step

Los Angeles Mayor Karen Bass said in an interview Monday that she does not want embattled mogul Casey Wasserman running the 2028 Summer Games.

Bass told CNN’s Dana Bass that it was “unfortunate” that the organizers of the Los Angeles Olympics are supporting Wasserman amid revelations that he exchanged flirty emails with convicted sex trafficker Ghislaine Maxwell two decades ago.

Bass initially declined to take a position on the drama surrounding Wasserman, saying two weeks ago that it was up to the board of the LA28 Olympics — the nonprofit behind the Games — to decide whether to keep him.

But Monday, Bass offered a new take on Wasserman’s fate.

“My opinion is that he should step down,” Bass said. “That’s not the opinion of the board.”

She said that “we need to look at the leadership” of LA28 and that her job is to make sure that the city is “completely prepared” for the Games.

Wasserman has previously apologized for his correspondence with Maxwell and expressed regret for having any association with both her and Jeffrey Epstein. The exchanges took place before Maxwell’s crimes became known and before she was sentenced to prison for luring teenage girls to be sexually abused by financier Epstein.

Wasserman announced last week that he would sell his sports and entertainment company because of backlash over the email exchanges.

The executive committee of the LA28 board announced Wednesday that it reviewed the mogul’s past conduct and determined that based on the facts and his “strong leadership” of the Games, he should continue to serve as chair of LA28.

The LA28 executive committee — a subset of its broader, 35-member board — said it took “allegations of misconduct seriously.”

Los Angeles Mayor Karen Bass, carrying the Olympic flag, LA28 chairman Casey Wasserman, front right, and Team USA Olympians skateboarder Tate Carew, second from left, diver Delaney Schnell, rear right, and volleyball player Micah Ma’a, top right, arrive in Los Angeles on Aug. 12, 2024.

(Damian Dovarganes / Associated Press)

It met Wednesday after hiring outside counsel O’Melveny & Myers LLP to assist reviewing Wasserman’s interactions with Epstein and Maxwell. Wasserman, it said, fully cooperated with the review.

L.A.’s Olympic leaders have yet to reveal who is on the committee. Bass’ office last week said her appointees on the executive committee include entertainment attorney Matt Johnson, real estate developer Jaime Lee and union leader Yvonne Wheeler.

At least 10 L.A.-area politicians, including a third of the 15-member Los Angeles City Council, have called on Wasserman to resign from leading the Olympics, with many arguing the exchanges are a distraction.

City Councilmember Nithya Raman, who is challenging Bass in the upcoming mayor’s race is among those calling for Wasserman to step away. Raman previously worked at a women’s rights organization formed in the aftermath of the #MeToo movement before becoming a council member.

Even before revelations about the emails, there were tensions between Wasserman and some Los Angeles politicians concerned that financial shortfalls in staging the $7-billion Summer Games will need to be covered by local taxpayers.

The relationship between the city and LA28 was further strained when the Daily Mail, a British tabloid, published allegations in 2024 that Wasserman was a “serial cheater” who’d carried on affairs with young female staff members. Wasserman, who separated from his wife, Laura, in 2021, has denied the allegations.

Former Mayor Eric Garcetti picked Wasserman, a close friend, more than a decade ago to run the Olympics.

They don’t make musicals like “Sweeney Todd: The Demon Barber of Fleet Street” anymore.

The ambition on display is awe-inspiring to an almost alarming degree. Consider the lyrical and orchestral complexity of Stephen Sondheim’s score, the way Hugh Wheeler’s book (from an adaptation by Christopher Bond) blends horror and comedy as if the two were natural bedmates and a production concept that views the material of a fiendish penny dreadful through a Brechtian lens.

Could the American theater ever again pull off such an outrageously brilliant musical experiment? Harold Prince’s 1979 Broadway premiere, starring Len Cariou and Angela Lansbury, seems like eons ago in terms of creative possibility.

This is the reason revivals, such as the solid one that opened Saturday at La Mirada Theatre for the Performing Arts under the direction of Jason Alexander, are so important. They remind us not only of the richness of our theatrical past but they also challenge our artists and producers to dream bigger in the future.

Will Swenson stars as “Sweeney Todd” at the La Mirada Theatre for the Performing Arts.

(Jason Niedle / TETHOS)

Alexander, the beloved “Seinfeld” star who made his Broadway debut in Sondheim and George Furth’s “Merrily We Roll Along” in 1981, knows a thing or two about American musicals, having served for a time as the artistic director of L.A.’s bygone Reprise Theatre Company. His direction has grown in sophistication and ease since he staged Sondheim and James Lapine’s “Sunday in the Park With George” for Reprise in 2007.

Alexander’s production of “Sweeney Todd” has breadth and heft, but also intimacy and lightness. The scenic design by Paul Tate dePOO III savors the show’s Grand Guignol flavors while leaving plenty of flexibility for antic comedy.

The barber chair, the locus of Sweeney’s revenge on the heartless cruelty of a Victorian London that wrecked his life, isn’t the elaborate contraption of other productions. His murder victims don’t fall down a chute after their throats are slit during their shave and a haircut. They have to be tilted into a dumpster that is moved into position, but Alexander makes the comic most of these clumsier stage mechanics.

Will Swenson, the accomplished Broadway actor, offers an unusually sympathetic yet never sentimentalized Sweeney. He understands that Sweeney is first and foremost a victim. The lust for vengeance eventually gets the better of him, but Swenson leads us step by step to depravity through sorrow, injustice and humiliation.

Andrew Polec, right, with the company of “Sweeney Todd” at the La Mirada Theatre for the Performing Arts.

(Jason Niedle / TETHOS)

He’s man-made rather than a natural monster. The same could be said of Lesli Margherita’s Mrs. Lovett, the proprietor of a filthy and failing Fleet Street pie shop, but it’s a shakier case. She’s the one who gets the bright idea of putting all those corpses Sweeney is intent on piling up into culinary use. Meat is in short supply, and the taboo of cannibalism is no deterrent to a woman who has taken to heart the jungle law of 19th-century British society: Eat or be eaten.

Swenson and Margherita are singing marvels, but Sweeney and Mrs. Lovett’s numbers set up Olympian challenges, vocally as well as lyrically. Their comically macabre Act 1 showstopper, “A Little Priest,” in which they gleefully imagine the variety of human pies, needs a little more time in the oven. Margherita, who played Mrs. Wormwood in “Matilda the Musical” on Broadway, is a deft clown. Swenson may be a step slower in this regard, but he plays it perfectly by accentuating the delight Sweeney takes in the merriment of Mrs. Lovett’s perverse rhyming game.

Swenson, who starred in the Broadway premiere of “A Beautiful Noise, the Neil Diamond Musical,” has a lush baritone. But Sweeney’s descent into an even lower range produces a sound that emerges from unimaginable depths. Finding the beauty in that hellish croak — something that Josh Groban was able to do in the last Broadway revival — can prove exceptionally difficult. It’s Swenson’s detailed character work as a singer that impresses most. His handling of “By the Sea,” the Act 2 duet with Margherita, forensically details Sweeney’s growing distaste for the conjugal fantasies of his partner in crime.

Allison Sheppard and Chris Hunter star in “Sweeney Todd: The Demon Barber of Fleet Street” at the La Mirada Theatre for the Performing Arts.

(Jason Niedle / TETHOS)

The romantic element of Sondheim’s score is best captured in the gorgeous singing of Chris Hunter’s Anthony Hope, whose crooning of “Johanna” provokes an epidemic of goosebumps throughout La Mirada Theatre. Allison Sheppard’s Johanna, Sweeney’s daughter under the lock and key of the wicked Judge Turpin (Norman Large), warbles as melodiously as the caged birds that mirror her plight.

Nicholas Mongiardo-Cooper’s Beadle Bamford, the judge’s henchman, has a malicious ebullience all his own. He’s not as unapologetically hammy as Andrew Polec’s Pirelli, the tonsorial con man who adopts a fake mustache and an even faker Italian accent, but he lends the musical a satiric gaiety.

Meghan Andrews’ Beggar Woman and Austyn Myers’ Tobias, giving voice to the downtrodden Dickensian masses, infuse the production with the charm of their singing. Myers makes the most of one of the musical’s most beloved numbers, “Not While I’m Around,” Tobias’ duet with Mrs. Lovett that both performers bring to poignant, demented life.

Austyn Myers, center, with the company of “Sweeney Todd: The Demon Barber of Fleet Street” at the La Mirada Theatre for the Performing Arts.

(Jason Niedle / TETHOS)

Alexander’s staging occasionally overdoes the comic exuberance. The ensemble-cum-chorus, burdened with overblown asylum imagery, is sometimes called upon to inject a circus-like atmosphere, complete with acrobatics. Lee Martino’s choreography, like the production as a whole, is at its best when observing decorous constraints.

If some of the more seductive colors of Sondheim’s score get lost in the acoustic shuffle, it may have more to do with the sound system than Darryl Archibald’s music direction. Unfortunately, the shattering beauty of the music is sometimes swallowed in the devilish din.

The stark visual panache of the production, however, is an impressive sight to behold. Jared A. Sayeg’s crepuscular lighting and Kate Bergh’s humanizing costumes lend contrast and texture to the world-building scenic design.

Hats off to this Southern California “Sweeney Todd” and to La Mirada Theatre for undertaking this Herculean feat. Sondheim and Wheeler’s haunted masterpiece doesn’t need perfection to live again.