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Coronation street fans think they have worked out who killed Theo Silverton after telling scenes aired on Friday night’s episode of the world’s long-running TV soap

Coronation street fans think they have worked out who killed Theo Silverton. The scaffolder, who was played by former Tracy Beaker star James Cartwright, was found dead at the end of the ITV soap’s much-hyped murder week.

When Theo was introduced, he was married to Danielle Silverton (Natalie Anderson) but he began an affair with Todd Grimshaw and, once he had split from his wife, they began an official relationship but it quickly turned sour.

For almost a year, Theo terrorised Todd with bizarre forms of abuse, both mental and physical, and caused the death of his best friend Billy (Daniel Brocklebank) in the crossover with Emmerdale.

Still coming to terms with the loss of Theo, on Friday’s episode of the world’s longest-running TV soap, Todd was surprised to see Danielle turn up at his flat amid the murder investigations, where she revealed more about her past with Theo. He said: “The police have already interviewed me. I had nothing to do with Theo’s death.”

But Danielle wasn’t convinced, and she shot back: “If he hadn’t met you, he’d still be alive. My kids would still have a dad! Maybe you got cold feet, thought it was easier if he was dead.”

It was then that Danielle started to say more about what she had been through. She said: “Since he’s been gone, I’ve been thinking back over our relationship. What kind of man he was. It’s what made me wonder if you’d snapped. Killed him.

“He was a good dad… especially when the kids were little. I knew he had a short fuse. God, sometimes we’d go at it like hammer and tongs.” When Todd claimed he “gave Theo power,” Danielle pushed back as she said: “No. Theo took power. He had all the power in our relationship, too. He just… didn’t abuse it.

“Though, actually, he did make all the decisions about everything. Where we lived, how we lived, how we parented. Every time we argued, I gave in. Because, secretly, I was afraid of him. I mean, he never hurt me or the kids, and I didn’t want to believe he was a bad man. But I knew how controlling he was.”

Danielle is an official suspect along with Todd, his father figure George Shuttleworth, his daughter Summer Spellman, and Theo’s former colleague Gary Windass, as revealed by bosses of the soap earlier this week. But fans think that they might have sussed it after Danielle’s sudden appearance.

One fan wrote on X: “Oh wow, I wasn’t expecting Danielle to say that. Was it Danielle?” whilst another said: “Go on, admit it Danielle.” A third suspected that the way in which Danielle had instantly accused Todd meant that she was the guilty one.

They wrote: “That scene where she turned up to the flat was very interesting because she instantly interrogated Todd, almost like she was deflecting or bluffing. That’s what made me think she killed him.”

Coronation Street airs Monday to Friday at 8:30pm on ITV1 and is available to stream from 7am on ITV X.

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Trevor Bauer wants to pitch in the majors again — so much so that he’s willing to start over in the lowest levels of the minor leagues and work his way up.

And he’s willing to do it without being paid.

That’s the hypothetical Bauer proposed Friday on X: A talented former Cy Young Award winner signs a minor league deal with an MLB team for a “$0 salary” and can be cut at any time at no financial risk to the organization.

Since his last MLB start on June 28, 2021, as a member of the Dodgers with a $102-million, three-year contract, Bauer has been accused of sexual assault by four women. He served a 194-game suspension for violating the league’s sexual assault and domestic violence policy. He has denied all the allegations and has never been charged with a crime.

While some might think signing Bauer might be a risky move for an MLB organization, Bauer feels his plan is foolproof in that regard.

“Hypothetical: You’re the owner of an MLB team,” Bauer wrote. “I offer to take $0 salary and sign a minor league contract and go to Low A. If the ‘he sucks now’ crowd is right and I get lit up, you cut me, lose $0 and there’s no risk to the big league club.

“If the ‘clubhouse cancer’ crowd is right, you see it immediately at Low A and cut me. You lose $0 and there’s no risk to the big league club. If there’s massive negative PR, which we already know there won’t be, you just cut me and move on. The story is dead in a couple days, you lose $0, and there’s no risk to the big league club.”

In the comments on Bauer’s post, someone challenged him on the notion that “we already know there won’t be” any negative PR if he is signed. In response, Bauer pointed to his current stint with the Long Island Ducks of the independent Atlantic League to support his argument.

“Where has the negative PR been?” wrote Bauer, who is 3-1 this season and pitched a no-hitter for the Ducks late last month. “I’m playing in America. In New York of all places. Most ‘hostile’ media market in the United States. Stadiums are sold out when I pitch. There’s no boycotts. No media frenzy. Where is it?”

Bauer wrote in his proposal that if none of the negatives he laid out earlier happen, then the organization can promote their cost-free pitcher through the ranks, re-evaluating him every step of the way, until he reaches the big leagues — “if I earn it,” he wrote, “which you’d be 100% in control of deciding.”

“If you don’t think I’m good enough, you lose $0 and there’s no risk to the big league club,” Bauer wrote. “You could take away my ‘antics’. You could take away my social media. You could ask anything of me. If I don’t comply, you cut me, lose $0, and there’s no risk to the big league club.”

One X user asked why Bauer doesn’t just take away his “antics” on his own.

“Because no teams actually care about that,” Bauer responded. “They enjoy the content. And I’m not going to rob baseball fans of great baseball entertainment just to solve a problem that only exists in the minds of x bots.”

Informed that the MLB Players Assn. might have an issue with him playing for free, Bauer replied, “Who gives a crap about what mlbpa does or doesn’t want?”

This isn’t the first time Bauer has made what he considers to be a low-risk proposal for an organization to bring him back into the league. In 2024, Bauer spoke with The Times’ Bill Shaikin about an offer he made to play for the league minimum.

“The reason for that was, I want to go back to work, and I am trying to find any way that I possibly can to limit the risk and exposure for a team,” Bauer said. “I realize there are a lot of other things, outside of the on-field stuff, that go into whether to sign me. So I figured that, if I could limit the on-field risk as much as possible, perhaps that offsets some of the other perceived risks.”

It remains to be seen whether any club is willing to take up Bauer on his current offer.

“What logical reason is there to not do this?” Bauer wrote. “At worst, you cut me and there’s no risk to the big league club. At best, you get a Cy Young winner for $0 who you know can still pitch and could help the big league team if and when you see fit.”

Former Miami Marlins president David Samson weighed in on Bauer’s proposal in a post on X.

“This will never happen,” Samson wrote. “First of all, no team wants to sign him. Secondly, no player is allowed to play for $0. And finally, no team wants to sign him.”

An Amazon MGM Studios executive allegedly solicited kickbacks from an aspiring vendor in exchange for post-production contract awards on shows, according to a recently filed lawsuit.

Joe Eckardt, owner and president of Hollywood-based postproduction services firm Unbreakable Post, alleged that the studio’s head of postproduction, Frank Salinas, told him during a business lunch in 2023 that Salinas could “ensure” Unbreakable Post would be included as an approved vendor to bid on Amazon-affiliated projects.

Salinas would give Eckardt the target budget number for his company’s bid and “effectively guarantee that Unbreakable would be awarded the work,” the lawsuit states.

After the contract was awarded, Eckardt would then pay Salinas a percentage of the project value as a kickback, the lawsuit says.

After Eckardt refused, he alleges that his contract opportunities with Amazon dried up.

He states in the lawsuit that although he had done “substantial” work, served as a postproduction consultant or selected vendor on shows such as the Mexico, Brazil and Argentina productions of the reality series “Temptation Island” and the third season of documentary series “Coach Prime,” he was not selected by Amazon for a contract with those projects.

In 2025, Eckardt alleges that he reported Salinas’ conduct to Amazon and after six months of information gathering, the company told him that “its investigation had concluded and that the allegations were ‘not substantiated.’”

Amazon MGM Studios did not respond to a request for comment. Salinas declined to comment.

Eckardt’s lawsuit was filed Wednesday in Los Angeles County Superior Court. He alleges that he lost more than $1 million in contracts, income and future business opportunities. He is seeking a jury trial.

This time last year, Swansea had built significant momentum under former boss Alan Sheehan, who had inspired an upturn in form to ward off relegation concerns after the Luke Williams era ended on the back of a worrying slump.

In the previous campaign, Williams was the man who masterminded the turnaround in fortunes after Michael Duff’s forgettable stint in charge.

Matos’ challenge is to change the record at Swansea, who will begin 2026-27 with an eye on the play-offs, as was the case at the start of the season which ended with Saturday’s win over Charlton Athletic.

There is likely to be a little more expectation next time around given that the teams finishing seventh and eighth will secure play-off places in a year’s time.

Yet it is worth remembering that aside from their two play-off campaigns under Steve Cooper – when parachute payments still offered a helping hand – the best finish Swansea have managed since dropping out of the top flight is 10th, first Graham Potter in 2019 and then Russell Martin three years ago.

Matos’ team finished 11th, just as Sheehan’s side did last year, although Swansea had three more points this time around.

Ultimately, they were nine points short of Hull City, who claimed the last of this season’s play-off places, and five adrift of Derby County, who ended in eighth.

LOUISVILLE, Ky. — Before Cherie DeVaux won a Breeders’ Cup race, before one of her horses won an Eclipse Award, before she became the answer to a Siri question — “Who was the first female trainer to win the Kentucky Derby?” — she faced the same problem as every new trainer.

She needed horses.

Fortunately for her, this was 2018 and she had just married David Ingordo, a leading bloodstock agent. Surely he’d bring her some top horses and DeVaux would be on her way.

Except … it took DeVaux 11 months to win her first race.

Cherie DeVaux, trainer of Kentucky Derby winner Golden Tempo, celebrates with her husband, David Ingordo, on Saturday at Churchill Downs in Louisville, Ky.

(Andy Lyons / Getty Images)

“That was 100% my fault,” Ingordo said. “We gathered up some horses of our own; we were totally self-funded. And the collection of horses I gathered up were yaks and llamas and sheep. They weren’t related to the equine species.

“I told her, ‘You should have divorced me for the effing horses I put in there.’”

Ingordo was telling this story Sunday, standing in the morning chill outside Barn 37 at Churchill Downs, where dozens of cameras and a few reporters were there to record every word his wife had to say, 12 hours after she made history.

“Good thing I don’t have social anxiety,” DeVaux quipped as she stepped in front of the throng.

She reported Golden Tempo, munching on some hay in his stall maybe 50 feet behind her, was doing well, two hours before he took a 70-mile van ride to DeVaux’s base at Keeneland. A decision on whether he will continue east next week to Laurel Park, temporary home of the May 16 Preakness, won’t be made for several days.

DeVaux said she celebrated with family late Saturday night, eventually getting to sleep at 1:30 a.m. and allowing herself to “sleep in a bit,” not rising until a whole four hours later. There were more than 800 text messages on her phone and she was thinking about what she was going to pack for a flight to New York, where she’s scheduled to appear at 7:30 a.m. Monday on NBC’s “Today.”

“I don’t know if the enormity of this has sunk in yet,” she said.

But DeVaux, 44, has never forgotten where she came from. She grew up in Saratoga Springs, N.Y., which is known for thoroughbred racing, but her family was involved in harness racing and she never wanted to be a trainer anyway. She was in college when most of her family moved to Florida, and she stayed behind to finish school. She needed a job to help pay tuition, and her mom told her there was a racetrack across the street “and all you have to do is walk the horses.”

Cherie DeVaux, trainer of Kentucky Derby winner Golden Tempo, is surrounded by media in the winner’s circle Saturday in Louisville, Ky.

(Michael Reaves / Getty Images)

DeVaux’s plan was to go to medical school, but when an advisor said she had to take a class in organic chemistry, “I just looked at her and said: ‘No, I’m going to go work on the racetrack.’ She’s like: ‘Are you sure?’ and I was like, ‘I’m just going to see how it works.’”

Her first job was with Chuck Simon, who had worked for her father. She was 22 when she showed up at Churchill Downs.

“I was a wild child,” DeVaux said Saturday night. “Chuck saw I was going the wrong way and took me under his wing and made me be an assistant trainer, begrudgingly, because I was really enjoying the party life. But he kind of wrangled me in.

“He would be so proud. I am here because of him. Because he pushed me. He pushed my boundaries. He gave me direction when I needed it. And he was always proud of me. But I just think this definitely would have put him over the top.”

Holding one of the roses that came with Golden Tempo’s victory, she added, “And I can’t wait to drop one of these off at our old barn here.”

She did just that Saturday night before leaving the track.

Cherie DeVaux, trainer of Golden Tempo, looks on during morning workouts ahead of the Kentucky Derby on April 27 at Churchill Downs in Louisville, Ky.

(Michael Reaves / Getty Images)

“It was really emotional,” she said Sunday of her stop at Barn 14. “You know, you walk up, and all the memories flood back of being there, and … it’s an honor to get to be able to do something, you know? It’s just a rose, but it meant a lot. That was where I first unloaded my car, and I thought, ‘OK, let’s do this.’”

DeVaux then worked several years for Chad Brown before making the decision to go out on her own. She said Ingordo told her to give it three years and if it didn’t work, she could do something else.

But Ingordo, who has been working in racing since he was 15, spending time with trainers such as Bobby Frankel and Bruce Headley and later his stepfather, John Shirreffs, said he knew it would work.

“I always say that talent and class are evident in horses and people very quickly,” Ingordo said. “And, you know, I’d watch Cherie and see her, and I knew her from her previous job. And I could watch … the one trainer’s name might have been on the headlines, but I saw who was doing the work. And I told her, ‘You’re too talented to be an assistant. And it’d be a waste if you don’t try it.’”

It did work. Slowly at first, but business picked up and DeVaux started winning bigger races. Her breakthrough came in 2023 when she had the likes of More Than Looks, Vahva and She Feels Pretty. The latter provided her first Grade 1 win in the 2023 Natalma at Woodbine, and the next year all three of those horses captured Grade 1 races, including More Than Looks in the Breeders’ Cup Mile at Del Mar. Last year, She Feels Pretty won two more Grade 1s and was voted the Eclipse Award as top female turf horse.

She has a life away from the track as well, as much as any trainer can have. Ingordo has full custody of a 15-year-old daughter from a previous marriage, and he said, “Meeting Cherie was not only good for me, it’s been great for my daughter.”

As for making history, Ingordo said it wasn’t anything they talked about, and DeVaux “doesn’t sit there and go, ‘I’m a woman, hear me roar.’

“But at the same time,” he said, “she’s very cognizant of the fact this is a very male-dominated business throughout history. It’s probably a little chauvinist at times, if not more.

“And for her to do this. … You know, she’s not a one-hit wonder. The top 25 should be her domain, somewhere in there, for a long time.”

MIAMI — A former Miami congressman and longtime friend of U.S. Secretary of State Marco Rubio was convicted Friday in connection with a secret $50-million lobbying campaign on behalf of Venezuela during the first Trump administration.

Jurors found Republican David Rivera and an associate, Esther Nuhfer, guilty on all counts, including failing to register as a foreign agent with the Justice Department and conspiracy to commit money laundering as part of their work for former President Nicolás Maduro’s government.

The seven-week trial offered a rare glimpse into Miami’s role as a crossroads for foreign influence campaigns aimed at shaping U.S. policy toward Latin America, one highlighting the city’s reputation as a magnet for corruption and anti-Communist crusaders among its sizable exile population.

It included testimony from Rubio, Texas Congressman Pete Sessions and a top Washington lobbyist — all of whom testified that they were shocked to learn belatedly of Rivera’s consulting contract with a U.S.-based affiliate of Venezuela’s state oil company, PDVSA.

In an 11-count indictment unsealed in 2022, prosecutors alleged that Rivera was tapped by then Foreign Minister Delcy Rodríguez — now Venezuela’s acting president — to work Republican connections from Rivera’s time in Congress to get the first Trump administration to abandon its hard-line stance and ease crippling sanctions on Venezuela.

As part of the charm offensive, prosecutors alleged, Rivera and Nuhfer, a political consultant, manipulated influential friends, including Rubio and Sessions, like “pawns on a chess board.” The goal: to try to normalize relations with the new Trump administration at a time when the Maduro government was buffeted by serious accusations of human rights violations.

“As long as the money kept coming in, they didn’t care from where,” prosecutor Roger Cruz said of the defendants during closing arguments.

‘Massive secret’ threatened to damage Rivera’s political career

But the two held onto the “massive secret” and didn’t disclose their lobbying work as required, for fear it would have ended Rivera’s political career as an anti-Communist stalwart, Cruz said.

To hide his work, prosecutors allege, Rivera also set up an encrypted chat group called MIA — for Miami — with his main conduit to the Maduro government: Venezuelan media tycoon Raúl Gorrín, who was subsequently charged in the U.S. with bribing top Venezuelan officials.

Members of the group used playful code words to discuss their activities: Maduro was the “bus driver,” Sessions “Sombrero,” Rodríguez “The Lady in Red,” and millions of dollars “melons,” according to copies of text messages presented to the jury.

“It was all about la Luz,” Cruz said, referring to the Spanish word for light, which Rivera and others repeatedly used to discuss payments from Caracas.

Attorneys for Rivera and Nuhfer said the two acted in good faith and believed they were under no requirement to disclose their work. The three-month, $50-million contract with Rivera’s one-man consulting firm, they say, was focused exclusively on luring oil giant ExxonMobil back to Venezuela — commercial work that is generally exempt from the Foreign Agents Registration Act.

Wholly distinct from that consulting work, they say, were Rivera’s meetings with Rubio and Sessions, which occurred after the consulting contract had expired and was focused on ushering in leadership in Venezuela that would be less hostile to the U.S.

“He was working every possible angle to get Nicolás Maduro out,” defense attorney Ed Shohat said during closing arguments. “There was not a word in the chats about normalizing relations.”

Nuhfer’s attorney, David Oscar Markus, likened the government’s case to the 17th century Salem witch trials, presuming ill intent that was belied by the flimsiest of evidence.

“My client does not have a dark heart,” he said.

Exxon meetings for Rodríguez

Prosecutors said Rivera used the contract with New York-based PDV USA as cover for illegal lobbying.

Once exposed, the partners tried to hide the work — backdating documents and coming up with sham agreements like one to justify a wire transfer of $3.75 million to a South Florida company that maintained Gorrín’s luxury yacht.

The political activity included setting up meetings for Rodríguez in New York, Caracas, Washington and Dallas. As part of the effort, the two roped in Sessions, who later tried to broker a meeting for Rodríguez with the CEO of ExxonMobil that had succeeded Trump’s then-secretary of State, Rex Tillerson. After a secret meeting in Caracas with Maduro, Sessions also agreed to deliver a letter from the Venezuelan president to Trump.

The outreach quickly unraveled, however. Within six months of taking office, Trump sanctioned Maduro and labeled him a “dictator,” launching a “maximum pressure” campaign to unseat the president.

However, nearly a decade later, Rodríguez has emerged as the second Trump administration’s trusted partner after the U.S. military’s ousting of Maduro.

Before being elected to Congress in 2010, Rivera was a high-ranking Florida legislator. During that time, he shared a Tallahassee home with Rubio, who eventually became the Florida House speaker.

Rivera has previously faced controversy, including allegations that he secretly funded a Democratic spoiler candidate in a 2012 congressional race. Last year, federal prosecutors dropped the case after an appeals court threw out a sizable fine imposed by a lower court. Rivera was also investigated — but never charged — for alleged campaign finance violations and a $1-million contract with a gambling company while serving in the Florida legislature.

Goodman writes for the Associated Press.

The 61st Venice Biennale — the world’s most celebrated international exhibition of contemporary art — made headlines Thursday when its awards jury resigned amid a growing controversy over its April 23 decision to exclude countries charged with crimes against humanity by the International Criminal Court.

In the current moment, this specifically meant Israel and Russia, and an uproar ensued — particularly with regard to Israel. The Israel Foreign Ministry blasted the decision on social media, writing in an April 26 post that the boycott “is a contamination of the art world. The political jury has transformed the Biennale from an open artistic space of free, boundless ideas into a spectacle of false, anti-Israeli political indoctrination.”

The jury posted its brief statement of resignation online four days later “in acknowledgment” of its original decree, in which it wrote, “At this edition of the Biennale, we wish to set out our intention — to express our commitment to the defense of human rights,” before explaining it would not consider certain countries for awards.

The Biennale moved swiftly to reverse course after the jury’s resignation, issuing a news release that noted, “All National Participations included in the 61st Exhibition … are eligible … following the principle of inclusion and equal treatment among all participants. This is consistent with the founding spirit of La Biennale, based on openness, dialogue, and the rejection of any form of closure or censorship. La Biennale seeks to be — and must remain — a place of truce in the name of art, culture, and artistic freedom.”

To that end, the awards ceremony originally scheduled to take place on May 9 has been pushed to November 22 — the last day the exhibition is open to the public. There is precedent for “exceptional circumstances” delays, and the last one took place in 2021 as a result of the COVID-19 pandemic.

Without precedent, however, are the newly established awards, created to replace the coveted Golden Lion awards that the jury traditionally hands out to two winners each year. This year, instead of the Golden Lion for best national participation at the Biennale; and the Golden Lion for best participant in the Biennale’s central exhibition, the Biennale has established two Visitors’ Lions to be awarded in the same categories.

Instead of a jury deciding the winners this year, the honor will be left — as the new award name specifies — to the exhibition visitors.

“Visitors eligible to vote for the Visitors’ Lions are ticket holders who have visited both Exhibition venues,” the release reads.

“Visits to both venues will be verified through the ticketing system’s tracking. Each ticket holder may cast one vote for each of the two awards, in one single session.”

Whether Visitors’ Lions will become a Biennale mainstay remains to be seen — but I can imagine the democratic idea might keep its place when the Golden Lions make their return next year.

I’m Arts editor Jessica Gelt doing my best to tread water in difficult times. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Quentin Lee and Justin Lin on the set of their debut feature, “Shopping for Fangs.”

(Margin Films)

Celebrating 30 Years of Margin Films
Award-winning filmmaker Quentin Lee and his production company mark three decades in the business with a weeklong screening series. Lee’s breakout 1997 debut “Shopping for Fangs,” co-directed by Justin Lin, is the opening film. Also screening: “Ethan Mao,” Saturday; “The People I’ve Slept With,” Sunday; “The Unbidden,” Monday; “Rez Comedy,” Tuesday; “Last Summer of Nathan Lee,” Wednesday; and a sneak peak of three episodes of the Canadian TV series “Comedy InvAsian III,” Thursday. Selected screening includes a Q&A. Lee is also releasing a book, “Cinemasianamerica,” commemorating the occasion.
Each film screens one day, 1:30, 4:30 and 7:30 p.m., through Thursday. Laemmle Royal, 11523 Santa Monica Blvd., West L.A. laemmle.com

Dvořák and Korngold
Conductor Andrés Orozco-Estrada and the Los Angeles Philharmonic pay tribute to Michael Tilson Thomas, who died April 22, with his composition “Agnegram,” and perform Korngold’s “Concerto in D major for Violin and Orchestra” with violinist María Dueñas. The evening concludes with “Symphony No. 7 in D minor” by Dvořák.
8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Anna Van Valin, from left, Elias Scoufaras and Bruce Nozick in “Warsaw” at International City Theatre.

(Jordan Gohara)

Warsaw
The world premiere of British playwright and “Selma” screenwriter Paul Webb’s drama about the fate of a woman whose life links two monumental historic moments, World War II and Sept. 11.
7:30 p.m. Thursdays, Fridays and Saturdays; 2 p.m. Sundays, through May 17. International City Theatre, 330 E. Seaside Way, Long Beach. ictlongbeach.org

SATURDAY

• • The Kronos Quartet, from left: Gabriela Díaz, David Harrington, Ayane Kozasa and Paul Wiancko.

(Danica Taylor)

Kronos Quartet
The West Coast premiere of the group’s latest large-scale multimedia project, “Three Bones,” which combines live performance, video, visual art, recordings and environmental sound to explore the histories of Indigenous, Gullah Geechee and Chinese American communities in the United States.
6 p.m. UC Santa Barbara campus, Campbell Hall. artsandlectures.ucsb.edu

Michael Caine, from left, Scarlett Johansson and Hugh Jackman in the “The Prestige,” screening Saturday at the Aero.

(Francois Duhamel / Touchstone & Warner Bros. Pictures)

The Prestige
Hugh Jackman and Christian Bale square off as rival magicians in a 20th anniversary 35mm screening of Christopher Nolan’s sci-fi thriller.
7:30 p.m. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com

The cast of “Carlota: Alhajero de Secretos,” opening Saturday at LATC.

(Teatro Alebrijes)

Carlota: Alhajero de Secretos
Writer-directors Rodrigo García and Ugho Badú reimagine Federico García Lorca’s tragedy “The House of Bernarda Alba.” The co-production between San José-based LGBTQ+ ensemble Teatro Alebrijes and L.A.’s Latino Theater Company is in Spanish with English supertitles.
8 p.m. Thursdays, Fridays and Saturdays; 2 p.m. Sundays, through May 24. Los Angeles Theatre Center, 514 S. Spring Street, downtown L.A. latinotheaterco.org

SUNDAY

Henri Lubatti in “Exit the King” at A Noise Within.

(Daniel Reichert)

Exit the King
Eugène Ionesco’s classic absurdist comedy about a desperate monarch who refuses to admit his time has come, translated by Donald Watson and directed by Michael Michetti.
Previews, 2 p.m. Sunday; 7:30 p.m. Wednesday, Thursday and May 8; opening night, 7:30 p.m. May 9; runs through May 31. A Noise Within, 3352 E. Foothill Blvd., Pasadena. anoisewithin.org

Organist Anna Lapwood performs at Walt Disney Concert Hall on Sunday.

(Gerald Matzka / Getty Images)

Anna Lapwood
The popular organist performs work from “The Da Vinci Code,” “The Hunchback of Notre Dame,” “The Lord of the Rings,” “Star Wars Episode I – The Phantom Menace,” “Flight” and “Pirates of the Caribbean,” as well as Olivia Belli’s organ solo “Limina Luminis,” in this recital.
7:30 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

TUESDAY

Willie Birch, “Uptown Memories (A Day in the Life of the Magnolia Project),” 1995. Painted papier-mâché and mixed media, 82 × 62 × 60 in. New Orleans Museum of Art.

(Roman Alokhin)

Willie Birch: Stories to Tell
This career retrospective details Birch’s exploration of the Black American experience since the 1960s, posing difficult questions along the way in his work as an artist, community organizer and “cultural provocateur.”
10 a.m. to 5 p.m. Tuesdays to Saturdays; 11 a.m. to 5 p.m. Sundays, through Oct. 21. California African American Museum, 600 State Drive, Exposition Park. caamuseum.org

Lucía performs Tuesday at the Carpenter Center in Long Beach.

(Shervin Lainez)

Jazz in Long Beach
Two jazz-influenced acts come to the Carpenter Center next week. Lucía brings her signature mix of traditional American jazz and Latin folk in a Spotlight Sessions concert on the Cabaret Stage. She’ll also be performing songs from her forthcoming album. “The Magic of Manhattan Starring Benny Benack III” is a tribute to the Big Apple and the songs and singers most associated with it, including Blossom Dearie, Frank Sinatra and Billy Joel.
Lucía, 8 p.m. Tuesday; Benny Benack III, 7 p.m. Wednesday and Thursday. Carpenter Center, 6200 E. Atherton St., Long Beach. carpenterarts.org

Smith, Cabezas & Childs
Molly Turner conducts the LA Phil New Music Group, with multi-instrumentalist and vocalist Gabriella Smith, cellist Gabriel Cabezas and jazz pianist Billy Childs in a program of eco-friendly music curated by Smith, including compositions by Smith, Childs, Michael Gordon, John Cage and Esa-Pekka Salonen.
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

WEDNESDAY
Andrés Jaramillo: A Journey of Immigrants, Part II
The Colombian American pianist follows up on his January 2025 program with a celebration of the global cultural exchange created by immigrants, placing Latin American composers within the Romantic tradition. Featuring works by Chopin, Calvo, Mejía, Barber, Lecuona, Friedhoff-Calvo and Pinzón-Arroyo. Presented by Piano Spheres.
8 p.m. Wednesday. Thayer Hall at Colburn School, 200 S. Grand Ave., downtown L.A. pianospheres.org

Morgan Freeman, left, and Brad Pitt star in David Fincher’s 1995 film “Seven.”

(Robert Isenberg / New Line Cinema)

Seven
A 4k screening of David Fincher’s 1995 thriller about two cops on the trail of a serial killer. Appearances by production designer Arthur Max and set decorator Clay Griffith.
7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

THURSDAY

“Dancing with Bob: Rauschenberg, Brown & Cunningham Onstage” at the Wallis, May 7 to 9.

(The Wallis Annenberg Center for the Performing Arts)

Dancing With Bob: Rauschenberg, Brown & Cunningham Onstage
This kinetic retrospective captures the cross-disciplinary collaborations between vanguard artist Robert Rauschenberg and choreographers Trisha Brown (“Set and Reset,” with an electronic score by Laurie Anderson) and Merce Cunningham (“Travelogue,” created with John Cage).
7:30 p.m. Thursday and May 8; 2 p.m. May 9. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

The Physicists
Albert Einstein and Isaac Newton are residents of an insane asylum beset by murder, mayhem, espionage and questions about the morality and ethics of science in this 1962 German satire by Friedrich Dürrenmatt. Directed by Brent Hinkley.
8 p.m. Thursdays and Saturdays; 2 p.m. Sundays, through June 20. The Actors’ Gang Theater, 9070 Venice Blvd., Culver City. theactorsgang.com

Arts anywhere

New and recent releases of arts-related media.

The Adding Machine
Currently running at the Theater at St. Clement’s in Hell’s Kitchen, New York City, through May 17, this New Group production with a revised script by Thomas Bradshaw receives a one-time livestream next week. “[Elmer] Rice’s expressionist drama is known for being a tale of man vs. machine in an age of merciless efficiency, but inhumanity in a broader sense is its true core subject,” wrote Laura Collins-Hughes in a recent New York Times review. “The happy news about Scott Elliott’s handsome yet under-realized revival … is what a delight Daphne Rubin-Vega is to watch as Mr. Zero.” The cast also features Sarita Choudhury, Michael Cyril Creighton and Jennifer Tilly. The League of Live Stream Theater: 4 p.m. Tuesday. $40, includes 24-hour replay.

Art Work
Photographer and writer Sally Mann weighs in on the creative process with stories, advice and life lessons, all illustrated with photos, journal entries and letters, making for a compelling, often surprising journey. Abrams Books: 272 pages, $35

“Insomnia & Seven Steps to Grace” by Joy Harjo.

(Smithsonian Folkways Recordings)

Insomnia and Seven Steps to Grace
The new album by Joy Harjo, the first Native American to be named United States Poet Laureate, serving from 2019 to 2022, combines jazz, funk, rock and Native music sounds with her signature “vibration of love” as she boldly confronts injustice and draws inspiration from ancestral memory and the political turmoil of the moment. The double LP’s packaging features original art by Harjo and the poet’s extensive liner notes. Five-time Grammy winner Esperanza Spalding produced as well as contributed vocals and played bass on the project. Smithsonian Folkways: Double vinyl LP ($33), CD ($17), hi-res digital download ($13), digital download ($10).

— Kevin Crust

Culture news and the SoCal scene

Michael Tilson Thomas in 2018.

(Paul Marotta/Getty Images)

Times classical music critic Mark Swed wrote a lovely appreciation of conductor Michael Tilson Thomas, who died last week at the age of 81. Tilson Thomas, Swed wrote, “made music matter by making hope matter. He was, moreover, one of us. He achieved greatness though an epic amplification of a uniquely L.A. positivity in which grumpy became wistful.”

LA Opera music director James Conlon is preparing to step down after a record 20 seasons with the company, and in a recent story, Swed cataloged his impressive numbers: “More than 500 performances of 70 different operas at the Dorothy Chandler Pavilion and occasional neighboring venues, such as the Cathedral of Our Lady of the Angels.” Swed attended a recent farewell gala and noted some highlights, including excerpts from “The Marriage of Figaro.”

Times theater critic Charles McNulty spent a recent trip to New York almost entirely in various Broadway theaters, catching up on what he says is a “strange season by all accounts.” McNulty notes that Broadway is still the place acting powerhouses like Adrien Brody, John Lithgow and Laurie Metcalf go in search of the kind of depthy material increasingly unavailable onscreen. He looks at four such shows — and their epic leading actors — including “Death of a Salesman,” “Giant,” “The Fear of 13” and “Dog Day Afternoon.”

David Henry Hwang (book adapter, “Flower Drum Song”) and Alexandra Silber (book adapter, “Brigadoon”) at the James Irvine Japanese Garden in Little Tokyo.

(Jason Armond/Los Angeles Times)

Malia Mendez wrote a great piece about a trio of classic musicals running concurrently in L.A. She takes a closer look at “Flower Drum Song,” adapted for East West Players by David Henry Hwang; “Brigadoon,” adapted for Pasadena Playhouse by Alexandra Silber; and “The Sound of Music” at the Hollywood Pantages. All three were originally written by two of the 20th century’s most dynamic and celebrated writing duos: Rodgers and Hammerstein (“Flower Drum Song” and “The Sound of Music”) and Lerner and Loewe (“Brigadoon”). And all still resonate in modern times.

Mendez also wrote about a special event taking place this weekend called Night at the Library — held as part of the downtown Central Library’s centennial celebration. “The four-hour extravaganza Saturday will feature more than 200 artists and 25 to 30 activations peppered throughout the library campus, plus DJ sets and local food truck fare. Highlighted performers include Bob Baker Marionette Theater and Los Angeles Master Chorale,” Mendez writes.

Doug Chiang, Podrace Crash, production art for “Star Wars: Episode I – The Phantom Menace,” 1995-99.

(Lucas Museum of Narrative Art)

The Lucas Museum of Narrative Art unveiled its inaugural exhibitions this week — noting that all 20 were curated by George Lucas himself. The $1-billion museum will open to the public on the first day of fall and the exhibits will be shown in more than 30 galleries spread over 100,000 square feet of exhibition space. And, yes, “Star Wars” memorabilia will be part of the “cinema” exhibit with large-scale vehicle installations, production designs, props and costumes.

Lincoln Clauss, center, as the Emcee in Asolo Repertory Theatre’s “Cabaret,” at the Old Globe.

(Courtesy of Cliff Roles)

The board of directors of San Diego’s Old Globe named Trish Santini as the theater’s new managing director. Santini joins Artistic Director Barry Edelstein as a co-chief executive, and enters her new role on July 1. Among other arts leadership posts, Santini was the inaugural executive director of Little Island in New York City, and led the launch of the $250-million public park and performance venue.

— Jessica Gelt

And last but not least

The Times Food section calls to me yet again with this headline: “L.A.’s best rotisserie chicken may be at this former gas station in Pasadena.”

It will be more than a “Star Wars” bonanza when the Lucas Museum of Narrative Art opens to the public Sept. 22. The highly anticipated $1-billion museum on Thursday announced about 20 inaugural exhibitions curated by George Lucas across more than 30 galleries — and only one is related to cinema, with a focus on “Star Wars” memorabilia, including large-scale vehicle installations, production designs, props and costumes.

The full scope of the 1,200-plus objects will only be revealed when guests step through the museum doors into more than 100,000 square feet of gallery space on the first day of fall.

The futuristic-looking 300,000-square-foot museum in L.A.’s Exposition Park was designed by Ma Yansong of Mad Architects with executive architect Stantec and includes 11 acres of park space that extend to the museum’s roof, designed by Mia Lehrer of Studio-MLA. Co-founded by Lucas and his wife, Mellody Hobson, the museum will rotate the famous filmmaker’s vast collection of narrative art, which contains objects not found in more traditional museums, including manga, comics and children’s tales. The idea is to present the myriad ways images are used to tell an endless variety of stories. Lucas has called his collection “the people’s art.”

Dorothea Lange, “Migrant Mother,” Nipomo, Calif., 1936. Gelatin silver print, 18 3/4 x 14 1/2 in.

(Lucas Museum of Narrative Art, PKY.1062)

Exhibitions currently on deck include a variety of themed shows such as one on the architecture of the building; one titled “Everyday Life,” dedicated to visual stories about “childhood, community, family, love, motherhood, play, school, sports and work”; another titled “Civic Life” featuring “artists’ portrayals of experience in the courthouse, the polling place, the political headquarters”; an exhibit titled “Narrative Forms” highlighting “narrative art across genres of adventure, fantasy, romance and science fiction” by artists including Julie Bell, Boris Vallejo, Ken Kelly, Georges Méliès, John C. Berkey and Jeffrey Catherine Jones; and children’s literature illustrations by Beatrix Potter, Leo Politi, E.H. Shepard and Jacob Lawrence.

George Hughes, “Home at Last,” cover for the Saturday Evening Post, Sept. 1, 1951. Oil on board, 30 x 24 in.

(Lucas Museum of Narrative Art, PKY.993. © SEPS by Curtis Licensing)

There will also be exhibitions devoted to the work of individual artists and genres such as comics and graphic stories from illustrators Mœbius, Marie Severin, Jack Kirby, Alison Bechdel, Jim Lee, Frank Miller and Rafael Navarro; illustrations and book covers by Frank Frazetta; the work of fairy tale and children’s illustrator Jessie Willcox Smith; the lush art of Maxfield Parrish; a selection of work by iconic American artist Norman Rockwell; selected works of Thomas Hart Benton; and early 20th century book illustrations by N.C. Wyeth.

A news release about the inaugural exhibitions noted that they are drawn from the museum’s founding collection of more than 40,000 works.

“The exhibitions trace the evolution of human culture through storytelling, from ancient sculptures of gods and goddesses to Renaissance paintings to photographs, comics and modern cinema,” the release says. “Many exhibitions are organized by theme, focusing on myths about love, family, community and adventure that connect every generation. These shared stories, told over and over in many forms, bind us together and define our human experience.”

Ernie Barnes, “The Critic’s Corner,” 2007. Acrylic on canvas, 23 1/2 x 35 3/8 in.

(Matt Kroening / Lucas Museum of Narrative Art)

The road to the opening of the Lucas Museum has been winding. In 2017, Lucas first announced his decision to build his museum in L.A., with construction beginning the following year. The building was initially scheduled to open in 2021 — a goal that was pushed to 2023 due to COVID-19 pandemic-induced delays. From there, the debut was pushed to 2025, and finally 2026. The museum announced its final opening date last November.

Lucas’ role at his namesake museum has also not always been clear, and the museum’s development has been marked by a series of high-profile staff shakeups. The museum’s original director and chief executive, Sandra Jackson-Dumont, stepped down from her role in early 2025 after less than five years. She didn’t speak publicly about her departure but the museum issued a statement that her decision was based on a “new organizational design” that would split her job into two positions, with Lucas responsible for content direction.

Three months later, the museum laid off 15 full-time employees, a number of whom were from the education and public programming team. Seven part-time, on-call employees were also eliminated. The layoffs were described to The Times in harrowing terms by two employees who asked to remain anonymous.

In December — soon after the museum announced its opening date — news broke that chief curator Pilar Tompkins Rivas had stepped down from her role.

To date, no new chief curator has been named, but a rep for the museum wrote in an email that Lucas “is responsible for curatorial and content direction for the museum and continues to work closely with the curatorial team on his decades-long vision to celebrate storytelling and narrative art.”

OMAHA, Neb. — Nebraska on Friday will become the first state to enforce work, volunteer or education requirements for new Medicaid applicants, eight months before the federally mandated requirements kick in.

Advocates worry that the state is launching so rapidly that key details remain unresolved and some people who are eligible for coverage will lose it.

State officials say they’re prepared, training staff and sending letters, emails and texts to people who could be impacted.

Health policy experts, advocates and other states will be watching closely.

“It can be used as a lesson for other states, both where things go well and where things don’t go well,” said Jennifer Tolbert, deputy director of KFF’s Program on Medicaid and the Uninsured.

The law is expected to leave some without insurance

The work requirement is part of a broad tax and policy law that President Trump signed last year. Nebraska Republican Gov. Jim Pillen announced in December that the state would implement it eight months before it was required, saying the aim was “making sure we get every able-bodied Nebraskan to be a part of our community.”

The state had one of the lowest unemployment rates in the U.S. in February: 3.1%.

The federal policy won’t apply to all Medicaid beneficiaries, just those who are enrolled under an expansion that most states chose to make to allow more low-income people to get healthcare coverage.

Under the change, many Medicaid participants ages 19 through 64 will have to show that they work or do community service at least 80 hours a month, or are enrolled in school at least half-time. They’ll also have their eligibility reviewed every six months rather than annually, so they could lose coverage faster if their circumstances change.

Exceptions will be made for people who are too medically frail to work or in addiction treatment programs, among others.

An Urban Institute report from March estimated that the changes would mean about 5 million to 10 million fewer people nationally would be enrolled in Medicaid than would have been otherwise.

Choices states make about how to run their programs are expected to be a major factor in exactly how many people lose coverage.

“The higher the administrative burden, the more likely people are found noncompliant and disenrolled,” said Michael Karpman, who researches health policy at Urban.

Nebraska plans to use data to help determine who qualifies

Not everyone who has coverage will need to submit proof that they’re working.

The state says it will first match enrollees with other data it has to see if participants are working or exempt. The state says it has that information for most of the roughly 70,000 people enrolled in Medicaid through the expansion.

That leaves between 20,000 and 28,000 who would have to provide more information, plus an average of 3,000 to 4,000 new enrollees each month.

At first, they will just need to show that they met the requirements in just one month of the previous 12. The time frame will shift to six months in 2027.

There’s some flexibility. For instance, instead of showing they work 80 hours in a month, someone could instead provide records that demonstrate they earned at least $580, the amount someone earning minimum wage would make in 80 hours.

People who don’t submit requested information within 30 days of being asked could have their applications denied or lose coverage they already have.

The change is causing worry and confusion

Bridgette Annable, who lives in southwest Nebraska, received a letter saying she must meet the work requirements or lose the benefits that pay for her insulin and diabetic supplies.

The 21-year-old mother now has a part-time job, despite being advised against it to protect her mental health. She’s worried about her ability to keep working.

“I am working 30 to 25 hours a week — as much as my employer can provide,” Annable said. “Although I call out of work often due to fibromyalgia pain and bipolar episodes that leave me too tired to leave the house. I have enough energy to take care of my daughter and do some cleaning, but that’s about it.”

Amy Behnke, the chief executive officer of the Health Center Association of Nebraska, said that staff members who help people enroll with Medicaid and their clients have a lot of questions, including some that the state hasn’t yet answered.

Some examples: Apprenticeship programs are supposed to count for work requirements, but does that apply only to those certified by the state’s labor department? There’s an exemption for people who travel to a hospital for care, but there’s not clarity on how far the journey must be.

KFF’s Tolbert noted that the state issued its 295-page list last week of conditions that could qualify someone as medically frail. “We don’t know if it’s a comprehensive list,” she said.

“The speed at which we are choosing to implement work requirements hasn’t left a lot of space for really meaningful communication,” Behnke said.

And Nebraska could have to make changes after the federal government provides guidance that is expected in June.

Mulvihill and Beck write for the Associated Press. Mulvihill reported from Haddonfield, N.J.

Megan Thee Stallion’s Broadway run playing Zidler in “Moulin Rouge! The Musical” is ending weeks earlier than planned, and days after she announced a messy split from NBA star Klay Thompson.

The “Wanna Be” hitmaker is pulling out of her first Broadway run weeks sooner than anticipated. Megan announced the news on Instagram alongside a bandaged heart emoji and said she would step away from the production Friday rather than the originally slated May 17.

“Hotties, my last performance as Zidler in @moulinrougebway will be May 1,” she wrote. “It’s been such an honor to be part of thee Moulin Rouge family and I’ve met so many amazing people in this theater!

“Y’all work so hard and I have so much respect for the dedication, the stamina, the work ethic, the time and the effort y’all put into the work! I’m so grateful for the cast and crew that made this experience so meaningful. And to all the Hotties that showed up or planned to attend, thank you for supporting me during this incredible journey! I LOVE YALL . . . See you soon.”

The Grammy Award-winning rapper made history as the show’s first woman to portray the charismatic cabaret manager Zidler — the character’s full name is Harold Zidler. Broadway veteran Eric Anderson will step back into the role on May 19, but the actor who will cover the interim, from May 2 through 17, hasn’t been announced.

The wildly popular “Moulin Rouge! The Musical” was recently extended on Broadway, with its final performance set for Aug. 30 after a seven-year run.

Although Megan didn’t offer a reason for her departure, the move comes amid a recent health scare and some personal upheaval for the “Hot Girl Summer” chart topper.

On Saturday, the “Savage” rapper aired some dirty laundry on social media, writing in a since-expired Instagram story that her recent beau, Dallas Mavericks shooting guard Klay Thompson, didn’t know if he could be monogamous and had treated her horribly during their time together. “I need a REAL break after this one,” she wrote.

She followed the social media admission with a formal statement issued to People confirming that she and Thompson had split just months after they took their relationship public.

“I’ve made the decision to end my relationship with Klay,” Megan said in a statement. “Trust, fidelity and respect are non-negotiable for me in a relationship, and when those values are compromised, there’s no real path forward. I’m taking this time to prioritize myself and move ahead with peace and clarity.”

Writing obituaries is a sacred, tricky task. Major news organizations compose advance obits on major figures, a just-in-case endeavor that feels both hugely important and somewhat macabre.

Several years ago, it fell to me to compose an advance death notice for the legendary conductor Michael Tilson Thomas, who was confronting a terminal brain cancer diagnosis by doubling down on his performance schedule and delivering — by all accounts — spectacular performances.

The piece lay blessedly dormant for longer than anyone thought possible as Tilson Thomas persevered in the face of his illness — an inspiration to all who knew and loved him. And then, yesterday morning, it became necessary to publish. There was a rush to update the writing, to fact-check the timeline, to be sure that all salient points were included. Here was the final story of a remarkable human’s life. The sense of responsibility cannot be overstated.

I was surprised to learn that a former colleague at the paper had also written an advance obit on Tilson Thomas, so my editor worked to meld the two together. The other writer included information that I had missed and vice versa, so in many ways it turned out to be a good thing that we had mistakenly doubled up on the weighty task.

One detail that the other writer included that was formerly unknown to me: A Times story from 1985 reported Tilson Thomas walking off the stage at the Hollywood Bowl nearly 15 minutes into the hourlong second movement of Part II of Gustav Mahler’s Symphony No. 8. Tilson Thomas did this, according to the archived news clip, because a noisy police helicopter simply would not go away.

A reader wrote in after the obituary went live to say that he had been there when it happened, and offered up this fresh insight:

“I was at the concert. The helicopter was hovering long, low and loud(!) with a bright searchlight scanning the trees behind the shell. It was an impossible situation which [Tilson Thomas] handled with quiet dignity. And when he returned to the stage he opted to re-start the Second Movement of Mahler VIII from the top! It was a long and memorable night at the Bowl.”

Our obituary described Tilson Thomas as storming off the stage. Not so, said the reader.

“More determination than storm,” he wrote.

And suddenly I could picture it, that moment from more than 40 years ago, with Tilson Thomas displaying the singular determination and love for his craft that would sustain him much later in life when he faced down death with the same quiet grace, the same unwavering resolve. And the music … I can hear it over the chop-chop-chop of the helicopter, until Tilson Thomas is all that remains.

I’m Arts editor Jessica Gelt feeling grateful for stories past. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Craft Contemporary hosts CLAY LA this weekend.

(Allen J. Schaben/Los Angeles Times)

CLAY LA
Emerging and established ceramic artists gather their wares for Craft Contemporary’s ninth annual fundraiser, a vibrant marketplace with complimentary refreshments, music and hands-on air-dry clay activities. Fun fact: The museum was founded by Edith R. Wyle, grandmother of “The Pitt’s” Noah Wyle.
Market Preview Night, 6-9 p.m. Friday, $20 general admission, $15 members; weekend market, 11 a.m.-5 p.m. Saturday (free with $9 museum admission) and Sunday (pay-what-you-wish admission); regular museum hours, 11 a.m.-5 p.m. Wednesday-Sunday; noon-8 p.m., the first Thursday of the month. Craft Contemporary, 5814 Wilshire Blvd. craftcontemporary.org

Music director James Conlon of at L.A. Opera will conduct his farewell concert Friday at the Dorothy Chandler Pavilion.

(Ariana Drehsler/For The Times)

James Conlon Farewell Concert
The maestro, who is stepping down after 20 years as LA Opera’s music director, leads the organization’s full orchestra and chorus for an evening of Mozart, Verdi and Wagner as his grand finale. The event is followed by a celebratory gala on the stage of the Dorothy Chandler Pavilion.
7 p.m. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org

SATURDAY
John Adams & Conrad Tao
The LA Phil’s John and Samantha Williams Creative Chair conducts the orchestra in a program that includes Piazzolla’s “Two Tangos,” Stravinsky’s “Song of the Nightingale” and Prokofiev’s “Lieutenant Kijé Suite,” plus pianist Conrad Tao performing Adams’ composition “Century Rolls,” inspired by 1920s self-playing pianos.
8 p.m. Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Brewery Artwalk & Open Studios
This free semi-annual event at the former Pabst Blue Ribbon Brewery north of downtown features more than 100 artists sharing, discussing and (ideally) selling their work in the very spaces that much of it is created.
11 a.m.-6 p.m Saturday and Sunday. Brewery Arts Complex, 2100 N. Main St., L.A. breweryartwalk.com

Jerrika Hinton and Bradley Gibson in “Fremont Ave.” runs April 25-May 23 at South Coast Repertory.

(Marc J. Franklin)

Fremont Ave.
The world premiere of Reggie D. White’s multi-generational drama about three Black men in L.A. and the woman who is the glue in their lives. Directed by Lili-Anne Brown. Part of the Pacific Playwrights Festival.
Previews, 8 p.m. Saturday; 7 p.m. Sunday and Tuesday-Thursday; opening night, May 1; regular performances, May 2-23. South Coast Repertory, Segerstrom Stage, 655 Town Center Drive, Costa Mesa. scr.org

The Liminary
It’s 2042 in Last Call Theatre’s latest immersive experience and the U.S. is run by a nationalistic, isolationist government. Do you dare join the resistance? With interactive exhibits on immigration, community and hope, plus multiple endings and narratives inspired by the saga of immigrants.
8 p.m Saturday; 8 p.m. May 1-2, May 7-9 and May 14-16. 1919 3rd Ave. L.A. lastcalltheatre.com

Liz Larner, “smile (abiding),” 1996-2005; Rachel Harrison, “The Prepper,” 2024; and Rebecca Morris, “Untitled (#15-25), 2025” from the exhibition “planchette” at Regen Projects.

(Regen Projects)

planchette
A group exhibition featuring contemporary abstract sculptures and paintings by influential artists Rachel Harrison, Liz Larner and Rebecca Morris.
Opening reception, 6-8 p.m.; exhibit runs through May 23. Regen Projects, 6750 Santa Monica Blvd. L.A. regenprojects.com

SUNDAY
Gabriel Kahane & Roomful of Teeth
The eclectic singer-songwriter-composer teams up with the multi-Grammy-winning vocal group to perform music from their recently-released collaborative album, “Elevator Songs.”
7 p.m. Sid The Cat Auditorium, 1022 El Centro St., South Pasadena. sidthecat.com

WEDNESDAY

The Australian Chamber Orchestra comes to the Segerstrom Center for the Arts on Wednesday, April 29.

(Nic Walker)

Australian Chamber Orchestra
The ensemble from down under performs Purcell’s “Fantasia on One Note,” Handel’s “Concerto Grosso in A Major, Op. 6 No. 11,” a new work by John Luther Adams titled “Horizon,” Vaughan Williams’ “The Lark Ascending” (arranged by Adam Johnson), and Schubert’s ”Death and the Maiden” in the candlelit intimacy of the Samueli Theater.
7 p.m. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org

Jason Delane, left. and Chuma Gault in “Hymn” at the Odyssey Theatre.

(Cooper Bates)

Hymn
In this drama by British playwright Lolita Chakrabarti, best known for her stage adaptations of the novels “Life of Pi” and “Hamnet,” two Black men meet at a funeral and discover a life-changing connection. Gregg T. Daniel directs this co-production between the Odyssey Theatre and the Lower Depth Theatre.
Previews 8, p.m. Wednesday, Thursday and May 1; 8 p.m. Fridays and Saturdays (an Wednesday, May 27); 3 p.m. Sundays (except May 31), through June 14. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com

THURSDAY

Los Angeles Ballet presents “Giselle” with Kate Inoue at the Ahmanson Theatre, April 30-May 3.

(Alex Lopez)

‘Giselle’
The Los Angeles Ballet’s staging of this classic supernatural romance features the original 1841 choreography by Jean Coralli and Jules Perrot (updated by Marius Petipa) and score by composer Adolphe Adam.
7:30 p.m. Thursday-May 2 and 2 p.m. May 3. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. losangelesballet.org

The 1967 romantic comedy “Barefoot in the Park,” starring Jane Fonda and Robert Redford, opens the TCM Classic Film Festival on Thursday.

(Paramount Pictures)

TCM Classic Film Festival
Hollywood Boulevard comes alive with four days of movie magic beginning with the opening night presentation of the 1967 romantic comedy “Barefoot in the Park,” starring Robert Redford and Jane Fonda. Other screenings include “Alice In Wonderland” (1951), “A Place In The Sun” (1951), “Gaslight” (1944), “Out Of The Past (1947) , “Modern Times” (1936), “The Day The Earth Stood Still (1951) and “The Magnificent Seven” (1960), with appearances by Fonda, Barbara Hershey, Carol Burnett, John Turturro and many more.
Thursday-May 3. TCL Chinese Theatre IMAX, 6925 Hollywood Blvd.; Hollywood Roosevelt Hotel; TCL Chinese 6 Theatres multiplex, 6801 Hollywood Blvd.; El Capitan Theatre, 6838 Hollywood Blvd.; Egyptian Theatre, 6712 Hollywood Blvd. filmfestival.tcm.com

Arts anywhere

New and recent releases of arts-related media.

French Violinist Renaud Capucon, seen performing during the 2024 Paris Olympics, has a new live album featuring the works of composer Ernest Chausson.

(Kristy Sparow / Getty Images)

Chausson
This concert album pairs two pieces by French Romantic composer Ernest Chausson: “Concerto for Violin, Piano and String Quartet, Op. 21.,” performed by violinist Renaud Capuçon, the late pianist Nicholas Angelich and the Ébène Quartet, and “Poème” for violin and orchestra, featuring Capuçon and the Brussels Philharmonic led by conductor Stéphane Denève. The show was recorded live in 2020. Warner Classics/Erato: Digital ($10) and CD ($17).

The City Unseen
Emmy-winning producer-director Daniel Sackheim, whose credits include “Law & Order,” “The X-Files” and “The Americans,” is also a serious photographer. His new book of black-and-white images casts Los Angeles as the protagonist in a noir landscape of nocturnal beauty where its darkest secrets lurk in the deepest shadows. Hat & Beard Press: 108 pages, $60.

International Jazz Day
The 15th annual event is Thursday in Chicago, but you can celebrate early with PBS’ broadcast of last year’s International Jazz Day All-Star Concert from Abu Dabai. Hosted by Jeremy Irons, the lineup includes Herbie Hancock, Dee Dee Bridgewater, Kurt Elling, Jose James, John McLaughlin, Helene Mercier, Danilo Perez, Arturo Sandoval and more.
10 p.m. Friday. PBS SoCal and streaming at pbssocal.org

— Kevin Crust

Culture news and the SoCal scene

Attendees walk around the Los Angeles County Museum of Art’s new David Geffen Galleries in Los Angeles on Sunday, April 19, 2025.

(Ariana Drehsler/For The Times)

The Los Angeles County Museum of Art news did not stop last week as it threw a glitzy opening gala for the new David Geffen Galleries, and — a few days later — welcomed members for previews prior to opening its doors to the general public on May 4. I attended the gala and checked in with a number of wonderful artists, including Mark Bradford, Ed Ruscha and Jeff Koons, about their thoughts on the new building. Then, on Sunday, we sent a team to get member reactions to the new space. Later in the week we published critic Leah Ollman’s review of the inaugural installation. Spoiler alert: Nope, not gonna give you one. You’ll have to read it.

We also ran a lovely profile by contributor Tara Anne Dalbow about Eileen Harris Norton whose jaw-dropping art collection is currently on display at Hauser & Wirth in downtown L.A. “Few people have done more to shape Los Angeles’ art scene than Eileen Harris Norton,” writes Dalbow. “The third-generation Californian, born and raised near Watts Towers in South Los Angeles, bought her first artwork at the Baldwin Hills Crenshaw Plaza, co-founded Art + Practice in Leimert Park, and has spent 50 years collecting artists who were, in many cases, her friends and neighbors.”

Joey Stromberg and Jenny Soo in “For Want of a Horse” at the Echo Theater Company.

(Cooper Bates)

Times theater critic Charles McNulty was — as always — incredibly busy, publishing two reviews and a feature in the past week. First up, his take on “For Want of a Horse” by Olivia Dufault, currently receiving its world premiere in an Echo Theater Company production at Atwater Village Theatre. “The subject is zoophilia, not to be confused with bestiality, though for many of us it will be a distinction without much of a difference,” McNulty writes. Curious? Read on.

McNulty also delivered a thoughtful profile Nicholas Christopher, who he dined with on a recent trip to New York. “A new Broadway star emerges each season, and this year the spotlight has alighted on Nicholas Christopher, who has been dazzling audiences and insiders alike as part of the awe-inspiring triumvirate powering the thrilling new revival of the musical ‘Chess,’” McNulty writes.

Finally, McNulty reviewed “Eat Me,” by Talene Monahon, having its world premiere at South Coast Repertory. A fan of Monahon‘s previous work, McNulty was not as impressed at he would have liked. The play, he writes, “is a relentlessly quirky work that gorges on its own dark whimsy.”

In other news, I got the scoop that new media artist Refik Anadol’s museum of AI arts, Dataland has set its opening date for June 20.

Elinor Gunn in “Joan” at South Coast Repertory. SCR has announced its 2026-27 season.

(Scott Smeltzer)

South Coast Repertory announced an expanded 2026-27 season, featuring nine productions, including “Hamlet,” starring Raymond Lee; Stephen Sondheim and James Lapine’s “Into the Woods;” Lauren Yee’s “Mother Russia;” and Oscar Wilde’s classic, “The Importance of Being Earnest.” “The 2026-27 season reflects programming changes established in SCR’s recently adopted strategic plan, which includes more classics, modern masterpieces and the continuation of an annual musical on the Segerstrom Stage,” a news release notes.

“GUAC,” the heartbreaking one-man show by a father who lost his son in the 2018 Parkland school shooting, returns Tuesday to Center Theatre Group’s Kirk Douglas Theatre after playing to a packed house last September. Manuel Oliver’s devastating plea for gun control runs for three weeks only, through May 17.

— Jessica Gelt

And last but not least

If you’re sad that you missed Coachella, this story about how much people paid to attend will make you feel all better.

April 23 (Asia Today) — Economic hardship among young people in South Korea is reshaping crime patterns, with more youths turning to high-profit illegal activities disguised as part-time jobs, experts warn.

The shift marks a departure from traditional survival-driven crimes such as theft toward organized fraud, digital financial crime and so-called “crime-for-hire” schemes promising quick cash.

Economists have long noted the link between opportunity and crime. Gary Becker argued that individuals weigh expected criminal gains against legal income opportunities when deciding whether to commit offenses.

Recent data suggest that calculation is changing for young Koreans.

According to government employment data, the youth employment rate for those ages 15 to 29 fell to 43.6% in March, well below the overall rate of 69.7%. Youth employment declined for 41 consecutive months, with 147,000 fewer young workers compared with a year earlier.

In contrast, employment among older age groups increased, deepening what analysts describe as a “K-shaped” divide in the labor market.

At the same time, youth crime is rising. Prosecutors’ data show the number of young offenders per 100,000 people increased from 3,130 in 2021 to 3,363 in 2024. Fraud is particularly prevalent, with people in their 20s accounting for 23.7% of cases – the highest share among all age groups.

Researchers say unemployment and crime are closely linked. A 2023 study found that a 1 percentage point increase in unemployment leads to a 1.5% rise in theft-related crime.

Experts argue the issue is not just an increase in crime, but a structural shift.

“Young people are no longer committing crimes out of necessity alone, but increasingly pursuing one-time, high-reward opportunities,” one analyst said.

The appeal is stark. While unstable jobs may pay about 2 million won (about $1,480) a month, illegal activities can promise hourly earnings exceeding 500,000 won (about $370), widening the perceived gap between legal and illegal income.

Underlying the trend is growing relative poverty – a sense of falling behind others despite overall economic development. Rising real estate and financial asset values have deepened wealth disparities, reinforcing frustration among young people who see limited chances for upward mobility.

Some openly acknowledge the temptation.

“Sometimes it feels better to go to prison than live in this kind of hardship,” a 27-year-old job seeker said. “I know it’s wrong, but it’s hard just to get by.”

Digital platforms are accelerating the problem.

Recruitment for illegal work now spreads through social media and messaging apps, lowering barriers to entry. Schemes such as “yamibaito,” which advertise high-paying short-term jobs, often involve tasks like money transfers, account lending or acting as intermediaries in voice phishing scams.

Many participants are first-time offenders in their early 20s.

Authorities say similar “crime outsourcing” operations are increasingly coordinated through encrypted platforms such as Telegram, making them difficult to trace due to their decentralized structure.

Young people’s familiarity with online tools, cryptocurrencies and non-face-to-face transactions makes them especially suited to the technical roles required in such operations, further concentrating recruitment within the demographic.

Experts caution that the consequences can be lasting.

“Some young people treat these illegal jobs as simple labor and underestimate the risks,” said criminal profiler Bae Sang-hoon. “Even minor involvement can lead to a criminal record that affects the rest of their lives.”

Analysts stress that the problem cannot be addressed through policing alone.

“Poverty is the mother of crime,” said Kim Yoon-tae, a professor of public sociology at Korea University. “We need to examine structural factors such as employment, education and housing, rather than framing this purely as an issue of personal responsibility.”

He added that stable jobs, fair access to education and stronger housing support are essential to reducing the appeal of illegal income opportunities.

Without such changes, experts warn, more young people could be drawn into a cycle where economic hardship leads to crime – and a criminal record further limits future opportunities.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260422010007027

WASHINGTON — Polls show that record numbers of Americans think the country is on the wrong track. Anxious voters find no shortage of corroboration. Seeming proof of national decline is everywhere–the savings-and-loan bailout, an imperial Congress, overpaid executives at the top of underperforming companies, record murder rates in cities, declining school quality, an intractable drug epidemic, spiraling health-care costs and a flat economy riddled with deep pockets of regional recession. We haven’t felt good about ourselves, our country or our future since the Gulf War.

President George Bush’s decline in the polls mirrors this trend. As long as voters were concerned about foreign policy, his high standing compensated for lower ratings on domestic affairs. The Cold War’s end has changed the issue mix of presidential races forever.

The recession is an immediate problem, but that will decline in importance when the growth most economists predict resumes this spring. But the recession masks a deeper fear that our post-Cold War inheritance is a declining standard of living, with high-paying jobs and prosperity flowing overseas. That fear will not recede quickly.

With the recession ending by spring, campaign planners will be tempted to heave sighs of relief and run a status-quo candidacy against the uncertainties of a switch to the Democrats. That would be a serious mistake.

For Bush will never have more fertile ground to lay out a new GOP agenda that addresses the deep fear voters have about the future of America. He can capitalize on the public’s thirst for certainty by laying out a set of ambitious goals–in government, in jobs, in schools and in social progress.

He can start with government. A recent Gallup poll shows 20% blame Bush for the economy’s condition, but 54% blame Congress. Support for term limits and a Trumanesque campaign to fix what’s wrong with Congress will not only pay political dividends, but give him a governing coalition for a second term. Beginning with this week’s State of the Union, Bush should challenge Congress to pass his economic recovery program within 100 days and return it to him for signature. He should also push legislation on health-care reform, education and crime by similarly challenging Congress. To dramatize the push for excellence, he might consider national middle-class merit scholarships for college.

Nor should he give up on trade, despite the Japan trip. Presidential involvement in a few trade confrontations will make his claim to fight for American jobs more credible. Where unfair trading practices are found, executive action on import relief should be swift.

By establishing his vision for the post-Cold War future, contrasting his own activism with Democratic and congressional obstruction, showing that he thinks free trade should benefit us as well as our partners and fighting hard for the middle class–in essence charting a course the country thinks takes us in the right direction and gets us off the wrong track–he’ll win not only reelection but a mandate.

It’s also important to understand this is not the 1984 reelection. Compression of the primary calendar means there are fewer days between the first Iowa caucuses, Feb. 10, and Super Tuesday, March 10, and the Democratic winner-take-all rules could give a front-runner enough momentum to be the apparent nominee by April. There is little prospect for a protracted Democratic primary battle like 1984’s between Gary Hart and Walter F. Mondale.

Because the Democrats won’t be tearing each other apart as long, Bush should engage the Democrats early. But he needs to shore up his own vulnerabilities before he begins to contrast with the Democratic nominee. He needs to sharpen his middle-class message, starting with the economy and people’s fears about the future.

This should be done well before the summer Democratic convention, when the Democratic ticket will have a solid week of national television coverage to engage in Bush-bashing.

It’s also critical to understand this is not 1988. The Democratic nominee will also have learned a lesson from Michael S. Dukakis–define your candidacy before your opponent gets a chance to define it negatively for you. It’s highly unlikely the ’92 Democratic nominee will be kept on the defensive for months as was Dukakis.

This year’s presidential election takes place in politically uncharted territory. It is the first contest of the post-Cold War era, probably the last election with a World War II veteran running for President. World events, from Eastern Europe’s velvet revolutions of 1989 to last summer’s failed Soviet coup, have irrevocably reshaped America’s political landscape.

Foreign policy and defense no longer matter much to voters. Communism’s death also buried anti-communism as an issue. With few external threats, Americans see old relationships through a new prism. They supported the post-war alliance with Japan for mutual security; without the Cold War, that same relationship looks one-sided.

To win reelection, it’s critical to understand what this dramatic shift means. The old rules are gone–now is the time for a new political order in American campaigns. For four decades, we’ve elected presidents against a Cold War backdrop. Now that we’ve won the Cold War, we need a new presidential agenda that’s relevant for the ‘90s.

Eaton wildfire survivors’ anger about Southern California Edison’s burying of electric wires in Altadena boiled over Tuesday with residents calling on government officials to temporarily halt the work.

In a letter to the Los Angeles County Board of Supervisors, more than 120 Altadena residents and the town’s council wrote that they had witnessed “manifest failures” by Edison in recent months as it has been tearing up streets and digging trenches to bury the wires.

The residents cited the unexpected financial cost of the work to homeowners and possible harm to the town’s remaining trees. They also pointed out how the work will leave telecommunication wires above ground on poles.

“The current lack of coordination is compounding the stress of a community still reeling from the Eaton Fire, and risks causing further irreparable harm,” the residents wrote.

The council voted unanimously Tuesday night to send the letter.

Scott Johnson, an Edison spokesman, said Wednesday that the company has been working to address the concerns, including by looking for other sources of funds to help pay for the homeowners’ costs.

“We recognize this community has already faced a number of challenges,” he said.

Johnson said the company will allow homeowners to keep existing overhead lines connecting their homes to the grid if they are worried about the cost.

Edison’s crews, Johnson said, have also been trained to use equipment that avoids roots and preserves the health of trees.

The utility has said that burying the wires as the town rebuilds thousands of homes destroyed in the fire will make the electrical grid safer and more reliable.

But anger has grown as work crews have shown up unexpectedly and residents learned they’re on the hook to pay tens of thousands of dollars to connect their homes to the buried lines.

Residents have also found the crews digging under the town’s oak and pine trees that survived last year’s fire. Arborists say the trenches could destroy the roots of some of the last remaining trees and kill them.

Amy Bodek, the county’s regional planning director, recently warned Edison that a government ordinance protects oak trees and that “utility trenching is not exempt from these requirements.”

Residents have also pointed out that in much of Altadena, the telecom companies, including Spectrum and AT&T, have not agreed to bury their wires in Edison’s trenches. That means the telecom wires will remain on poles above ground, which residents say is visually unappealing.

“While our community supports the long-term benefits of moving utilities underground, the current execution by SCE is placing undue financial and planning burdens on homeowners, causing irreparable harm to our heritage tree canopy, and proceeding without adequate local oversight,” the residents wrote.

They want the project halted until the problems are addressed.

Edison announced last year that it would spend as much as $925 million to underground and rebuild its grid in Altadena and Malibu, where the Palisades fire caused devastation.

The work — which costs an estimated $4 million per mile — will earn the utility millions of dollars in profits as its electric customers pay for it over the next decades.

Pedro Pizarro, chief executive of Edison International, told Gov. Gavin Newsom last year that state utility rules would require Altadena and Malibu homeowners to pay to underground the electric wire from their property line to the panel on their house. Pizarro estimated it would cost $8,000 to $10,000 for each home.

But some residents, who need to dig long trenches, say it will cost them much more.

“We are rebuilding and with the insurance shortfall, our finances are stretched already,” Marilyn Chong, an Altadena resident, wrote in a comment attached to the letter. “Incurring the additional burden of financing SCE’s infrastructure is not something we can or should have to do.”

Other fire survivors complained of Edison’s lack of planning and coordination with residents.

“I’ve started rebuilding, and apparently there won’t be underground power lines for me to connect with in time when my house will be done,” wrote Gail Murphy. “So apparently I’m supposed to be using a generator, and for how long!?”

Johnson said the company has set up a phone line for people with concerns or questions. That line — 1-800-250-7339 — is answered Monday through Saturday, he said.

Residents can also go to Edison’s office in Altadena at 2680 Fair Oaks Avenue. The office is open Monday to Friday from 8 to 4:30.

It’s unclear if the Eaton fire would have been less disastrous if Altadena’s neighborhood power lines had been buried.

The blaze ignited under Edison’s towering transmission lines that run through Eaton Canyon. Those lines carry bulk power through the company’s territory. In Altadena, Edison is burying the smaller distribution lines, which carry power to homes.

The government investigation into the cause of the fire has not yet been released. Pizarro has said that a leading theory is that a century-old transmission line, which had not carried power for 50 years, somehow re-energized to spark the blaze.

The fire killed at least 19 people and destroyed more than 9,400 homes and other structures.

It’s not only easy to get lost in the Los Angeles County Museum of Art’s new David Geffen Galleries, it’s inevitable, intentional — and one of the best things about the place.

The museum has deconstructed the traditional, boxy narrative of art history and rendered the story itself a matter of curves and continuities. Art in the collection is freed from its departmental silos and put into conversation across genre lines, place and time.

The museum has physically invalidated the binaries of center and periphery, major and minor arts. In a startling and largely gratifying way, LACMA has done what the poet Audre Lorde, alluding to a different but not unrelated aspect of patriarchal dominance, deemed impossible: used the master’s tools to dismantle the master’s house.

The change goes far beyond a remodel. It’s a reinvention, a recalibration, a revisionist fever dream.

The vision conceived by museum director and Chief Executive Michael Govan and architect Peter Zumthor is not perfect, and brings with it a modest set of frustrations, but as a whole, the installation registers as ravishing and bracingly fresh. It thrusts us midstream into the ageless, ceaseless flow of makers worldwide reckoning with life, earth and being.

It prompts us, as we bob about, to reflect on our own proclivities and preconceptions, our patterns of reception and perception.

It compels us to recognize that what matters is not just what we see in the museum but how we see, what pulls us close and why, what private histories we bring to the occasion, what expectations, what tools.

Over two visits to the new building, getting my physical bearings mattered less and less as I surrendered to the generative sensations of not knowing. The museum has produced a dense guidebook to the new galleries, whose title, “Wander,” doubles as invitation and imperative. Even at 430 pages, the book is only minimally useful as an orientation device. For help with that internal navigation, Rebecca Solnit’s moving 2005 book, “A Field Guide to Getting Lost,” proved a better compass.

LACMA’s guidebook to the David Geffen Galleries, called “Wander,” doubles as invitation and imperative.

(Museum Associates / LACMA)

Solnit, citing the cultural critic Walter Benjamin, writes, “to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery.” She goes on to recall how roaming freely as a child was key to developing self-reliance, which feels apt to the LACMA strategy. We are put in charge of making our own way, through tapestries and tea sets, past ancient jug and contemporary sphinx, without heavy-handed authoritative direction.

The history of art reads here as one long, free verse poem-in-progress, gorgeous and absorbing. Even so, many of the most memorable moments come in the form of cogent micro-essays, smartly curated ensembles of work bearing a legible, lucid premise. Some of these are contained within four (rectilinear) walls; some occupy less demarcated spaces. “Tonal Variations: Photography and Music,” for instance, gathers images by Paul Caponigro, William Eggleston, Lisette Model and others. These artists were also serious pianists, attuned, no matter which instrument they were using, to the qualities of rhythm, pattern and progression.

Lisette Model, “Window at 5th Avenue,” 1940, Los Angeles County Museum of Art

(Museum Associates / LACMA)

In a section headed “The Global Appeal of Blue-and-White Ceramics,” a long display case houses a timeline articulated sculpturally. The sequence advances from a 9th century bowl made in Iraq to a 13th century vessel from China, a 14th century example from Thailand, another from 15th century Syria, up to work by a 20th century German artist who transformed a functional vessel into personal adornment by cutting a string of beads out of the planar surface of the bowl.

Dish, Turkey, Iznik, c. 1530-35, Los Angeles County Museum of Art

(Museum Associates / LACMA)

On the wall facing this display is a huge vitrine containing an 18th century Talavera jar from Mexico, paired with a 2025/26 color photograph by Brooklyn-based Stephanie H. Shih. In the still-life composition, a cheeky visual lesson on the collision and convergence of cultures, the jar holds flowers, cactus and edible Mexican treats influenced by Chinese and Filipino flavors.

Top, Stephanie H. Shih, 梅國 “(Still life with chamoy and Dirty T Tamarindo),” (2025- 26); bottom, Jar (c. 1700-50)

(Museum Associates / LACMA)

Shih is one of a handful of artists commissioned to create new work using the museum’s collection as muse. L.A.-based Lauren Halsey is another. Her formidable, untitled 2026 sphinx regally commands its space among ancient Egyptian and Roman sculpture, a marvel of the cross-temporal and cross-spatial, spiked with specific references to Black self-determination.

Setting recent works among older ones is an effective element of LACMA’s overall plan to shed outworn hierarchies. It recasts every piece of art by every artist throughout the single-story space as equally relevant. The seamless integration of old and new feels stealthy, and a touch subversive, a doubling-down on the museum’s approach to time as nonlinear, sinuous and delightfully slippery.

Lauren Halsey’s untitled 2026 sphinx.

(Museum Associates / LACMA)

That said, a few words readily available would help connect the dots without undermining the provocation. Text — where and how it appears, or doesn’t — is my only major complaint about the installation of the new galleries.

Text panels announce, in one or two paragraphs, the themes of each given section: “Images of the Divine in South Asia”; “The Evolution of Abstract Painting in Modern Korea”; “Textile Conversations: Africa and Black America.” Individual object labels are kept minimal, containing only basic identification about each work, no commentary. When asked about this decision during my first walkthrough, Govan replied that more time reading means less time looking — “and we have the internet.” Every thematic text panel has a QR code that links to the Bloomberg Connects app, an aggregate guide to museums and other cultural sites that offers selected, augmented entries.

Determining how much didactic information is insightful and sufficient, and how much constitutes excessive artsplaining, is a delicate, ongoing challenge for museums. Where LACMA landed on this contested plain strikes me as unfortunate and counterproductive.

A few lines of explanation or context on a wall label can add perspective for even the most informed visitor, and provides crucial support to those with less foundational exposure and access to art.

You can take or leave text on a wall without breaking your stride, but text accessed via QR code is another matter. (Never mind that connectivity is spotty inside a sprawling concrete shell, and several times when I tried to get information from the app, I couldn’t.) Encouraging us to shift our gaze from the wall to our devices — to assume that accursed downward tilt of the neck when splendors abound before our eyes — is simply detrimental. It breaks the spell of being fruitfully lost in the present, and retethers us to the digital distractions that dominate our days.

Wall text beside Francis Bacon’s “Three Studies of Lucian Freud” (1969), at Los Angeles County Museum of Art.

(Museum Associates / LACMA)

Shouldn’t the imaginative minds that created this space, this opportunity to revel in direct sensual experience, want us to keep our attention where our bodies are? Why this fallback to current convention, when the rest of the experience is about radical reinvention? This feels like a missed opportunity. I’m hoping a more experimental, exploratory approach to providing information, context and interpretation, in keeping with the rest of the enterprise, might yet come.

Does the new structure serve the art? Mostly, very well.

The lighting is varied, treated as another texture in the space, palpable and rich. There’s a generous amount of natural sunlight, but some spots are noticeably dim. Some gallery walls are glazed in deep hues (reddish and eggplant), and the intensity of the color is jarring at first. But neutral, white-box viewing spaces (with even, predictable lighting) can be found elsewhere on LACMA’s campus and pretty much anywhere art is shown. Here, the very irregularity of the interior environment, including the concrete surfaces — richer and more textured than I expected — heightened my alertness. And keener senses tend to make for more consequential experiences.

In deciding how to organize roughly 2,000 works of art across 110,000 square feet of exhibition space, LACMA devised a conceptual schema that isn’t apparent in the galleries themselves. The “Wander” guide maps out the division of the space into four regions correlating to bodies of water: the Indian, Atlantic and Pacific oceans, and the Mediterranean Sea. While the zones and their boundaries aren’t indicated by obvious signage, and I caught one laughable categorization (Ansel Adams’ photographs of the Pacific shoreline landing in the Atlantic section), this schema at least doesn’t get in the way.

And what does work about the propositional structure is its comprehensive realignment. It moves to retire art historical frameworks of the past, dependent on borders between places and times.

Throughout this installation, we are repeatedly reminded of the impact of trade and migration, the fluid movement of resources and belief systems. We’re reminded of porousness and simultaneity, and that all art histories are, in the end, propositional structures.

Here’s a new one, the Geffen Galleries say. Try it out. You might get lost. Indeed, you will get lost. And what wonders await you in the uncertainty and mystery.

Kylie Jenner is being sued by a former housekeeper who claims she was harassed and discriminated against while working for the makeup mogul.

Angelica Hernandez Vasquez filed a lawsuit against Kylie Jenner Inc., Tri Star Services and La Maison Family Services on Friday alleging that she was subjected to “severe and pervasive harassment” throughout her employment.

According to court documents obtained by The Times, Vasquez worked for the reality TV star from September 2024 to August 2025, and from her first day on staff at Jenner’s Hidden Hills residence, she was treated with “hostility and exclusion” by the head housekeeper, identified only as Patsy, and another supervisor, identified as Elsi.

Vasquez, who states that she is a Salvadoran woman and practicing Catholic, claims she was routinely assigned the more unsavory tasks involved in housekeeping and excluded from the housekeeping team. According to the suit, she was humiliated by fellow staff members and belittled due to her race, country of origin, religion and immigration status.

The former housekeeper for Jenner further claims that she was mocked for her accent and degraded. She claims that supervisors snapped their fingers while shouting at her, demanded to inspect her phone, made statements including “Catholics are horrible people,” and forced her to perform other staff members’ duties.

According to the court documents, Vasquez reported the mistreatment after Thanksgiving 2024, and in response, the harassment escalated. She also alleges that her scheduled hours were reduced. When Vasquez complained again in March 2025, she claims that a supervisor threw hangers at her feet and threatened her.

Although the “Keeping Up With the Kardashians” star was not personally accused of bullying behavior in the filing, Vasquez alleges that the defendants failed to pay her in full, paid her late, failed to pay overtime wages, and failed to reimburse business expenses, among other claims.

Vazquez is seeking damages “in the form of unpaid wages, meal and rest period premium pay, unreimbursed business expenses, unpaid sick leave, and all other compensation unlawfully withheld.”

Representatives for Jenner have not yet responded to The Times’ request for comment.

Eddie Murphy is celebrating not just his lifetime achievement award, but also the arrival of his third granddaughter, perhaps the funniest baby alive.

Murphy’s son Eric and Martin Lawrence’s daughter Jasmin have welcomed their first child together, baby Ari Skye.

On Saturday, Murphy was honored with the 51st AFI Life Achievement Award at a gala in Hollywood and told reporters that he had recently celebrated back-to-back milestones.

“I just had my first grandson two months ago, and I had my third granddaughter two weeks ago. And I turned 65 a month ago,” he told “Entertainment Tonight” ahead of the gala. “It’s raining blessings on me.”

The ceremony celebrated his storied career across comedy and film, and featured tributes from fellow funnyman Dave Chappelle and “Shrek” co-star Mike Myers. The special will premiere May 31 on Netflix.

The “Dr. Dolittle” star also gushed about his new grandbaby to E! News, and told the outlet that being honored for his work was “a wonderful thing” but that his legacy wasn’t his work.

“My legacy to me is my children,” he said.

Asked whether he or Lawrence offered their kids any parenting advice as they prepared to welcome Ari Skye, Murphy said he’s more of a lead-by-example kind of dad.

“You don’t give advice like that,” he told the outlet. “Your kids don’t go by your advice. Your kids go by the example you set. They watch you. Stuff you be saying, they don’t even pay that no mind. They watch and see what you do.”

In March, Jasmin and Eric posted photos from their lavish baby shower on social media. The shindig included a three-tiered pink cake, pink cocktails garnished with meringue that looked like clouds and balloons galore. “The most beautiful and special celebration for our baby girl,” the couple captioned the post. “Thank you to our parents and everyone that made this day so magical! Ari Skye Murphy, you are SO loved already!!”

Excitement around Ari Skye’s arrival had been brewing in the media long before the couple even announced they were expecting. Murphy joked about a potential grandbaby when Jasmin and Eric were dating back in 2024, during an interview with Gayle King.

“They’re both beautiful,” he said. “They look amazing together. And it’s funny — everybody’s like, ‘That baby gonna be funny!’ Like our gene pool is just going to make this funny baby.”

Murphy agreed, saying: “If they ever get married and have a child, I’m expecting the child to be funny.”

Tens of thousands of readers of all ages, from toddlers clutching picture books to longtime fans carrying armfuls of paperbacks, fanned out across the USC campus Saturday for the opening day of the 31st Los Angeles Times Festival of Books, packing panels and lining up to see favorite authors and celebrity guests.

It was too early to know how many people attended the first day of the event, billed as the country’s largest literary festival, though organizers said they expect between 150,000 and 155,000 attendees over the weekend. By late morning, the campus was already bustling, with strong turnout expected for appearances by author T.C. Boyle and actors Sarah Jessica Parker and David Duchovny, among others.

Founded in 1996 and spread across eight outdoor stages and 12 indoor venues, the festival has become a fixture on Los Angeles’ cultural calendar, bringing together more than 550 storytellers for panels, author interviews, book signings, performances and screenings spanning a wide range of genres, from children’s story times to cooking demonstrations.

This year’s lineup features a broad mix of writers, performers and public figures, including comedian Larry David, musician Lionel Richie, multihyphenate businesswoman (and Beyoncé’s mother) Tina Knowles, author and social critic Roxane Gay and scholar Reza Aslan.

Under sunny skies, actor and reality TV personality Lisa Rinna brought humor and a bit of bite to a 10:30 a.m. conversation on the festival’s main stage. The “Real Housewives of Beverly Hills” alum released her second memoir, “You Better Believe I’m Gonna Talk About It,” in February, chronicling her time on the show and her recent turn on Season 4 of Peacock’s reality competition series “The Traitors.”

Reflecting on her approach to “Traitors,” Rinna said she wanted to strip away the conflict-driven persona she had cultivated on “Real Housewives” and present a more unfiltered version of herself. “I was like, ‘Self, listen. You’re gonna go in there and just be you. No housewife s—, none of that reactionary stuff.’ ”

In conversation with Times senior television writer Yvonne Villarreal, Rinna also spoke candidly about the loss of her mother, Lois Rinna, in 2021 and how her grief manifested in a feeling of rage while she was filming Season 12 of “Real Housewives.”

“It really took me by surprise,” she said. “And you have to give space for it because you can’t make it go away. … They always say time heals, but time makes everything just a little less intense.”

At a noon panel titled “Fire Escape: Wildfires and the Changing Geography of Southern California,” moderated by Times climate and energy reporter Blanca Begert, author and former wildland firefighter Jordan Thomas said the scale and frequency of California wildfires have shifted dramatically in recent decades.

“The vast majority of the largest wildfires in California’s recorded history have happened just in the past 20 years,” said Thomas, author of last year’s National Book Award finalist “When It All Burns: Fighting Fire in a Transformed World.” “While I was a hotshot, there were three of those fires burning simultaneously, including a million-acre fire — more than used to burn across the entire American West over the course of a decade.”

In the early afternoon, former Georgia Rep. Stacey Abrams spoke with moderator Leigh Haber about artificial intelligence and voter suppression in front of an enthusiastic, packed crowd at USC’s Bovard Auditorium.

Abrams’ latest Avery Keene novel, “Coded Justice,” came out last year and explores the role of artificial intelligence in the healthcare industry. AI has already become enmeshed in everyday life, she said, asking audience members to raise their hands if they had used TSA PreCheck or a streaming service.

“AI is a tool … but it is created by someone, it is programmed by someone, it is controlled by someone,” she said. “Regulation is not about slowing down progress. It is about asking questions and saying that in the absence of answers, we’re going to put on reasonable restraints that we can revisit.”

Abrams also revealed that her next book, the fourth in her Avery Keene thriller series, will focus on prediction markets.

“I write Avery Keene novels to tell stories about social justice, but I put it in a form that’s accessible to people who don’t think that they are social justice people,” Abrams said. “I want to meet people where they are, not where I want them to be.”

She also encouraged audience members to push back against voter suppression and defend democracy by volunteering at polling places — even in reliably blue districts — warning that she believes masked paramilitary groups will be allowed to patrol voting locations and target people of color in the upcoming midterm elections.

The festival kicked off Friday evening with the 46th Los Angeles Times Book Prizes ceremony at Bovard Auditorium, emceed by Times columnist LZ Granderson, recognizing both emerging voices and established writers.

Winners were announced in 13 categories for works published last year. Find a full list of winners here.

Oakland-born novelist Amy Tan, whose work often explores identity and the Chinese American immigrant experience, received the Robert Kirsch Award for lifetime achievement, and the literary nonprofit We Need Diverse Books received the Innovator’s Award for its work promoting diversity in publishing.

Accepting her award, Tan, author of the 1989 bestseller “The Joy Luck Club,” said that as a birthright citizen, she had never questioned her place in the country until recent debates over citizenship and belonging led her to reconsider whether she is, in fact, a “political writer.”

“My birthright and that of millions of others is now being argued before the Supreme Court, and no matter what the outcome is, it’s been a kick in the gut to know that those in the highest echelons of government and those who support them believe that we don’t belong.”

Tan said that as an author, “I imagine the lives of the people I write about,” and that act of compassion “reflects our politics and our beliefs. And so yes, I am a political writer.”

Addressing the attendees, Times Executive Editor Terry Tang pointed to the breadth of the weekend’s programming as an opportunity for connection and discovery. “If you take in just a fraction of these events, it will expand your mind,” she said. “This weekend gives all of us a chance to celebrate a sense of unity, purpose and support.”

The festival runs through Sunday. More information, including a schedule of events, can be found on the festival’s website.

Bombs are in and art is out as the Trump administration’s proposed 2027 budget requests $1.5 trillion in defense spending (up 44% from last year), while again attempting to snuff out the National Endowment for the Arts and the National Endowment for the Humanities, as well as the Institute of Museum and Library Services.

The budget proposal released earlier this month calls for just enough money to permanently wind down the operations of each agency: $29 million for the NEA (down from $207 million); $38 million for the NEH (down from $207 million); and $6 million for the IMLS (down from $291.8 million).

Congress has the final say about whether or not these cuts actually get made, and Sept. 30 is the deadline to pass next year’s budget. (Failure to do so could result in yet another government shutdown.) It’s worth remembering that Trump tried to defund these organizations last year and was thwarted by Congress. But the administration did successfully choke off funding for the Corporation for Public Broadcasting, which ceased operations in January.

It’s hard to know how this renewed threat to agencies that collectively support thousands of arts programs and initiatives across all 50 states, Puerto Rico and Washington, D.C., will play out, especially because the only constant in this administration is its mercurial temperament. Plus, Congress doesn’t have a great track record of keeping Trump in check (see Venezuela, Iran, the White House East Wing, the Kennedy Center, etc.). The ongoing war in Iran, which pundits warn could last until the midterms, may also impact how Congress decides to vote.

In times of conflict and chaos, we need the arts — a sentiment so obvious it normally goes without saying. But this moment somehow feels different. There were many alarming moves that Trump wanted to make during his first term that the so-called adults in the room allegedly kept him from achieving. Those adults are gone and he is now surrounded with enablers. This means the unthinkable is now possible — as we have seen time and again over the past 15 months.

In a country without the NEA, NEH and IMLS, hundreds of small local arts groups would likely cease to exist entirely — and with them, the community, education and enlightenment that underpin our increasingly fragile, fractured society. We can close our eyes until it happens, or we can start urgently ringing the alarm bells. I vote for the latter. Here’s a link to get you started.

I’m Arts editor Jessica Gelt banging a gong. This is your arts and culture news for the week.

Dispatch: mots take on AI at Flux Festival

A participant experiences “The Pledge,” part of artist duo mots’ acclaimed “AI & Me” series, on view April 25 at Blum Gallery, Culver City, as part of Flux Festival.

(mots / Daniela Nedovescu and Octavian Mot)

Artist duo mots is staging one of its exploratory AI-centered exhibits — “The Pledge” — at the upcoming Flux Festival at Bloom Gallery in Culver City (April 24 and 25). Last year, mots received quite a bit of attention for its U.S. premiere of “AI & Me,” part of Tribeca Festival’s Immersive Program. That piece, according to mots website, “dives into the weird dynamics between humans and artificial intelligence,” by placing people in a confessional style booth while AI tells them exactly what it thinks of them.

“The Pledge” takes that concept further by inviting participants to stand on a stage while AI-generates a statement about them— one that is solely based on appearance. The person then must decide whether to read the AI feedback aloud into a microphone or leave. If you decide to share, you become part of the permanent video installation.

In this moment of deep AI anxiety, the mots’ work is tapping into more than just a playful back and forth between man and machine.

“On one hand, we’re thrilled to see people lining up to interact with the pieces we build; on the other, we’re trying to gather the courage to destroy them and stop this madness before it’s too late,” the mots write on their website.

— Jessica Gelt

Dispatch: Monster Party

The adult-centric interactive melodrama “Monster Party,” at Rita House through April 25.

(Clint Keller)

“Monster Party” starts with a moment of ecstasy. Then the adult-centric interactive play gets demented — a bit demonic, even. We meet characters shrouded in mystery. Guests at a cocktail party, there’s a writer working on a book about supernatural creatures, a vacuum salesman with a closely guarded secret, a repressed religious fanatic and more. None of them can remember how or why they ended up at this soiree, hosted by the confidently cryptic Baroness, a character who clearly delights in creating sin and madness. We’ll soon find out this isn’t an event for the lucky.

But that’s not just what makes “Monster Party” special. Remounted after a short theatrical run in 2024, the work from immersive creator Matt Dorado intermixes the personal and political. Lurid, humorous and sexy, “Monster Party” is also a scathing critique of how political systems can drive one mad.

Set during the Lavender Scare, the anti-communist purge of LGBTQ+ people from the U.S. government in the 1950s, “Monster Party” opens with camp and then descends into very real horrors of life in the United States. You’ll drink, play parlor games and gradually uncover one dark skeleton after another.

The intimate production is limited to 50 guests per showing, and cocktails are included in the $159.45 ticket. Come ready to socialize.

8 p.m. Thursdays and Friday; 3 and 8 p.m. Saturdays, through April 26. Rita House, 5971 W. 3rd Street monsterpartyshow.com

— Todd Martens

The week ahead: A curated calendar

FRIDAY
Chaya Czernowin
Monday Evening Concerts presents the U.S. premiere of the Harvard-based Israeli composer’s “Poetica,” which she describes as “a journey of one into themselves,” performed by percussionist Steven Schick and the percussion ensemble Red Fish Blue Fish.
8 p.m. Zipper Hall at the Colburn School, 200 S. Grand Ave., downtown L.A. mondayeveningconcerts.org

The Last Days of Judas Iscariot
O.C. theater companies the Wayward Artist and Larking House team up for Stephen Adly Guirgis’ bold, darkly comedic courtroom drama set in Purgatory. Directed by Lizzy McCabe.
7:30 p.m. Friday and Saturday and April 23-35. Irvine United Congregational Church, 4915 Alton Pkwy., Irvine. thewaywardartist.org

Harry Fonseca
“Portrait of the Artist as a Young Coyote,” an exhibition of more than 30 paintings, prints and works on paper, follows the path of the late Native artist’s alter-ego, the Trickster Coyote, an exploration of his own identity and a means of challenging existing narratives. Also being exhibited is “Sedej Tuulémisé (Blood Relations),” featuring paintings by emerging artist Deerstine Suehead.
Noon-5 p.m. Tuesday-Saturday, through July 3. PDC Design Galleries, 750 N San Vicente, West Hollywood. pacificdesigncenter.com

Ryan Bancroft will conduct the L.A. Phil this weekend at Walt Disney Concert Hall.

(Carlin Stiehl/For The Times)

Shostakovich & Sibelius
Ryan Bancroft conducts the Los Angeles Philharmonic with cellist Alisa Weilerstein playing one of her specialties, Shostakovich’s “Second Cello Concerto.”
8 p.m. Friday; 2 p.m. Saturday and Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Liu Xiaodong
For the work presented in the exhibition “Host,” the figurative painter trained his eye on a Detroit tattoo artist with a penchant for medieval battle recreations.
10 a.m.-6 p.m. Tuesdays-Saturday, through June 13. Lisson, 1037 N. Sycamore Ave., L.A. lissongallery.com

SATURDAY
Back to Oz
MUSE/IQUE salutes a truly American fairy tale through music with pieces from “The Wonderful Wizard,” “The Wiz,” and “Wicked,” performed by Carmen Cusack, LaVance Colley, Nathan Granner, DC6 Singers Collective and the MUSE/IQUE Orchestra.
5 p.m. Saturday and Sunday; 7:30 p.m. Thursday and April 24; 2:30 and 7:30 p.m. April 25; and 2:30 p.m. April 26. Mark Taper Forum, 135 N. Grand Ave., downtown L.A. muse-ique.com

Colored People’s Time: A History Play
From Civil War to civil rights, Leslie Lee’s drama, directed by Ben Guillory, examines the lives of Black Americans through a century of struggle.
8 p.m. Thursday-Saturdays; 3 p.m. Sundays, through May 17. Los Angeles Theatre Center, Theatre Four, 514 S. Spring St., downtown L.A. therobeytheatrecompany.org

The Expanding Field: MOCA’s Collection from the 1940s to 1970s
Works by Mark Rothko, Luchita Hurtado, Piet Mondrian, On Kawara, Robert Rauschenberg, Betye Saar, Anne Truitt and others illustrate the breadth of the museum’s holdings.
Saturday through Sept. 20. Museum of Contemporary Art, 250 S. Grand Ave., downtown L.A. moca.org

Falstaff
Craig Colclough stars in LA Opera’s production of the energetic Verdi comedy about two wives turning the tables on an unwanted suitor in merry olde England.
7:30 p.m. Saturday; 2 p.m. April 26; 7:30 p.m. April 30, May 2 and 6; 2 p.m. May 10. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org

Steven Culp and Joey Stromberg in “For Want of a Horse” at the Echo Theater Company.

(Cooper Bates)

For Want of a Horse
Olivia Dufault’s comedy about an unusual love triangle involving a horse opens Echo Theater Company’s 2026 season. Directed by Elana Luo.
Opening night, 8 p.m. Saturday; 8 p.m. Fridays and Saturdays; 4 p.m. Sundays; 8 p.m. Mondays, through May 25. Echo Theater Company, Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.com

Hear Now Music Festival
A chamber concert doubleheader (separate admissions): The matinee features Lyris Quartet, Brightwork Ensemble and HEX performing Hugh Levick’s “No Pasaran” for brass quintet; Ania Vu’s “Small Tenderness” for vocal ensemble and string quartet; Liviu Marinescu’s “String Quartet No. 1”; Bryan Chiu’s “Anthology” for piano and horn; and Tom Flaherty’s, “Recess” for string quartet. Lyris Quartet and Brightwork Ensemble return for the evening show with mezzo-soprano Peabody Southwell, and the music of Peter Knell, “Canciones de Agua” for mezzo-soprano and violin; Sean Heim, “there is no such thing as time” for mixed ensemble; Vera Ivanova’s “The Firebird’s Feather,” for flute solo; and Jordan Nelson’s “Join” for string quartet.
Chamber Concert 1, 3 p.m. (2 p.m. preview); Chamber Concert 2, 8 p.m. (7 p.m. preview). First Lutheran Church of Venice, 815 Venice Blvd. hearnowmusicfestival.com

Claudia Keep
In the exhibition “Water, Water, Everywhere,” the painter finds fascinating details in the life-giving liquid and all its forms, including rivers, ocean waves, clouds and afternoon coffee.
Opening reception, 4-6 p.m. Saturday; the exhibition runs through May 30. Parker Gallery, 6700 Melrose Ave., L.A. parkergallery.com

Kinship & Community: Selections from the Texas African American Photography Archive
The exhibition, a collaboration between Art + Practice and the California African American Museum, shares the work of Black photographers who documented life in the urban neighborhoods and rural villages of eastern Texas from 1944 to 1984. Saturday evening, exhibition curator and NYU professor Nicole R. Fleetwood and Getty Research Institute curator LeRonn P. Brooks will discuss the exhibition and the volatile time of great change that it captures.
The exhibition opening is 11 a.m.-5 p.m. Saturday and runs through Sept. 5. Art + Practice exhibitions space, 3401 W. 43rd Pl. L.A. Conversation, 6-7:30 p.m. Saturday. Art + Practice programs space, 4334 Degnan Blvd., L.A. artandpractice.org

Majestic Tango
Directed and produced by Miriam Larici and Leonardo Barrionuevo, this program features 13 dancers and six musicians using music, movement and storytelling to convey the passionate energy of Buenos Aires.
8 p.m. Irvine Barclay Theatre, 4242 Campus Dr. thebarclay.org

Richard Mayhew, “West Bay,” 2004 Oil on canvas 36” x 48’.

(© Estate of Richard Mayhew. Courtesy the Estate and Karma)

Richard Mayhew
“Understory” surveys the artist’s work created between 1960 and 2023, when he saw his expressive landscapes as “an artistic reclamation of the land stolen from his Black, Shinnecock, and Cherokee-Lumbee ancestors.”
Opening reception, 6-8 p.m. Saturday; exhibition runs through May 30. Karma, 7351 Santa Monica Blvd., L.A. karmakarma.org

Natural HERstory
Drag performance meets real science in this 30-minute STEAM musical, developed by Drag Arts Lab and the Natural History Museum of Los Angeles County, and designed to engage elementary-aged learners.
11 a.m. Annenberg Community Beachhouse, 415 Pacific Coast Hwy., Santa Monica. eventbrite.com

Parsons Dance
David Parsons’ New York City-based troupe marks its 40th anniversary with a program set to the music of Milton Nascimento; Giancarlo De Trizio; Champion, Four Set & Skrillex (featuring Naisha); Miles Davis; Sheila Chandra; and Yusuf/Cat Stevens
7:30 p.m. Saturday; 2 p.m. Sunday. BroadStage, Santa Monica College Performing Arts Center, 1310 11th St. broadstage.org

The Storyteller of East LA
The Latino Theater Co. has the world premiere of Evelina Fernández’s magical realist drama about a 90-year-old woman with dementia and the challenges faced by her family and caregivers. Directed by Jose Luis Valenzuela.
8 p.m. Thursdays-Saturdays; 2 p.m. Sundays, through May 17. Los Angeles Theatre Center, 514 S Spring St., downtown L.A. latinotheaterco.org

Verdi in España
The Verdi Chorus performs sequences from the composer’s operas “Don Carlo,” “Il Trovatore,” “La Traviata” and “Ernani,” alongside Bizet’s “Carmen” and selections from Spanish composers Catán, Granados, Giménez, Torroba and De Falla.
7:30 p.m. Saturday; 4 p.m. Sunday. First Presbyterian Church, 1220 2nd St., Santa Monica. verdichorus.org

SUNDAY
Mozart’s Requiem
Grant Gershon conducts the Los Angeles Master Chorale in Mozart’s final masterpiece, plus the West Coast premiere of Fanny Mendelssohn’s “Oratorio on Scenes from the Bible.”
7 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org

TUESDAY
Yuja Wang and Mahler Chamber Orchestra
The celebrated pianist continues her long-standing collaboration with MCO for a program featuring works by Segei Prokofiev and Alexander Tzfasman.
8 p.m. Tuesday. McCallum Theatre, 73000 Fred Waring Dr., Palm Desert; 8 p.m. Wednesday. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa; 7 p.m. Thursday. Granada Theatre, 1214 State St, Santa Barbara; 8 p.m. April 25. The Saroya, 18111 Nordhoff Street, Northridge. mahlerchamber.com

WEDNESDAY
Khorus Harmonia
Katey Sagal and Kurt Sutter are producing ten performances of this choral concert to benefit the Coalition for Humane Immigrant Rights and The Wounded Warrior Project.
8 p.m. Wednesdays-Saturdays; 4 p.m. Sundays, through May 2. Hudson Backstage Theatre, 6539 Santa Monica Blvd. onstage411.com

This Ends Badly
The theater collective Frank’s presents an evening of short plays by Frank Demma, Marlane Meyer, John Pellech, John Pollono, Benjamin Weissman and Sharon Yablon.
8 p.m. Wednesdays, through May 13. Echo Theater Company, Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.ludus.com

Arts anywhere

New and recent releases of arts-related media.

The British Museum in London.

(Kin Cheung / Associated Press)

British Museum
As excitement builds for the opening of the new Geffen Galleries at LACMA on Sunday (for priority members; May 4 for the general public), one’s appetite may be whetted to visit other museums. Why not start in London with the British Museum? The sprightly 273-year-old institution boasts a collection of eight million works and draws more than six million visitors each year. But there’s no need for a plane ticket or a Tardis to see it. Google Arts & Culture offers virtual tours that allow you to wander the halls and grounds for free (and it won’t rain!). artsandculture.google.com

Philip Glass

Two opportunities to see the work of one of the finest American composers will soon be available with the click of a button or a tap of a screen. First up is “The Complete Philip Glass Piano Etudes featuring 10 Pianists” (which was performed at Walt Disney Concert Hall in 2024) streaming live from the 3,500-seat Hill Auditorium on the campus of the University of Michigan in Ann Arbor. 4:30 p.m. Saturday and on demand through April 28. youtube.com

Six days later, the Paris Opera offers its current, sold-out production of “Satyagraha,” Glass’ revelatory, triptych portrait of Gandhi. Directed by choreographers Bobbi Jean Smith and Or Schraiber, with a cast including Anthony Roth Costanzo and Davóne Tines — all four members of AMOC*, American Modern Opera Company — the show will be presented live on the Paris Opera Play streaming platform (for $14) at 10:30 a.m. April 24. POP’s live broadcasts are typically available on demand for 30 days following transmission. play.operadeparis.fr

— Kevin Crust

Culture news and the SoCal scene

Pooya Mohseni, from left, Ava Lalezarzadeh, Tala Ashe and Marjan Neshat in “English” by Sanaz Toossi at the Wallis Annenberg Center for the Performing Arts.

(Joan Marcus)

With the U.S. at war with Iran, “This is an important moment to experience ‘English,’ Sanaz Toossi’s Pulitzer Prize-winning drama, set in an English-language classroom outside of Tehran in 2008,” writes Times theater critic Charles McNulty. “The play, now having its L.A. premiere at the Wallis Annenberg Center for the Performing Arts, reminds us of the lives — the hopes, the dreams, the sorrows — on the other side of the headlines.”

It’s been an anxious journey for Bob Baker Marionette Theater since 2019 when it was forced out of its downtown home of 55 years. After a lengthy search, the nonprofit signed a 10-year lease for a former cinema-turned-Korean Church in Highland Park. With that, however, came the accompanying stress of being renters in L.A. But good news has arrived: the beloved theater “has entered into an agreement to purchase its [current] home at the corner of York Boulevard and North Avenue 50,” reports Times features columnist Todd Martens.

The Samuel Oschin Air and Space Center is a major expansion of the California Science Center.

(Myung J. Chun/Los Angeles Times)

California Science Center has completed construction on its new $450-million Samuel Oschin Air & Space Center, which houses the Endeavor shuttle. Staff writer Malia Mendez headed onsite to get the scoop on the, “sleek 20-story, 200,000-square-foot new building rising over Exposition Park,” nearly doubling the museum’s exhibition space.

The impossibly trendy SoCal health food retailer Erewhon is launching a cafe at Los Angeles County Museum of Art’s new David Geffen Galleries. And, like almost everything about the new building, public opinion is split on whether or not that’s a good idea.

Architecture writer Sam Lubell put together a fascinating Q&A with Peter Zumthor in which the Geffen Galleries’ architect addresses a number of ongoing criticisms about his creation, including its loss of square-footage.

In case you missed it: Pop singer Pink has will host the 79th Tony Awards. “The award ceremony returns to New York City’s Radio City Music Hall on June 7, with nominations announced May 5,” writes Times reporting fellow Iris Kwok.

Nathan Peterson, Cell 63 Flyer, May 29, 1992, displayed in CSUN Art Galleries, which received a Mike Kelley Foundation grant.

(© Nathan Peterson, Punk Arts & Culture)

It’s been a decade since the Mike Kelley Foundation for the Arts began awarding Infinite Expansion Grants to local contemporary arts organizations. The money has always mattered, but means even more during a time of great uncertainly about federal support for the arts (as I wrote in my newsletter intro). This year’s round of grantees was just announced, with nine L.A. contemporary arts groups sharing $400,000 in support. These groups, a news release says, “exemplify risk-taking, critical inquiry, and community engagement,” and include Art in the Park Community Cultural Programs; Color Compton; Cal State University, Northridge Foundation on behalf of CSUN Art Galleries; Barnsdall Art Park Foundation on behalf of Los Angeles Municipal Art Gallery (LAMAG); Los Angeles Performance Practice; Monday Evening Concerts; Clockshop; Institute of Contemporary Art, Los Angeles (ICA LA); and the Vincent Price Art Museum Foundation.

Big change is coming to the Soraya and California State University, Northridge. Artistic and Executive Director Thor Steingraber, is leaving his position after 12 years to become president and chief executive at Vivo Performing Arts in Boston. The Soraya has also announced Steingraber‘s replacement: Chad Hilligus. Hilligus arrives at CSUN from the Gallo Center for the Arts in Modesto where he served as chief executive and curated more than 100 multidisciplinary live performances.

And another leadership shakeup has come to the Los Angeles Master Chorale, which announced that its current president and chief executive, Scott Altman, will step down on June 5 to become executive director of Miami City Ballet. Master Chorale board member William Tully will serve as interim president while the group launches a national search for a replacement.

— Jessica Gelt

And last but not least

It doesn’t get much weirder than this: Hegseth recites ‘Pulp Fiction’ speech at Pentagon prayer service

The elephant in the room for the Lakers as they enter the playoffs has been, and will continue to be, the status of their starting backcourt, Luka Doncic and Austin Reaves.

Both are out because of injuries — Doncic with a grade 2 left hamstring strain and Reaves with a grade 2 left oblique strain — and neither is expected to play in the best-of-seven, first-round playoff series against the Houston Rockets that begins Saturday at 5:30 p.m. at Crypto.com Arena.

After practice Friday, coach JJ Redick was quick to say “there’s not” when asked about an update on Doncic and Reaves.

After Doncic and Reaves were injured on April 2 at Oklahoma City, the Lakers said both would be out until the end of the regular season. According to people not authorized to speak on the matter, both are expected to be out four to six weeks.

Doncic went to Spain to get treatment, and Reaves has been working diligently in L.A., with the hope that they can return sooner.

The Lakers miss their combined output of 56.8 points, 13.8 assists and 12.4 rebounds per game. Doncic led the NBA in scoring (33.5) and was third in assists (8.3); he was second on the Lakers in rebounding (7.7).

During the week of practice, Reaves was around his teammates and seen shooting after a few practices. He appeared to be in good spirits. Doncic was supposed to be back by Friday.

“We love having Austin here and we’re glad he is in a position to do his return-to-play [work], however long it takes with us,” Redick said. “Excited to get Luka back and be around the group. Austin and I talk just about every day about different things. So he’s … just being a part of this. …

“The mindset for our team and for those two guys, like we’re gonna try to make this season as long as possible so that we can get those guys back at some point. We don’t know what that is, and that’s just our job. And their job is to do everything they can to be in a position to come back at some point. It may not work, but that’s what we’re trying to do.”

The theme of the Lakers’ week at practice was to “elevate” their work.

Yes, they won’t have Doncic and Reaves, but that didn’t mean the Lakers couldn’t work harder.

When they worked on box-out drills in preparation for the way the Rockets attack the offensive boards, the Lakers went hard. When they watched film and had practice sessions, the Lakers worked with a purpose.

“The word we’ve used all week is ‘elevate.’ I think that’s what it is,” Redick said. “We all know the playoffs are different. They’re harder. There’s no easy matchups, and you have to be able to elevate your play. But beyond that, it’s elevating your recovery, your attention to detail, your preparation.

“I talked about that with my coaches as we started this week on Monday morning. It was an off day for the guys, but we were in there for six hours and we’ve all collectively gotta elevate. And particularly when you’re missing two of your top guys, part of elevating is elevating each other and the belief that the group as a whole can be great.”

The Rockets are a tough and rugged team that is good on defense and at rebounding.

They ranked fourth in the NBA in points given up (110.0) and tied for fifth in opponents’ field-goal percentage (46.0). They were tops in rebounding (48.1) and offensive rebounds (15.0).

That has the Lakers’ attention and is why they worked so hard during practice.

“It’s been great. The level of focus and attention to detail, the communication, everything has been elevated,” forward Jarred Vanderbilt said. “We’ve got a lot of guys that’s been to the playoffs and know what it takes.

“Like you said, everything elevates around this time and having a veteran group that’s kind of been there and had a taste of the playoffs, we all know what it takes to win games in the playoffs. It’s everybody going out and doing their job and paying attention to the game plan.”

In this week’s presidential debate, Mitt Romney fleshed out an idea he had previously mentioned briefly as a way to pay for his proposed tax cuts – setting a cap on itemized deductions.

“I’m going to bring rates down across the board for everybody, but I’m going to limit deductions and exemptions and credits, particularly for people at the high end,” the Republican presidential nominee said.

“One way of doing that would be to say everybody gets – I’ll pick a number – $25,000 of deductions and credits. And you can decide which ones to use, your home mortgage interest deduction, charity, child tax credit and so forth. You can use those as part of filling that bucket, if you will, of deductions.”

The cap, Romney said Tuesday night, would ensure that the wealthy would not receive an outsized tax break. “I am not going to have people at the high end pay less than they’re paying now” as an overall share of U.S. taxes, he said.

Moreover, he insisted, the cap would allow him to pay for his proposed tax cuts without increasing the size of the deficit.

“Of course they add up,” he responded when Candy Crowley, the debate moderator, asked him about whether his numbers penciled out.

Politically, a cap on deductions provides an attractive solution to raising tax revenue because it avoids having to wage fights over individual deductions.

Unfortunately for Romney, however, the cap does not come close to covering the full cost of the tax plan he has proposed, according to a new analysis by the Tax Policy Center, a specialized Washington think tank. The Romney tax plan would reduce federal revenue by about $5 trillion over 10 years in addition to the cost of the Bush-era tax cuts that he would extend.

“These new estimates suggest that Romney will need to do much more than capping itemized deductions to pay for the roughly $5 trillion in rate cuts and other tax benefits he has proposed,” wrote Roberton Williams, an analyst at the nonpartisan center, which is a joint operation of the Urban Institute and the Brookings Institution.

The Tax Policy Center analysis suggested that Romney’s proposed cap would raise revenue in a “highly progressive” way because upper-income households benefit more from itemized deductions. The center found that the cap would provide considerable revenue to offset the cost of the tax cut, but would still leave a huge gap.

The center’s staff consists of former government tax experts from both Republican and Democratic administrations. Romney and his aides cited the center as an authoritative source during Republican primary debates but since then have objected to the center’s analyses of shortcomings in their tax plan.

According to the center’s analysis, a $25,000 cap would raise about $1.3 trillion over a 10-year period. That would cover roughly a quarter of the 10-year cost of Romney’s tax plan.

If Romney made the cap tighter – allowing just $17,000 in deductions and credits – he could raise $1.7 trillion. A $50,000 cap would bring in about $760 billion. At various times, Romney has cited each of those figures as a proposed cap.

The tighter cap would hit many more taxpayers. If the cap were $50,000, for example, almost all the revenue that it would raise, about 80%, would come from taxpayers with income above $500,000 a year, and less than 4% would come from taxpayers earning less than $100,000, according to the center’s analysis. That’s because very few taxpayers other than the very wealthy have deductions that total more than $50,000.

By contrast, a cap of $17,000 would get about 40% of its revenue from that top group, and about 17% from the taxpayers earning $100,000 or less.

Romney has said that he expects part of his tax cut would be paid for by additional revenue flowing into the treasury as the result of faster economic growth. Economists disagree about whether a tax cut such as the one Romney has proposed – a reduction of current tax rates by one-fifth – would significantly increase economic growth.

In response to the center’s report, the Romney campaign issued a statement that did not dispute the math, but reiterated Romney’s position that “the President and Congress working together can make the tax code simpler, more efficient, and more pro-growth.”

[For the Record, 9:51 a.m. PST Oct. 18: This post has been updated to include the Romney campaign’s response to the Tax Policy Center’s report.]

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david.lauter@latimes.com

lisa.mascaro@latimes.com

Twitter: @DavidLauter

@LisaMascaroinDC