pit

For two thirds of Sunday’s Acura Long Beach Grand Prix, Alex Palou bided his time… waiting for the one break he needed.

It came in the form of a caution on the 58th lap, allowing him to overtake front-runner Felix Rosenqvist exiting pit lane and hold the lead the rest of the way, taking the checkered flag by 3.96 seconds for his third triumph in five IndyCar Series races this season and his first at Long Beach.

Right after being showered with applause and confetti at victory lane, the 29-year-old Spaniard thanked his crew, whose quick work on the last pit stop proved to be the difference.

“Everyone was coming in on that yellow and they did an incredible job,” he said. “We were either going to win it or not win right there.”

Rosenqvist settled for second and Scott Dixon, Palou’s Chip Ganassi Racing teammate, was third.

It was the 11th win over the last 22 races dating back to 2024 for the Barcelona native and the 22nd win of his career, tying him with Tony Bettenhausen and Emerson Fittipaldi. It also vaulted him to the top of the Series standings as he chases his fourth Series championship in a row and fifth overall. Palou won the opener March 1 in St. Petersburg (also a street course) and the fourth race March 29 in Alabama.

Palou led for only 32 of the 90 laps Sunday and acknowledged it would have been difficult to catch Enqvist if not for the stoppage.

“I wasn’t giving up but it would’ve been tough to get him today,” Palou admitted. “He was already three seconds ahead. I was happy with my car but I was struggling more on the soft tires than the hards so I’d say my chances were low. The feeling was great seeing all the open space coming out of pit lane because when you spend 60 laps behind a car it disturbs you. I tried to match him on soft tires but it wasn’t working.”

Alex Palou speeds through a curve of the track.

(Ronaldo Bolaños / Los Angeles Times)

In six starts at Long Beach, Palou has never finished lower than fifth.

There is little room to maneuver on the 1.968-mile course with 11 tight turns, but after starting in the third position next to defending champion Kyle Kirkwood, Palou managed to sneak past Pato O’Ward into second place heading into the first turn on Lap 2.

“Making that move on the straightaway was big because I knew it was one of our only chances to get a pass on Pato,” Palou said. “I got that good run on that last corner and he didn’t expect it.”

This year marked the 51st edition of the longest-running major street race in North America, which started in 1975 as part of the Formula 5000 Series, switched to the CART/Champ Car World Series in 1984 and joined the IndyCar Series in 2009.

The top four qualifiers started on softer, high-grip “alternate” tires to establish position while the rest of the grid started on harder, more durable “primaries” to manage degradation on the 110-degree track surface. Of the 25 starters, 24 completed the 177.12 miles.

“We were going to make the two-stop strategy work but didn’t know if it would be doable or not,” Palou added. “As soon as I saw I couldn’t get Felix it was all about patience, fuel and waiting for the right time. I owe this win to my team. Without that pit stop I probably wouldn’t be sitting here now. It only takes one mistake to go from second to seventh but they’re great under pressure.”

Cars make their way down a straightaway during Long Beach Grand Prix.

(Ronaldo Bolaños / Los Angeles Times)

Past winners Will Power and Josef Newgarden moved into the top two positions after Rosenqvist pitted but the Swede regained the lead when Newgarden pitted for the first time on Lap 37 and dropped back to 14th.

The first 45 laps were caution-free as Rosenqvist, Palou, Kirkwood, David Malukas and O’Ward held the top five spots. Newgarden fell out of contention when a flat spot on his left front tire dropped him back to 14th.

Rosenqvist’s three-second lead was erased when debris on the track exiting the Aquarium Fountain drew the only yellow flag all afternoon and narrowed the gap. Capitalizing on favorable pit position, Palou emerged from the lane just ahead of Rosenqvist.

After earning the pole position with a lap time of 1 minute, 7.4625 seconds in qualifying, the runner-up had mixed emotions after leading for 51 laps with no win to show for it.

“You want to win when you have an opportunity but I’m proud of today,” Rosenqvist said. “We weren’t as good as Alex on the blacks… the last pit cycle was the defining moment. We had to come around 14, he had more of an opening and his crew nailed it. That happens.”

Kirkwood, who was vying for his third win in four years, finished right where he started in fourth.

“I had a good cushion and figured even with a bad stop I’d probably stay ahead but I knew there’d probably be a yellow at some point and there it came,” Rosenqvist lamented. “Considering Alex had primary [tires] also I think we would’ve been able to hold him off. It’s definitely disappointing when you can’t wrap it up.”

Dixon, who started in the position, earned his first podium this season and the 136th of his career.

Fans watch with two laps left in the race.

(Ronaldo Bolaños / Los Angeles Times)

“The race itself was a bit blah — I sat in the same position for most of it,” Dixon said. “Luckily for us we had it easy out of that last stop.”

Al Unser Jr. holds the record for most wins at Long Beach, chalking up six in eight years, including an unmatched four in a row from 1988 to 1991.

Tom Sargent is becoming a fan of street circuits after two wins this weekend. Driving the Porsche 911 Cup for GMG Racing in the Mobil Pro Class, the 22-year-old Australian led from start to finish in Race 1 of the Carrera Cup North America on Saturday. In Race 2 on Sunday morning, he again started from the pole and claimed a 0.965-second victory over Aaron Jeansonne to complete the double.

In his last bid at Long Beach three years ago, he hit the wall on Lap 2 but still finished second.

“Momentum in sports is critical and the past few weeks have been really cool for me,” Sargent said. “I didn’t do any street circuit racing before I came to the States. Maybe it fits my driving style.”

I am blindfolded and seated in a vintage armchair set in the center of a darkened, red-lit room with Gothic accents. An actor is performing nearby. I hear their voice, but cannot, of course, see them. I suddenly spring upward in my seat, alarmed at the touch of some sort of cloth — or perhaps a feather? — across my ankles.

I’ll never be entirely sure. For wearing the small veil across my eyes was a requirement to participate in “Poe: Pulse & Pendulum,” the debut offering from new troupe Theatre Obscura L.A. The company’s initial performance contains two one-act plays, modern interpretations of Edgar Allan Poe’s “The Pit and the Pendulum” and “The Tell-Tale Heart.”

While the stories are familiar to many, Theatre Obscura increases the levels of discomfort. In this room, I am at times unsettled, at once tracking the movements of the actors while attempting to remain hyper aware of any sudden touch or scent. “The Pit and the Pendulum,” the first half of the program, translates especially well to this setting, its dark sense of demented confinement keeping my nerves on high alert.

Conjuring such a state of anxiety was the point.

“If you take the visual away, it’s going to make you feel uneasy,” says Paul Millet, who devised the concept.

There are jump scares. Downtown event space the Count’s Den has been outfitted with about 50 speakers for the Obscura shows, which run through April 12. Some are visible before one puts on the blindfold. Many, though, are hidden under seats or couches, as the audio will trail the actors around the room, or perhaps a sudden crash or door opening will have me jolting my attention elsewhere.

“The Pit and the Pendulum” is a story of torture, and as the narrator, here played by Melissa Lugo, desperately speaks of a blade swinging above, actors will fan us, timing their waves with each swoosh of the audio. I was prepared for that one, as a fellow theatergoer nearby let out a soft yelp when the unseen gestures first arrived above their head.

For many, sight is the most coveted sense. “If you take that away, you’re already naturally uncomfortable,” Millet says. “So we lean into that. We know you’re going to be uncomfortable. We know this is not the norm. But get on that ride with us. Be willing to be uncomfortable. Discomfort, I think, helps to heighten the experience, and ideally allow it to trigger the emotional reactions that the story does.”

“Poe: Pulse & Pendulum” is two one-act, audio-focused performances of Edgar Allan Poe stories.

(Joe Camareno / Theatre Obscura)

Still, touch is limited in the show. Occasionally a rattling of a chair, but little more. The fluttering I felt near my ankles was to mimic the sensation of a running critter. The troupe will ask for audience consent, and participants can opt out. While I went in wondering if “Poe: Pulse & Pendulum” would seek to recall more extreme haunt experiences with lengthy waivers, Millet wanted to keep it light — an audio play, primarily, with just a few in-the-flesh signals.

“We want people to feel unease, but I don’t want anyone taken out of the story because a boundary or line was crossed,” Millet says.

Scent, too, is used with restraint. There are moments when guests will get a whiff of a fragrance that pairs with the storyline. Millet considers the first run of Theatre Obscure to be an experiment in how much touch and scent audiences may want to endure. Smell, he says, is tricky, as the aroma may linger and become a distraction.

Millet has been honing the concept since 2023. Previously, he was part of the team behind Wicked Lit, which ended in 2019 after running for a number of years at unique locations such as Altadena’s Mountain View Mausoleum. Those immersive performances would feature casts and guests walking the venue. Theatre Obscura, however, is fully seated.

“Poe: Pulse & Pendulum” focuses on the fear that something may happen to us when stripped of sight.

(Joe Camareno / Theatre Obscura)

And while the stories of Poe lend themselves to the Halloween season, spooky events increasingly occur year round. Long-running production “The Willows” is set to wrap in early April, and “Monster Party,” a period piece that takes guests to a devilishly extravagant cocktail party, is re-launching in mid-April. Millet, a longtime theater producer who has a day job in television editing, is hoping to stand out by avoiding “the glut” of horror events that occur each September and October.

Theatre Obscura may face challenges, namely persuading potential guests that “The Pit and the Pendulum” is more than simply a live reading with audio effects.

“You can feel the movement of the characters around you,” Millet says. “You’re in the environment with the story as it unfolds. You can experience it on a more visceral level.”

Blindfolded, I felt Theatre Obscura was mostly playing off our fears rather than giving in to them, largely keying in on our anticipation that something may happen to us when stripped of sight. Lugo in much of “The Pit and the Pendulum” circles guests, who are seated sporadically around the room, allowing each of us to imagine how close or far we may be from the hole we are told is at its center. Each show deals with claustrophobia in some way, either of a space, or of a mind.

“The Tell-Tale Heart” is louder, more crowded. The sounds of crashing glass and creaky floorboards had my head working overtime to draw a floorplan, only to then have it distorted when actors would unexpectedly whisper in both of my ears to bring forth the protagonist’s nightmares. While I expected Theatre Obscura to be slightly more aggressive in its uses of touch and scent, it’s a show that asks us to live in our heads, and to sit in our own feeling of trepidation.

“I was intrigued,” Millet says, “with really trying to engage the audience’s imagination.”

KIP with the kids in a two-bedroom lodge at The Mole Resort or try the boujee airport hotel alternative of a grand Italianate mansion.

In search of the perfect pit stop, Lifestyle Editor Catherine Bennion-Pedley found out all that both had to offer.

The Mole Resort

As I slam on the car brakes, my kids Poppy, seven, and Raffy, four, shout: “Woah!” In the middle of the road is a local walking her dog – which happens to be the size of a small pony.

Yep, it’s safe to say rural Devon is proving to be an eye-opener for us all.

We’re kipping at The Mole Resort, a country-house hotel that had a spruce-up a couple of years ago, set in 125 acres of rolling countryside.

Our two-bedroom, two-bathroom lodge in the grounds comes with floor-to-ceiling views of a verdant meadow and a hot tub, which proves particularly restorative after the long drive.

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Another huge win is the raft of activities on site – from pickleball to pétanque, disc golf to axe-throwing, and archery to pottery painting.

Talking of which, the kids adore painting egg cups, £14 each, and are thrilled to pick up their newly glazed souvenirs the next morning.

There’s also a restaurant, games room and health club with a pool – though this has seen better days.

The village it sits in, Chittlehamholt, is also home to excellent 16th-century pub The Exeter Inn.

Owners Hazel and Steve welcome visitors like family, as does their gorgeous cockapoo Frankie.

Flavour-packed dishes like Peking duck bon bons with hoisin, £9.50, and beef and ale pie topped with stilton, £17, are spot-on.

As are the proper puds – pick spiced sticky toffee, £8.50, for the win.

With more than 80 gins and local ales aplenty, you won’t go thirsty, either (Exeterinn.co.uk).

Just 20 minutes’ drive away is another absolute gem – Quince Honey Farm, which brings joy even on the drizzliest day.

Here, we roll our own beeswax candles, forage for wildflower seeds and taste five varieties of the golden stuff – the dandelion honey is crowned our fave.

Entry per adult and child over five costs £10.80 (Quincehoneyfarm. co.uk).

Leaving armed with brilliant bee facts, we all agree this pretty nook of Devon makes for a super stop-off en route to a beach break.

Stays in a two-bedroom lodge at The Mole Resort cost from £120 per night (Themoleresort.co.uk).

Down Hall Hotel

I’m not a huge fan of airport hotels, which is why the boujee alternative of a grand Italianate mansion in the Essex countryside instantly appeals.

Less than 20 minutes’ drive from London Stansted, its rural setting will help you to properly relax before take-off.

A giant chessboard, tennis courts and a mini football pitch in the expansive grounds keep the whole gang entertained.

Meanwhile, the newly opened Barn Spa offers mini-me treatments, including head and scalp massages, from £25 per child, and the recently refurbed family rooms come with a Nintendo Switch, so the kids are more than alright.

Tuck into dinner treats, such as crab with apple gel, cucumber and nasturtiums, £16.50, followed by venison loin with a dark-chocolate jus, £41, at The Garden Room, which holds two AA Rosettes.

And it would be rude not to try the moreish house cocktail – a Down Hall Bramble, made with the hotel’s own garden gin, £15.

When in Rome (or Essex) and all that. . .

Family rooms at Down Hall Hotel cost from £212 per night (Downhall.co.uk).