X’s history-making Oscars performance and win.

The trio of voices behind the band from the popular Netflix film – Ejae, Audrey Nuna, and Rei Ami – took the stage at the 98th annual Academy Awards on Sunday, moving audiences worldwide with tears of joy.

They performed their iconic track, Golden, celebrating the folklore and cultural inspiration brought from the 2025 animated film.

Shortly after hitting the stage, K-Pop Demon Hunters, which became Netflix’s most-watched film ever, won the award for Best Original Song for Golden, after dominating awards season.

HUNTR/X, who nabbed two awards – Best Song Written for Visual Media for the famed track and Best Original Song – at the Golden Globes in January, incorporated instrumentals and dance into their performance at the Dolby Theatre at Ovation Hollywood in Los Angeles.

“Let’s go K-POP Demon Hunters!” one fan wrote on X.

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“I love me some K-pop demon hunters! Those girls were singing down in that movie lol,” said another.

“K-Pop Demon Hunters made HISTORY,” reacted a third.

“The only thing I care about at the Oscars is K Pop Demon Hunters. If it were up to me, I’d give them all the possible awards,” added a fourth.

However, many were disappointed upon seeing that their acceptance speech was abruptly cut short, as were many others throughout the night, despite them pleading for more time.

“Absolutely disrespectful of the #oscars for cutting off kpop demon hunters in their acceptance speech. They were given less time than every other winner and the Oscar’s owes them an apology,” one fan raged.

“I don’t like how they cut off the Kpop Demon Hunters Cast. That was nasty #Oscars,” someone else complained.

“Congrats to Michael B Jordan, but why did he get 3x the amount of time for his speech than the KPop Demon Hunters crew?” said another, referencing Sinners star Michael B. Jordan’s Best Actor win afterwards.

According to The Independent, HUNTR/X is the first all-Asian musical act to take the Oscars stage, following Blackpink K-pop band member Lisa, who was the first K-pop artist to perform at the show last year.

In August 2025, Netflix revealed that K-Pop Demon Hunters was the platform’s most popular movie of all time, overtaking the previous record-holder, Red Notice, starring Dwayne Johnson, Ryan Reynolds, and Gal Gadot.

“KPop Demon Hunters has gone up, up, up, and it’s their Golden moment,” the streaming service said in a statement.

Biggest Oscar Nominees of 2026 Academy Awards

Everyone in Hollywood hopes to snag a nod on the industry’s biggest night but only few get that honor. Here are the nominees and winners from the major categories of the 2026 Academy Awards:

Best Picture

• Bugonia
• F1
• Frankenstein
• Hamnet
• Marty Supreme
• One Battle After Another *WINNER*
• The Secret Agent
• Sentimental Value
• Sinners
• Train Dreams

Best Director

• Chloé Zhao — Hamnet
• Josh Safdie — Marty Supreme
• Paul Thomas Anderson — One Battle After Another *WINNER*
• Joachim Trier — Sentimental Value
• Ryan Coogler — Sinners

Best Actor (Leading Role)

• Timothée Chalamet — Marty Supreme
• Leonardo DiCaprio — One Battle After Another
• Ethan Hawke — Blue Moon
• Michael B. Jordan — Sinners *WINNER*
• Wagner Moura — The Secret Agent

Best Actress (Leading Role)

• Jessie Buckley — Hamnet *WINNER*
• Rose Byrne — If I Had Legs I’d Kick You
• Renate Reinsve — Sentimental Value
• Emma Stone — Bugonia
• Kate Hudson — Song Sung Blue

Best Supporting Actor

• Benicio Del Toro — One Battle After Another
• Jacob Elordi — Frankenstein
• Delroy Lindo — Sinners
• Sean Penn — One Battle After Another *WINNER*
• Stellan Skarsgård — Sentimental Value

Best Supporting Actress

• Teyana Taylor — One Battle After Another
• Wunmi Mosaku — Sinners
• Amy Madigan — Weapons *WINNER*
• Elle Fanning — Sentimental Value
• Inga Ibsdotter Lilleaas — Sentimental Value

Best Original Screenplay

• Marty Supreme — Josh Safdie & Ronald Bronstein
• Blue Moon — Richard Linklater & Glen Powell
• Sentimental Value — Joachim Trier & Eskil Vogt
• Sinners — Ryan Coogler *WINNER*
• It Was Just an Accident — Jafar Panahi

Best Adapted Screenplay

• One Battle After Another — Paul Thomas Anderson *WINNER*
• Bugonia — Yorgos Lanthimos & Will Tracy
• Frankenstein — Guillermo del Toro
• Hamnet — Chloé Zhao
• Train Dreams — Clint Bentley & Greg Kwedar

Best Animated Feature

• Arco
• KPop Demon Hunters *WINNER*
• Little Amélie or the Character of Rain
• Zootopia 2
• Elio

Best International Feature Film

• The Secret Agent — Brazil
• Sentimental Value — Norway *WINNER*
• It Was Just an Accident — Iran
• Sirāt — Spain
• The Voice of Hind Rajab — Tunisia

Best Documentary Feature

• The Alabama Solution
• Come See Me in the Good Light
• Cutting Through Rocks
• Mr. Nobody Against Putin *WINNER*
• The Perfect Neighbor

“The animated musical officially became Netflix’s most popular film of all time on the Most Popular English Films list with 236 million total views.“

In response to the film’s massive success, Netflix released a sing-along “party at home” version, K-Pop Hunters Sing-Along, that’s currently streaming on the app.

The movie was produced by Sony Pictures Animation and helmed by Maggie Kang, a Canadian film director born in Seoul, South Korea.

Maggie described the film as a “love letter to K-pop,” also known as “Korean pop music.”

On March 12, Netflix announced that the beloved animation will be getting a sequel, with directors Maggie and Chris Appelhans returning behind the scenes.

A release date has yet to be revealed, but fans can expect it may be a while, given the first film went into production in 2021 and wasn’t released until 2025.

“I feel immense pride as a Korean filmmaker that the audience wants more from this Korean story and our Korean characters,” Maggie said in a statement about the sequel.

“There’s so much more to this world we have built, and I’m excited to show you. This is only the beginning.”

Sean Penn won the supporting actor Oscar on Sunday night for his performance as the ruthless, racist Col. Steven J. Lockjaw in Paul Thomas Anderson’s “One Battle After Another.”

The win marks the third Academy Award for the 65-year-old Penn and his first in the supporting category. He previously earned lead actor Oscars for “Mystic River” (2003) and “Milk” (2008), and had been nominated three other times in leading roles before this year. He beat out fellow nominees Benicio Del Toro for “One Battle After Another,” Jacob Elordi for “Frankenstein,” Delroy Lindo for “Sinners” and Stellan Skarsgård for “Sentimental Value.”

With his victory, Penn joins Meryl Streep, Jack Nicholson, Ingrid Bergman, Daniel Day-Lewis, Frances McDormand and Walter Brennan as three-time Oscar winners for acting. Katharine Hepburn is the only four-time acting winner.

Penn, who delivers a volatile, darkly comic performance in Anderson’s sprawling political thriller, emerged as the race’s front-runner after a surprise victory at the BAFTA Awards and the Actor Awards, whose voting body overlaps heavily with the motion picture academy.

Sean Penn did not attend the Oscars, so presenter Kiernan Culkin accepted the award on Penn’s behalf.

The big question surrounding last year’s Academy Awards was whether the show would address the L.A. wildfires, which had rattled the city mere months prior.

This year, the elephant in the room is the ongoing Iran war, which like last year’s wildfires, puts a celebration like the Oscars in sharp relief. But for Conan O’Brien, balancing gravity and levity is part of his job description as host.

“My job is to always try and hit this very, very thin line between entertaining people and also acknowledging some of the realities,” O’Brien said during a Wednesday news conference with the Oscars creative team.

“It’s a dance that goes on up until the show begins,” the former talk show host said, adding that he and his team of writers are still revising material ahead of the show to ensure their content is as relevant as possible.

“Between us,” he said, referencing Oscars telecast executive producers Katy Mullan and Raj Kapoor, “we will find the right tone.”

O’Brien also during the news conference recalled Johnny Carson’s turn hosting the Oscars during the Iran hostage crisis, when 52 Americans, including diplomats and other personnel, were held hostage at the U.S. embassy in Tehran from 1979 to 1981. The comedian remembered the television host parodying ABC’s “Nightline” with his joke, “It’s day 444 of the Oscars.”

“It was such a funny, topical joke that touched on something everyone was thinking about, and at the same time, got a big laugh and was unifying,” O’Brien said. “That was meaningful to me.”

Kapoor said during the news conference that the production team is putting systems in place to alleviate attendees’ safety concerns amid the tense global situation and reported threats to California.

“Every year, we monitor what’s going on in the world,” the showrunner said, adding that the ceremony has the support of the FBI and LAPD. “This show has to run like clockwork.”

He added, “Everybody that is coming to this show, that is witnessing this show, that is even a fan of the show when they’re standing outside the barricades — we want everybody to feel safe and protected and welcome.”

As for the telecast’s creative direction, the team cited “human touch” as a unifying theme — a not-so-subtle slight to AI.

“We’re celebrating human touch, human connection and what I like to call actual intelligence, as opposed to artificial,” said music director Michael Bearden. “We want to get back to the communal … and so the music will reflect that.”

That spirit of celebration will be especially tangible in the “KPop Demon Hunters” performance, Kapoor said. That performance will be complemented by a “Sinners” moment featuring Miles Caton and Raphael Saadiq as well as guests Misty Copeland, Eric Gales, Buddy Guy, Brittany Howard, Christone “Kingfish” Ingram, Jayme Lawson, Li Jun Li, Bobby Rush, Shaboozey and Alice Smith.

“We have this lovely story celebrating Korean culture with authentic Korean drummers and singers and even choreography,” the producer said. “So again, we’ve expanded our reach, and we’re telling these global stories, celebrating international films that have had a global impact and doing things in a really different way.”

Mullan and Kapoor closed the news conference by teasing a pair of reunions featuring cast members from “Bridesmaids” and the Marvel Cinematic Universe. “Bridesmaids” alum Rose Byrne is nominated for a lead actress Oscar for her role in “If I Had Legs I’d Kick You,” which marked O’Brien’s dramatic acting debut. (If Byrne wins, he said, “half that Oscar’s mine.”)

“We’re gonna have superstars, superheroes, and there is also going to be an extraterrestrial on the stage, so you can figure that one out,” Mullan said.

The 2026 Oscars will air live Sunday on ABC, with streaming available on Hulu, YouTube TV, AT&T TV and FuboTV.

Just in time for the Oscars, Tilly Norwood, and by extension her creator, Eline van der Velden, gave actors at every level an unexpected gift — the chance to breathe a little easier.

AI will not be replacing you any time soon.

On Tuesday, the AI phenomenon known as Tilly debuted a single and music video titled “Take the Lead.” In it, Tilly sings a self-celebratory, pro-AI anthem with the big-eyed feisty longing of an algorithm marked “Disney princess: Big song” while she wanders through increasingly fantastic self-affirming scenarios that scream “Plus ‘Barbie.’”

Van der Velden was clearly trying to persuade actors to embrace the possibilities of AI but like Timothée Chalamet, who managed to prove that opera and ballet have many devoted fans by publicly suggesting the opposite, her attempt will likely backfire. The underlying message of the video, at least to performers, appears to be: Relax — AI hasn’t figured out how to lip sync properly, much less act.

It’s a bit of good news in a time of AI anxiety, some of which was Tilly-induced. Last year, Van der Velden, a Dutch actor and founder of the production company Particle6, debuted Tilly, via Instagram, as the “world’s first AI actress.” Around the time the account hit 50,000 followers, Van der Velden announced that several talent agents were interested in representing Tilly. Not Van der Velden, but Tilly Norwood, a “performer” who did not exist.

For a few minutes, Hollywood lost its collective mind. Not only were creators and performers facing a future in which their work, bodies and faces could be scanned and fed into an algorithm capable of imitating writing styles or creating images of actors doing things they never did (in a recent AI video, Tom Cruise and Brad Pitt duke it out on a war-torn rooftop), now some feared they would be competing for jobs with “actors” who could work 24 hours a day, required no health benefits and would never demand bowls of M&Ms with the green ones removed.

SAG-AFTRA, which had just ended a strike caused in part by concerns about AI, protested Tilly and the use of “stolen performances to put actors out of work.” Various actors were outraged and some called for the interested talent agencies to be identified. Even Emily Blunt was publicly disconcerted, begging Hollywood agencies to “please stop taking away our human connection.”

Van der Velden quickly responded, insisting that Tilly was “not a replacement for a human being, but a creative work — a piece of art … a new tool — a new paintbrush.”

Then, on Tuesday, “Tilly” released a music video that seems to argue the exact opposite.

In the video, which appears over the message “Can’t wait to go to the Oscars,” the computer-generated young woman trips through a montage of “famous person moments,” as Tilly insists that she is not a puppet but a star; she encourages all actors to embrace and use AI, to own their creativity and “be free.”

A note prefacing the video states that “18 real humans” were involved in its production (including Van der Velden who is the basis of the performance), who provide the subtext for Tilly warbling: “They say it’s not real, that it’s fake, but I’m a human, make no mistake.”

Whatever Van der Velden and her team hoped to achieve, one thing is very clear: Emily Blunt has nothing to fear from Tilly Norwood.

The questionable merits of the song, performance and production value aside, the video is the best argument yet for why AI “performers” are a limited threat. As Tilly walks the streets of London, poses for selfies, signs autographs, appears on talk shows, performs live in front of enormous audiences, interacts with photographers, we are reminded that Tilly could never do any of this. AI performances are, by their very nature, limited to a screen.

Instagram fame is a real thing and can be monetarily beneficial, just as animated and digitally enhanced characters can connect deeply with audiences. But beyond her ability to raise the spectre of wholly coded “performers” constructed from borrowed bits of humans (which, as anyone who has read or seen “Frankenstein” knows, never ends well), Tilly doesn’t appear to have anything like star power.

And to consider her as existing separate from her creators is like imagining that the ventriloquist dummy Charlie McCarthy could have a career, and an agent, separate from the real performer Edgar Bergen.

Though Charlie did have the advantage of being able to be seen live and in person.

Watching Tilly, one is reminded that the magic of actors is that they are human. Audiences are, after all, human too and whether facing a stage or a screen, we are captivated by certain performers’ ability to bring all manner of characters and stories alive, while also being, as Us Weekly says, “just like us.”

People with bodies that age and change, people who fall in love, get messy, say dumb things, say smart things, fall prey to illness and accidents, shop at Trader Joe’s, end up in court or trip when about to receive an Oscar.

Their faulty, glorious humanity allows them to connect to their art, but it also connects them to us. We may never get an Oscar or be able to masterfully deliver a Shakespeare soliloquy on a chat show, but we know what it’s like to trip or say something dumb or experience aging, illness or accident.

You can’t replace actors with algorithms, even if/when someone comes up with something more convincing than Tilly, because actors are not just about performances. They are people who are alive in the world and no amount of coding can replicate that.

The Hollywood Pantages Theatre on Thursday announced its 2026-27 season, which contains a whopping seven L.A. premieres including “Maybe Happy Ending.” The hugely buzzy show about the complicated love between two humanoid helperbots was originally developed and staged in South Korea, and won six Tony Awards last year including musical, direction (Michael Arden), leading actor (Darren Criss) and book and original score (Will Aronson and Hue Park).

An early version of the show was first staged in Seoul in 2015, seven years before the rollout of ChatGPT and the ensuing AI doomsday alarm that platform sparked about the rise of hyper-intelligent robots. It will be interesting to watch “Maybe Happy Ending’s” lead robot characters, Claire and Oliver, contemplate their existence during a time when Elon Musk says his Optimus humanoid robots will be in widespread use by the end of next year.

Five shows will be staged at the Pantages before “Maybe Happy Ending,” starting with the season-opening L.A. premiere of “Water for Elephants.” Based on Sara Gruen’s 2006 novel, this musical about the dramatic life of a traveling circus performer during the Great Depression premiered on Broadway to mixed reviews in 2024 and closed after 300 performances.

Next up: The L.A. premiere of “The Outsiders,” based on S.E. Hinton’s iconic 1967 novel about the conflict between two gangs of disaffected youth. The show opened on Broadway in 2024 and was nominated for 11 Tony Awards — it ultimately won four including for musical and direction.

After that a new revival of the beloved rock opera “The Who’s Tommy” will take to the stage. Given the show’s 30-plus-year history of destroying audiences (in a good way) with its classic rock grooves, it’s sure to remain a steadfast crowd-pleaser.

Get your dancing shoes on for the L.A. premiere of “Buena Vista Social Club,” which was co-produced by John Leguizamo and opened on Broadway last year, garnering 11 Tony nominations and five wins, including a special Tony Award for the Buena Vista Social Club band. Based on the lives of musicians in Havana from the 1950s through the 1990s, and featuring plenty of infectious Latin music presented in Spanish, the show is set to launch its North American tour in Buffalo this fall before making its way to the Pantages.

The L.A. premiere of “Operation Mincemeat: A New Musical” is up next. The World War II-themed comedy about a British plan of deception premiered on Broadway last year and was nominated for four Tonys including musical.

Rounding out the L.A. premieres are a lavish production of “The Great Gatsby” and the season closer, “Death Becomes Her,” both of which are based on hot properties with plenty of audience recognition.

If you’re looking for a classic, fear not: “Hamilton” and “The Lion King” are returning next season to do what they do best: Thrill audiences and sell out shows.

I’m Arts editor Jessica Gelt contemplating a season pass. Here’s your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY
From John Doe to Lonesome Rhodes: Anti-fascism From the Archive
A double bill of “Arch of Triumph” (1948), a tragic romance set in 1938 Paris starring Ingrid Bergman, Charles Boyer and Charles Laughton, and “Voice in the Wind” (1944), a low-budget B-movie with Francis Lederer as a persecuted Czech concert pianist, opens this short series of films that were restored by the the UCLA Film & Television Archive. The series continues with Saturday’s pairing of “The Burning Cross” (1947) and “Open Secret” (1948) and “A Face in the Crowd” (1957) on March 20.
7:30 p.m. Billy Wilder Theater, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. cinema.ucla.edu

SATURDAY
Nuun to Midnight
A 37-film, 12-hour festival that merges music and visual arts serves as a fundraiser for curated arts presenter Middle Ear Project.
Noon-midnight. Automata Theater, 504 Chung King Road, Chinatown. automatala.org

Sarah Davachi + Robert Takahashi Novak: New Commissions
The Broad lobby’s unique characteristics will be utilized to create a deep listening experience for newly commissioned compositions by electroacoustic and minimalist organist Davachi and conceptual sound and contemporary electronic music artist Novak.
8 p.m. The Broad, 221 S. Grand Ave., downtown L.A. thebroad.org

The Great Wall of Los Angeles
Judy Baca’s iconic mural inspired Gustavo Dudamel and Gabriela Ortiz to gather composers Juhi Bansal, Nicolás Lell Benavides, Viet Cuong, Estevan Olmos, Xavier Muzik and Nina Shekhar for this salute to the city, augmented by a video installation created director Alejandro González Iñárritu and cinematographer Emmanuel “Chivo” Lubezki.
2 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Alexander Malofeev
The young Russian pianist performs a program featuring works by Sibelius, Grieg, Rautavaara, Scriabin, Stravinsky, Arthur Lourié and Prokofiev.
7:30 p.m. Broad Stage, Santa Monica College Performing Arts Center, 1310 11th St. broadstage.org

The Opera Buffs
Emerging musical artists from Southern California perform six mini-operas.
8 p.m. Saturday and Sunday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

Wild Up
The orchestral collective Wild Up performs “The Odes,” a program highlighting experimentation across the ages, featuring works by French Baroque composer Jean-Féry Rebel, English dramatist Henry Purcell and Soviet modern polystylist Alfred Schnittke, as well as modern artists. The group will be joined by guest vocalist and composer Julia Holter, students from the Herb Alpert School of Music at CalArts and special guests.
8 p.m. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

TUESDAY
Beetlejuice
The Broadway musical based on Tim Burton’s 1988 horror-comedy makes a local stop on its national tour.
Through March 22. Hollywood Pantages Theatre, 6233 Hollywood Blvd. broadwayinhollywood.com

Malice: Stories of Injustice
The Odyssey, in partnering with Mar Vista Voice and West Los Respuesta Rapida, presents a program of monologues based on the true stories of families and communities impacted by ICE, with proceeds benefiting the two charities.
8 p.m. Tuesday (in English) and Wednesday (in Spanish). Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com

The Rilke Project
Piano Spheres presents pianist Vicki Ray performing works by Bernstein, Ives and Eötvös, as well as pieces from Los Angeles-based composers Steuart Liebig, Andrew Tholl, Joseph Pereira and David Rhodes, and the poetry of Rainer Maria Rilke.
8 p.m. 2220 Arts + Archives, 2220 Beverly Blvd. pianospheres.org

Six
The national tour of the Broadway musical by Toby Marlow and Lucy Moss, a modern pop take on the sextet of women who were the wives of Henry VIII.
7:30 p.m. Tuesday-March 13; 2 p.m. Saturday. Segerstrom Center for the Arts, 300 Town Center Drive, Costa Mesa. scfta.org

THURSDAY
Turning Points
Guest conductor Dinis Sousa leads the Los Angeles Chamber Orchestra in Huang Ruo’s “Tipping Point,” Schumann’s “Violin Concerto” with solo violinist Isabelle Faust, and Mendelssohn’s “Symphony No. 4,” a.k.a. the “Italian.”
7:30 p.m. Wednesday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills; 7:30 p.m. March 6. Colburn School, Zipper Hall, 220 S. Grand Ave., downtown L.A. laco.org

Arts anywhere

Kevin Kline and Laura Linney in the series “American Classic” on MGM+.

(David Giesbrecht/MGM+)

American Classic
The limited series (eight 30-minute episodes) stars Kevin Kline as an out-of-control Broadway star who returns to his Pennsylvania hometown. Featuring a fine supporting cast that includes Laura Linney, Jon Tenney, Tony Shalhoub and Len Cariou, Times TV critic Robert Lloyd calls the show “a love letter to theater, community and community theater.” Streaming on MGM+ (free 7-day trial available).

KUSC
Local classical music fans know very well the treasure we have in Classical KUSC, one of the few all-classical music stations left on the planet. And, indeed, people from all over the world listen online. But what if you’re just “classical curious” and don’t know where to start? With round-the-clock programming, multiple specialized streaming channels devoted to movie scores, seasonal sounds and more, plus live concerts and knowledgeable hosts, this is the place for enjoyment, enlightenment and education. And remember, it’s listener-supported! If you can afford to give, please do. Listen at 98.7 FM and stream at kusc.org

The jacket of the book “True Color” by Kory Stamper.

(Knopf)

True Color
Kory Stamper chronicles the life of I. H. Godlove, an eccentric scientist who infused the midcentury Merriam-Webster dictionary with a shockingly kaleidoscopic array of colors using only words. The worlds of color science, color psychology and color production provide a vivid backdrop for a journey across the 20th century. Knopf (March 31 release): 320 pp. $32

Culture news and the SoCal scene

People gather outside for pre-show drinks before Public Assembly theater’s show at the Women’s Twentieth Century Club on Thursday, Jan. 29, 2026, in Los Angeles.

(Carlin Stiehl / For The Times)

The roving company Public Assembly Theatre, which develops three one-act plays monthly in unconventional L.A. spaces, got an up-close look via a fascinating story by freelancer Emma Madden. Madden spent the better part of a month tracking the development process, read-throughs and final show, and tells the story of a tiny company that is making major waves with a Hollywood-weary crowd.

Freelancer Solvej Schou tells the difficult but ultimately uplifting story of an Altadena shop owner who closed twice during the last year: Once because of the Eaton fire, and again because of heavy flooding the following year. In the wake of all the trauma, the owner, Adriana Molina, hired a local muralist to paint a colorful outdoor mural of Altadena as a way to boost morale in the neighborhood.

Dalia Stasevska, a Ukranian-born conductor who is making her L.A. Opera debut with Philip Glass’ “Akhnaten,” poses for a portrait at the Dorothy Chandler Pavilion.

(David Butow / For the Times)

The Ukrainian-born conductor Dalia Stasevska made her L.A. Opera debut last weekend, conducting Philip Glass’ opera “Akhnaten,” which runs through late March. Times freelancer Tim Greiving sat down with Stasevska to write an in-depth profile that delves into her early love of opera and classical music as well as her efforts to raise money for humanitarian aid in Ukraine.

Malia Mendez got the skinny on a Christie’s auction in New York that features the $1-billion guitar collection of the late businessman Jim Irsay. Items on the block included Kurt Cobain’s 1969 Fender Mustang and the Beatles drum head from the band’s legendary appearance on “The Ed Sullivan show.”

Artist Ulysses Jenkins is photographed at his studio in Inglewood on Tuesday, March 8, 2022.

(Christina House/Los Angeles Times)

Mendez also penned a lovely obituary for Ulysses Jenkins, a pioneer of Black experimental video who died last month at the age of 79.

Chiura Obata, “Full Moon, Pasadena, California,” (1930) Verso, Asian American art

(The Huntington Library, Art Museum, and Botanical Gardens, Gift of the Obata Family)

The new theme for the fourth edition of the Getty’s PST ART has been announced. The 2030 survey will explore “the artistic and cultural exchange between Los Angeles and the Pacific Rim,” according to a news release. PST ART launched in 2011 and has since established itself as one of the region’s most timely and expansive art showcases — with participation from every corner of Southern California.

“PST ART is now an established and central part of Southern California’s cultural landscape, with each edition exploring key aspects of our past, present, and possible futures,” said Katherine E. Fleming, president and CEO of the J. Paul Getty Trust, in a statement. “With our large diasporic communities from around the Pacific Rim, Los Angeles is the perfect place to explore the far-reaching and varied impact of transpacific culture.”

— Jessica Gelt

And last but not least

Who doesn’t love a good breakfast sandwich? I’m resurfacing this list of where to find the best in the city. You’re welcome.

Amy Madigan is now a first-time Actor Award winner.

The “Weapons” actor scored in the supporting actress category Sunday for her performance as the unhinged Aunt Gladys in the Zach Cregger-directed horror film. She beat out Teyana Taylor (“One Battle After Another”), Odessa A’Zion (“Marty Supreme”), Ariana Grande (“Wicked: For Good”) and Wunmi Mosaku (“Sinners”).

The win shakes up the Oscars race for supporting actress, which prior to Madigan’s Actor Award victory seemed to be in Taylor’s favor.

“It’s such an honor to be here. I’ve been doing this a long ass time,” Madigan said as she accepted the honor Sunday evening.

“Gladys has surprised me. She’s getting a lot of love back,” Madigan said. “I didn’t know y’all want to hang out with her.”

The actor also offered a message of camaraderie to her fellow SAG-AFTRA members, citing the Chicago upbringing that made her a “union person.”

“We’re all union people,” she continued, “and I don’t care what somebody says. They’re not going to bust us, ever.”

Madigan went on to give a shout-out to her fellow “Weapons” cast members Julia Garner, Josh Brolin and others.

Madigan was the sole “Weapons” star nominated at this year’s Actor Awards. She also received nominations from the Golden Globe Awards, Critics Choice Awards and Academy Awards. She earned her last Oscar nomination 40 years ago for her performance as the fiery Sunny in “Twice in a Lifetime” (1985).

“I haven’t done this in a while, so it feels like a new experience for me, but I know what it is very well,” Madigan told The Times in a November interview about the awards buzz.

“It’s a little daunting at times,” she added.

But like her “Weapons” character, Madigan is fearless, having used a stunt double for only the very last scene in a physically demanding movie.

As for everything before that, the actor said, “I did all that running and all that ridiculous stuff.”

“I think everybody was holding their breath a little bit going, ‘Oh, I hope she doesn’t slip and crash into something,’ which I didn’t,” she said. “I’m proud of that.”

Harrison Ford received a standing ovation Sunday as he accepted the SAG-AFTRA Life Achievement Award.

“It’s a little early isn’t it?” Ford joked, noting that “it’s a little weird to be getting a lifetime achievement award at the half-point of my career.”

The 83-year-old is one of the industry’s highest-grossing actors after catapulting to global stardom with his role as Han Solo in the “Star Wars” franchise, a legacy further cemented by his lead role in “Indiana Jones” movies.

Ford fought back tears, thanking his fellow actors, writers, directors and cast members. He “found a calling. A life in storytelling. An identity in pretending to be other people,” he said.

“While we’re all at different stages of our lives and careers in this room, we all share something fundamental. We share the privilege of working in the world of ideas, of empathy, or imagination,” Ford said. “Because of that privilege, I’ve come to know myself.”

Ford said he was “not an overnight success,” spending the first 15 years of his career jumping between acting and carpentry before landing an acting role.

Ford thanked film producer and casting director Fred Roos and his longtime manager Pat McQueeney, all of whom he said were integral to his success.

“They’re no longer with us, but it feels important that I think of them now. I feel them here tonight. They would be happy for me,” Ford said.

SAG-AFTRA’s recognition on Sunday is one of several lifetime achievement awards bestowed upon the actor over his extensive six-decade career, which is defined by two of Hollywood’s biggest film franchises.

A highlight reel of Ford’s various acting performances played ahead of his accepting the award.

The award was presented by actor Woody Harrelson, who lauded Ford’s varied achievements and called him a “timeless American treasure.”

“There’s too much of me in this tribute to Harrison, but I’m an actor, what do you expect?” Harrelson quipped. The actor first met Ford after following him into a sushi restaurant and the pair “sealed their friendship” over lunch, during which “at one point, we laughed — and I’m not kidding — for three minutes straight,” Harrelson said.

“This is a life achievement award and he has lived a full one,” Harrelson said.

Ford hasn’t shown signs of slowing down in recent years. The actor plays therapist Paul Rhoades in the Apple TV show “Shrinking,” which earned him his first-ever Emmy nomination last year. He also recently starred in the “Yellowstone” prequel “1923” and appeared in his first Marvel movie, “Captain America: Brave New World.”

Ford “thinks working more is the antidote to aging,” Harrelson said. The actor recently reprised his iconic role as a swashbuckling archaeologist in the 2023 sequel “Indiana Jones and the Dial of Destiny.”

Despite Ford’s massive success in the industry, the actor has yet to win a major competitive acting award. The Life Achievement Award is the first that Ford snagged from the guild. He was nominated last year for actor in a comedy series for his role in “Shrinking” but lost to Martin Short for his performance in “Only Murders in the Building.”

Ford said he was “quite humbled” to be honored with the award in a room full of actors, “many of whom are here because they’ve been nominated to receive a prize for their amazing work, while I’m here to receive a prize for being alive.”

“Sometimes we make entertainment. Sometimes we make art. Sometimes we’re lucky and we make them both at the same time,” Ford said.

The awards show’s highest honor is given to performers who foster the “finest ideals of the acting profession.” Ford joins a list of seasoned actors who have received the award, including Jane Fonda, Barbra Streisand, Morgan Freeman and Robert De Niro.

SAG-AFTRA described Ford as “one of cinema’s most enduring leading men” whose performances “have become woven into the fabric of our culture,” in a December release announcing the honor.

OLIVIA Dean was queen of the Brit Awards last night, scooping four gongs — ten years after she attended the ceremony as a student.

The singer-songwriter, 26, won the best artist, album and pop act categories and the publicly voted song of the year with Rein Me In, with fellow award-winner Sam Fender.

London-born Olivia, who stunned on the red carpet, also performed on stage, a decade on from partying at the event as a Brit School student in 2016.

Her impressive haul followed the success of her second studio album, The Art of Loving, which spent seven weeks at No1 following its release last year.

The songstress celebrated by holding a private afterparty in Manchester where the ceremony was held.

The switch to the city’s Co-Op Live arena marked the first time the event has been staged outside London.

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A source said: “Olivia wanted to thank everyone around her for their support. She sees the success of the evening as a group effort.”

Olivia won a place at the free Brit School in Croydon, South London, aged 15, following in the footsteps of singer-songwriter former students Adele, Amy Winehouse and Jessie J.

She enrolled on a theatre course but later switched to songwriting as she began creating tracks on a second-hand piano which she begged her mum, Christine, to buy.

Speaking about the Brit School, Olivia said: “It set me up for life. I knew what I wanted for myself and it taught me so much. I just think it is a magic place.

“Look at all the people it has produced and will continue to do so.”

Last summer, Olivia made her first public appearance with her American drummer boyfriend Eddie Burns as they stepped out at the Wimbledon tennis championships together.

As It Was singer and former One Direction star Harry Styles took to the stage to open the Brit Awards 2026 live from Manchester on Saturday, with fans admitting they were ‘shaking’

It’s safe to say Harry Styles impressed fans with his performance at the Brit Awards.

The As It Was and Sign of the Times singer, and former One Direction star, opened the live ceremony on ITV1 and ITVX on Saturday night. He performed his new track Aperture after recently announcing the release of his fourth album would be very soon.

Marking his return to music, the singer took to the stage to kick things off, the performance no doubt gave fans a peak of what to expect with his upcoming world tour. Amid a backlash from many viewers about the prices of his tour tickets, Harry won over viewers with his vocals and choreography.

In fact, fans claimed they were “shaking” and “going to be sick” after watching it live. Taking to social media, one fan said: “Wish I could be normal but unfortunately I’m literally shaking over Harry Styles performing at the Brits.” Another said: “I AM SHAKING,” as a third added: “I’M GONNA BE SICK.”

READ MORE: Ant and Dec vow never to host ‘nightmare’ Brit Awards again and hint at Chris Martin rowREAD MORE: NEED TO KNOW: Brit Awards how to watch, start time, what to expect and nominees

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A fourth fan said: “HE IS A PERFORMER,” as a fifth said: “HARRY IS SO BACK THAT WAS INSANE.” A further post read: “Harry sounds GOOD. Aperture live is such a vibe.”

Another fan commented: “OMG DID HE HAVE TEARS IN HIS EYES!?? HARRY STYLES IS SO BACK.” A final tweet read: “Ok Harry actually ate that choreo.”

It was revealed the awards would take place in a new home on Saturday night, at the Co-op Live in Manchester. Artists revealed to be performing included Olivia Dean, Wolf Alice, EJAE, Audrey Nuna and REI AMI, the singing voices of HUNTR/X (filmed in advance of The BRIT Awards).

Alex Warren, Mark Ronson, ROSALÍA, SOMBR and RAYE were also confirmed. Mark was also revealed to be receiving an award for his outstanding contribution to music, while Noel Gallagher was said to be receiving a songwriting award.

Speaking of honours, it had also been revealed that tributes would be made to some of the lost music acts who have recently passed away. Ozzy Osbourne is set to be honoured with Robbie Williams fronting a super group paying tribute to the star. It comes seven months after the Black Sabbath frontman died aged 76.

The performance will be a special arrangement of ‘No More Tears’ – the title track from Ozzy’s multi-million selling 1991 album of the same name. It was curated by Ozzy’s wife, Sharon Osbourne, and will boast a phenomenal line up of British and international musical talent.

It will feature musicians that played as part of Ozzy’s band over the years, including Adam Wakeman, Robert Trujillo , Tommy Clufetos and Zakk Wylde. The makeshift group will be fronted by Robbie, who was invited personally by Sharon to be part of this special moment.

BRIT Awards bosses are also set to honour Stone Roses bassist Mani at Saturday night’s show – led by Charlatans legend Tim Burgess. Gary ‘Mani’ Mounfield died suddenly aged 63 last November, and close pal Tim will be on hand to deliver an emotional speech.

A source said: “Tim is set to present the In Memoriam section, but before he does so, he is primed to talk about Mani who was both a dear friend and mentor. The fact that Mani was from Manchester too – and the awards is being held there for the first time – means it will be a really special moment. Mani will then feature heavily in the section, as will other greats we have lost including Ozzy Osbourne.”

Ahead of the ceremony, three acts had received the most nominations. They were Olivia Dean and Lola Young with five nominations apiece, and Sam Fender trailing closely on four nominations following his Mercury Prize success.

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What sounded like a very cool L.A. Art Week party ended up getting a bit too rowdy. On Sunday night the Los Angeles Police Department was called to a former 99 Cents Only store on Wilshire Boulevard where an opening night party was underway for a week-long pop-up called “99CENT,” organized by former tagger and blue-chip artist Barry McGee and presented with the Hole gallery.

An LAPD public information officer confirmed that officers responded to a disturbance call at the location, which is just down the street from the Los Angeles County Museum of Art and the Academy Museum, at 10:30 p.m. Sunday. Police arrived to find “a large group of about 20 or 30 people, drinking and playing loud music.” The crowd dispersed on its own after law enforcement arrived.

Neighbor Rebekka Mueller, who lives across the parking lot from the store, said that a concert at the event had attracted hundreds of people, a number of whom took to tagging four or five neighboring businesses, including the now-closed historic Googie-style Johnie’s Coffee Shop.

The event drew plenty of respectful art fans, Mueller said, “but attracted lots of other people, and they started tagging the whole building — but not in an art way. And then it spilled over to the businesses nearby, to an insurance company, and then two apartment buildings were completely tagged … and they had no security on site when this happened. So this was very alarming for the neighborhood.”

Cole Schiffer, whose family owns the 99 Cents building, said he was sorry that neighbors’ structures were tagged and that he has been working all week to paint over the tagging.

“We didn’t know that this would happen. I was pretty naive about the graphic art world,” he said. “We’re business owners, we spend a lot of time removing graffiti. My mom grew up in this neighborhood. My grandparents lived and died here, so honestly, it’s a little sad and crazy to see this graffiti all over the neighborhood.”

Schiffer said things had calmed down after Sunday night and that the Hole gallery was working to avoid problems for the rest of the week’s festivities.

In a brief story about the event, Times freelancer Mariella Rudi noted that the 99 Cents store had been transformed into, “a dense, joyous artist flea market” featuring, “more than 200 contributors and well over 4,000 works.” When Rudi was there on Sunday night she said she didn’t see any destructive behavior.

“Paintings are stacked against old shelving. Shopping carts hang from the ceiling. You can even check out your purchases at the register, complete with a sticker and a receipt,” Rudi wrote, adding, “Graffiti-heavy aisles will thrill fans of Beyond the Streets, but a handwritten sign near the entrance offers a final note: ‘Please, no tagging inside. Owners are cool.’ ”

The pop-up will feature puppets from Bob Baker Marionette Theatre this Sunday, as well as an Anti-Fascist Zine Fair. This whole scene is right up my alley, and I say, “Yes, please,” to more edgy arts programming featuring outsider artists and youthful rebellion.

But it seems a minority of guests decided to dishonor the spirit of the event by disrespecting the boundaries put into place by organizers.

Even neighbors who complained, like Mueller, said they were big supporters of the arts and that a lot of great art was on display inside the store — they wished the situation had played out differently, and they hope Sunday night’s grand finale proves more in control.

Mueller said that although organizers had painted over many of the tags, the situation at Johnie’s had not yet been remedied.

I’m Times Arts editor Jessica Gelt, and I’m here for all the colorful underground fun — and the angry dissent that often comes with it — but none of the destruction of property.

The week ahead: A curated calendar

FRIDAY
All My Sons
Oánh Nguyễn directs Antaeus Theatre Company’s production of Arthur Miller’s 1946 Tony-winning play about a Midwestern family facing a moral reckoning after World War II.
Through March 30. Kiki & David Gindler Performing Arts Center, 110 E. Broadway, Glendale. antaeus.org

Detail of a photo by Lou Bopp, seen in the documentary “All the Empty Rooms.”

(Netflix)

All the Empty Rooms
Photos memorializing the bedrooms of children lost to school shootings captured by photographer Lou Bopp and reporter Steve Hartman and featured in the Oscar-nominated documentary short film directed by Joshua Seftel, are on display at an outdoor installation.
Through Monday, Sunset Triangle Plaza, 3700 Sunset Blvd.

And What of the Children?
Writer-director Ryan Lisman’s play blends drama, dark comedy and horror in a psychological thriller about a trio of siblings in the Witness Protection Program.
Through March 15. The Broadwater Black Box, 6322 Santa Monica Blvd., Los Angeles. events.humanitix.com

Front and Center: Emerging Artists with the Colburn Orchestra
Salonen Fellows Mert Yalniz and Aleksandra Melaniuk will lead a varied program of concerto works spotlighting up-and-coming soloists. The performance will be live streamed.
7 p.m. Friday. Zipper Hall, 200 S. Grand. Ave., downtown L.A. colburnschool.edu

John Giorno in Andy Warhol’s “Sleep.”

(Andy Warhol/John Giorno Collection, John Giorno Archives. Studio Rondinone, New York, NY.)

Sleep
John Giorno, the subject of the exhibition “John Giorno: No Nostalgia,” stars in Andy Warhol’s 1964 five hours and 21-minute silent film. Free with a reservation.
5-10:30 p.m. Friday. Marciano Art Foundation, 4357 Wilshire Blvd., Los Angeles. marcianoartfoundation.org

SATURDAY

John Holiday in the title role of LA Opera’s 2026 production of “Akhnaten.”

(Cory Weaver)

Akhnatan
John Holiday stars in L.A. Opera’s production of Philip Glass’ portrait of the Egyptian pharaoh, sung in in English, Ancient Egyptian, Biblical Hebrew and Akkadian. Directed by Phelim McDermott and conducted by Dalia Stasevska making her company debut.
Through March 21, Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org

Attacca Quartet and Theo Bleckmann
The versatile Grammy-winning ensemble teams with vocalist Bleckmann on David Lang’s “note to a friend,” a chamber opera based on three reimagined texts by Japanese writer Ryunosuke Akutagawa.
8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

From Strand to Sculpture
A self-guided tour of the Japanese bamboo basketry exhibition will be followed by a lecture from bamboo art expert Robert Coffland, founder of TAI Gallery (now TAI Modern) in Santa Fe, N.M., and now president of the Santa Fe gallery Textile Arts Inc. The lecture is also available via Zoom.
4-7 p.m. Saturday. The Gamble House is located at 4 Westmoreland Place, Pasadena. gamblehouse.org

The Price
Richard Fancy, Dana Dewes, Jason Huber and Scott G. Jackson star in Arthur Miller’s late-period drama about two brother’s cleaning out their late father’s New York brownstone.
Through April 5. Pacific Resident Theatre, 703 Venice Blvd. pacificresidenttheatre.org

Pepe Romero Returns
The classical guitarist joins the Long Beach Symphony for a concert featuring ”Concierto de Aranjuez” by Joaquín Rodrigo, Gabriela Lena Frank’s “Elegia Andina” and movements from Handel’s “Water Music Suites.”
7:30 p.m. Saturday. Long Beach Terrace Theater, 300 E. Ocean Blvd. longbeachsymphony.org

Bud Cort in the 1971 movie “Harold and Maude,” screening March 15 at the Aero.

(CBS via Getty Images)

Starring Bud Cort
The American Cinematheque salutes the singular character actor, who recently died at 77, with screenings of Robert Altman’s “Brewster McCloud” (1970), Wes Anderson’s “The Life Aquatic With Steve Zissou” (2004) and Hal Ashby’s“Harold and Maude” (1971).
“Brewster McCloud”, 2 p.m. Saturday in 35mm. Egyptian Theatre, 6712 Hollywood Blvd.; “The Life Aquatic”, 3 p.m. March 14; “Harold and Maude,” 1 p.m. March 15 in 35 mm. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com

SUNDAY
Unassisted Residency
Every edition of erstwhile weatherman Fritz Coleman’s monthly comedy show features a special guest.
3 p.m. Sunday. El Portal Theatre, Monroe Forum, 5269 Lankershim Blvd., North Hollywood. elportaltheatre.com

TUESDAY
Camerata Pacifica
The ensemble performs a program that includes Madeleine Dring’s “Trio for Flute, Oboe and Piano,” the world premiere of David Brice’s “Natural Light,” Cécile Chaminade’s “Thème varié for Piano, Op. 89” and Antonín Dvořák’s “Quintet in A major for Piano and Strings, Op. 81,” arranged by David Jolley.
3 p.m. Sunday. Bank of America Performing Arts Center, Janet and Ray Scherr Forum, 2100 E. Thousand Oaks Blvd., Thousand Oaks; 7:30 p.m. Tuesday. The Huntington, 1151 Oxford Road, San Marino; 8 p.m., Thursday. Zipper Hall, 200 S. Grand Ave., downtown L.A.; 7 p.m. Friday. Music Academy of the West, 1070 Fairway Road, Santa Barbara. cameratapacifica.org

WEDNESDAY

Sara Porkalob, playwright and performer of “Dragon Mama.”

(Corey Olsen)

Dragon Mama
Writer-performer Sara Porkalob returns in Part II of her Filipina American “gangster” family’s intergenerational saga, “The Dragon Cycle,” this time centering her mother’s journey. Directed by Andrew Russell
Through April 12. Geffen Playhouse, 10886 Le Conte Avenue, Westwood. geffenplayhouse.org

THURSDAY
The Adding Machine
The Actors’ Gang performs Elmer Rice’s 1923 satire that provides a prophetic warning from the past for our present.
Through April 18. The Actors; Gang, 9070 Venice Blvd., Culver City. theactorsgang.com

Dante and Beethoven’s Sixth
Gustavo Dudamel conducts the L.A. Phil in Beethoven’s “Symphony No. 6 in F major, Op. 68 – Pastoral” and Thomas Adès’ “Inferno – Part 1.”
8 p.m. Thursday; 11 a.m. Friday; and 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Bill T. Jones/Arnie Zane Company
A remounting of the historic dance theater work “Still/Here,” created by Jones 30 years in the midst of the AIDS epidemic from interviews with terminally patients which he called “survival workshops.”
8 p.m. UCLA Royce Hall, 340 Royce Drive, Westwood. cap.ucla.edu

Arts anywhere

New releases of arts-related media.

Clockwise from top left, artists Candice Lin, Njideka Akunyili Crosby, Tomás Saraceno and Ragnar Kjartansson from “Art in the Twenty-First Century.”

(Art21, Inc.)

Art in the Twenty-First Century
Museums are fantastic, but do you ever want to know what’s going on right now in the art world? Since it debuted in 2001, this video series has focused on contemporary art and artists and has been a mainstay of public broadcasting. The second episode of the 12th season (they’re released biannually) debuted Feb. 11 and profiles four international artists, Njideka Akunyili Crosby, Ragnar Kjartansson, Candice Lin and Tomás Saraceno, who use ordinary materials to make extraordinary art. Of local note, Crosby and Lin both live and work in L.A., and the Huntington in San Marino makes an appearance as well. Watch at art21.org, YouTube and pbs.org.

(Princeton University Press)

Michelangelo & Titian
It may not have been a heated rivalry, but author William E. Wallace makes the case that the two great Renaissance artists drove each other to excel in a new dual biography subtitled “A Tale of Rivalry and Genius.” Princeton University Press: 248 pp., $35. press.princeton.edu

Japan’s Yuma Kagiyama competes in the figure skating men’s singles free skating at the 2026 Winter Olympics on February 13 in Milan, Italy.

(Robert Gauthier/Los Angeles Times)

Turandot: Christopher Tin Finale
The two-time Grammy-winning composer completed Giacomo Puccini’s famously unfinished final opera for this EP recorded at London’s Abbey Road Studios with an all-star cast. You may even have heard it during Japanese figure skater Yuma Kagiyama’s free skate program at the recent Winter Olympic Games in Milan (Kagiyama won silver for the second time). Not only was Milan Puccini’s hometown, but the Games coincided with the 100th-anniversary of the premiere of the opera at Teatro La Scala. Tin Works: $12-30. Available on vinyl, CD, digital download and streaming platforms. christophertin.com

— Kevin Crust

Culture news and the SoCal scene

Frieze Los Angeles returned to the Santa Monica Airport on Feb. 26.

(Casey Kelbaugh / Courtesy of Frieze and CKA)

Art Week is here, and L.A. is overflowing with guests, artists and dealers from around the world as the city stages a wide variety of fairs, exhibitions, dinners and other arts events. The Times put together a handy guide to all the fairs you need to see, including Frieze, Butter LA and the Other Art Fair.

Freelancer Jane Horowitz wrote an in-depth piece about Frieze’s “Body & Soul,” a public art program of eight installations designed to reach beyond traditional art fair audiences. The story gives information about site-specific installations and the artists behind them, including Patrick Martinez. Amanda Ross Ho and Kelly Wall.

Kara Walker, “Unmanned Drone,” 2024, bronze

(Ruben Diaz)

Earlier this week, MOCA announced it had acquired 158 works by 106 artists in 2025 and that it had acquired the centerpiece of its current blockbuster “Monuments” exhibit: “Unmanned Drone,” by artist Kara Walker. “Walker created the 13-foot-tall bronze sculpture out of a statue of the prominent Confederate Gen. Stonewall Jackson that was originally in Charlottesville, Va. The statue had been removed after serving as a significant gathering place for the infamous 2017 Unite the Right rally of white supremacists,” I wrote in a story about the acquisition.

Our major investigation into L.A. arts icon Judy Baca also published this week, featuring allegations by 10 former employees, including two managers, that Baca used her nonprofit arts center, SPARC, to benefit her private, for-profit art practice, Judy Baca Inc. They also alleged Baca personally benefited from a $5-million Andrew W. Mellon Foundation grant to expand her most famous work, a community-driven effort known as “The Great Wall of Los Angeles.”

Alexander Hurt, left, Katie Holmes and Charlie Barnett in “Hedda Gabler.”

(Rich Soublet II)

Times theater critic Charles McNulty headed to San Diego’s Old Globe to catch Katie Holmes in a new take on Henrik Ibsen’s “Hedda Gabler” written by Erin Cressida Wilson “that compresses the action and sharpens the language to a razor’s edge.”

McNulty also caught Guillermo Cienfuegos’ “enlivening, if at times unsteady,” production of Shakespeare’s “Richard III” at A Noise Within. “Cienfuegos is a font of directing ideas, but his work here could use more editing. He plays up the comedy, which is as much a part of the play as its violence. But sometimes the actors overdo it,” McNulty writes.

“Beethoven’s ‘Missa Solemnis’ is a grand mass for large orchestra, chorus and four vocal soloists that lasts around 80 minutes,” writes Times classical music critic Mark Swed in his review of Gustavo Dudamel and the L.A. Phil’s performance of the challenging piece. “It was written near the end of Beethoven’s life and is his most ambitious work musically and spiritually.” The concert at Disney Hall was part of Dudamel’s “month-long L.A. Phil focus on Beethoven.”

Urban Light at LACMA

(Deborah Vankin / Los Angeles Times)

The Los Angeles County Museum of Art announced that its partnership with Hyundai Motor Co. will continue until 2037. The union was first cemented in 2015, and the museum said in a news release that it “represents the largest programmatic commitment from a corporate partner in LACMA’s history.” The announcement included two initiatives “that will define the next chapter” of collaboration. “The first initiative is a new exhibition series under the title ‘Hyundai Project.’ Beginning in 2028, the museum will present a biennial survey of an artist with significant ties to Los Angeles and the Pan Pacific region. The featured artist will also develop a large-scale banner for the exhibition that will be installed on the exterior of the Broad Contemporary Art Museum (BCAM). Secondly, with Hyundai Motor’s renewed support, LACMA will expand the scope, visibility, and impact of the Art + Technology Lab,” the release noted.

Segerstrom Center for the Arts is celebrating its 40th anniversary season and has announced its 2026–27 Broadway season featuring 11 shows, six of which are Orange County premieres. The season kicks off with “Beauty and the Beast,” followed by “The Outsiders,” “Water for Elephants,” “Book of Mormon,” “Jersey Boys,” “The Who’s Tommy,” “Buena Vista Social Club,” “Waitress,” “The Great Gatsby,” “Maybe Happy Ending” and “Death Becomes Her.”

— Jessica Gelt

And last but not least

Olympic Gold-winning U.S. figure skater Alysa Liu is everybody’s favorite person these days. Now she has her own mural on Crenshaw Boulevard in Gardena.