tv production

More than two and a half years after she took office, Los Angeles Mayor Karen Bass has fulfilled a nagging campaign promise to film industry advocates.

She is appointing Board of Public Works president Steve Kang to serve as a liaison between city bureaucracy and the film industry, she said Wednesday. The mayor made the announcement while speaking to a private Zoom meeting of her entertainment industry council Wednesday afternoon, according to three attendees.

Kang will be the chief film liaison, assisted by Dan Halden — who serves as acting director of external relations at the city’s Bureau of Street Services (StreetsLA) — and producer Amy Goldberg.

The city’s film liaison role was established under former Mayor Eric Garcetti.

In the past, the liaison has served as the point person for film and TV productions looking to shoot in L.A., helping filmmakers navigate the city’s vast bureaucracy.

“I have full confidence that President Steve Kang will deliver in his role as City Film Liaison by finding solutions that protect our signature industry and ensure that local filming of TV shows, movies and commercials can successfully continue and expand,” Bass said in a statement. “With the successful expansion of the California Film & TV Tax Credit and our ongoing efforts to improve local processes, our work continues to keep production jobs here and support small businesses who rely on the industry.”

Bass’ decision not to prioritize the appointment of a film liaison had long frustrated industry advocates. Those concerns were sharpened at a moment when L.A.’s future as a film capital is in peril.

Amid a broader slump in overall film and TV production, the city has long been bleeding production jobs to states and countries that offer generous tax incentives, cheaper labor and more filming-friendly bureaucracies.

Most of those issues are outside the mayor’s control. But some industry advocates felt that naming a film liaison would be an easy move that could make shooting in L.A. a little less of a headache.

Since Bass took office in December 2022, those advocates have pressed the mayor’s office on the issue, with no clear answers about the delay.

“There’s been a clear sense of need, and frustration that it hasn’t happened,” said one industry advocate, who had been present during the mayor’s office’s regular meetings with representatives from film studios, labor groups and other industry interests.

Garcetti had several film liaisons during his administration.

Members of the industry often point to City Hall veteran Kevin James — who held the role for several years beginning in 2015 — as an ideal model, since he had deep City Hall experience, as well as ties to the industry. James served as film liaison while president of the Board of Public Works. The board governs the city’s Department of Public Works, which is responsible for StreetsLA, as well as the street lighting, sanitation and engineering departments.

The mayor’s office has had to navigate a historically difficult 2025, beginning with a catastrophic firestorm, followed by immigration raids and an unprecedented military presence in the city — all of which have necessitated 24/7 crisis responses from her office. But the frustrations over the lack of a named point person far predate the recent crises.

While signing an executive directive to support local film and TV production in May, Bass was asked about the position and said she planned to appoint someone within the next few days.

More than three months later, she finally did.

By day, he helps audience members find their seats. By night, he’s onstage, commanding them. For actor Tyrone Huntley, the hustle is part of the role in Los Angeles.

Less than 48 hours after raising his voice to the heavens as Simon in the Hollywood Bowl’s electric, weekend-only production of “Jesus Christ Superstar,” Huntley was back at the iconic amphitheater — not under the lights, but beneath them — wearing a white polo and usher’s badge, guiding concertgoers to their seats.

“It was surreal getting back to work and being on the other side of the stage,” Huntley said, overhearing people talk about the early August show days later. “They didn’t know who I was, so I was just listening and smiling and knowing that we certainly made an impression.” Even marketing staff at the Bowl noticed, posting him on TikTok in a clip seen by some 30,000 viewers so far.

Tyrone Huntley, center, performs as Simon in “Jesus Christ Superstar” at the Hollywood Bowl, alongside Cynthia Erivo as Jesus, left.

(Farah Sosa)

Huntley is one of many working actors caught between ambition and survival. As film and TV production in the region drops to historic lows, many industry workers have turned to service jobs or side gigs to stay in the entertainment capital. The region’s slowdown has been brutal: the twin strikes of 2023, studio belt-tightening, productions lured out of state and wildfires that shuttered work this year. The result is fewer auditions, shorter runs and a scramble for survival jobs — even for performers who’ve just taken center stage.

The U.K.-born actor knows both sides. Trained at Mountview Academy of Theatre Arts, Huntley leaped immediately into a U.K. tour of “Sister Act” — alongside his future co-star Erivo — spending more than a decade in London original casts such as “Memphis,” “Dreamgirls” and “The Book of Mormon.”

Coincidentally, his breakout role came in 2016 when he landed the co-lead as Judas in “Jesus Christ Superstar” at Regent’s Park Open Air Theatre. The performance earned him an Evening Standard Theatre Award and a Laurence Olivier Award nomination. “It gave me the confidence to think big,” Huntley said. He later reprised Judas on the North American tour in 2021 after the previous lead was arrested for his role in the Jan. 6 insurrection at the Capitol.

Huntley moved to Los Angeles in 2022 with an eye on the silver screen but found himself arriving in a city still wobbling. “Artistically, it just feels like everyone is struggling,” he said. For the last three years, Huntley’s flown back and forth to London — most recently for an acclaimed “Hello, Dolly!” revival with Imelda Staunton — using steady West End paychecks to bankroll life in L.A. And being a member of Actors’ Equity Assn., the stage actors’ union in the U.S., helps cover health insurance costs here, not a consideration he may have in the U.K. where coverage is free.

Tyrone Huntley stands in his usher uniform in front of the stage where just a few weeks earlier he played Simon alongside Cynthia Erivo’s Jesus in “Jesus Christ Superstar.”

(Jason Armond / Los Angeles Times)

For actors like Huntley, the financial backdrop is hard to ignore. California nearly scrapped its new Performing Arts Equitable Payroll Fund, which subsidizes nonprofit programs, this year before lawmakers restored it. L.A. County trimmed back its arts grants, forcing small theaters to do more with less. And in Washington, the Trump administration has moved to roll back federal arts funding, leaving some local companies without crucial National Endowment for the Arts support.

Determined to stay in L.A., Huntley auditioned for the Bowl’s “Jesus Christ Superstar” 2025 production, this time as Simon Zealotes, the fiery apostle with one of the show’s most rousing anthems. The casting was headline-making: Erivo, fresh off “Wicked,” as Jesus, and Adam Lambert as Judas. The production was hailed as “the musical theater version of the Avengers,” with theater critic Charles McNulty praising the supernova of talent that lit up the Bowl like a rock concert.

A few months before opening night, Huntley picked up usher shifts at the same venue. The Bowl granted him three weeks off for rehearsals in July, where he also understudied as Erivo’s Jesus. He also got time off to fly back across the pond for a series regular spot on Channel 4’s upcoming “A Woman of Substance.” He described working at the Bowl as fair, easygoing work that keeps him close to live performance, with the added perk of watching Bob Dylan, Earth, Wind & Fire, and the L.A. Phil. “They know a lot of us are working actors, musicians, writers, so they’re very flexible in giving us time to pursue our careers,” he said.

One highlight of working as an usher is that Tyrone Huntley gets to see acts like Herbie Hancock perform at the Hollywood Bowl.

(Jason Armond / Los Angeles Times)

At the Bowl, ushers perform the invisible choreography that keeps the night in motion — steering picnic baskets and seat cushions toward the right rows and soothing the occasional ticket snafus or crises. It’s common for the ushering job to be summer gigs — or even first jobs. There are anywhere from 300 to 400 ushers for the season, with more than 100 working per night.

Huntley sees his dual roles as emblematic of the life of an artist here. “I have to support myself, that’s the case for most of us, especially in L.A.,” he said. “Sometimes you can have a proper job and do the acting as well. It’s not all showbiz parties and award shows. Sometimes incredible opportunities come along, you do them, and then you get back to normal. You can do both — and the pressure isn’t always to be on the stage.”