Politics and theater criticism, "Satyagraha" at L.A. Opera, and Westwood's Crest Theater to be reimagined as performance space.
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[Arts & Culture]
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Arts & Culture
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Welcome to the weekend. And go, Dodgers! Iâm Carolina A. Miranda, staff writer at the Los Angeles Times, with the weekâs essential arts news:
POLITICS GETS THEATER WRONG
Times theater critic Charles McNulty writes about how political news coverage is often likened to theater criticism. Itâs an insult to theater criticism, he writes: âThat quite a few talking heads decided that [Christine] Blasey Ford and [Brett] Kavanaugh were âequally compellingâ told me that safety was more important than nuance to these commentators, who (cowering behind generalizations) would rather proclaim the afternoon ârivetingâ than sort through more complicated thoughts.â [Insert flame emoji.] [Los Angeles Times](
Christine Blasey Ford and Brett Kavanaugh testifying before the Senate Judiciary Committee. (Getty Images)
A TEEN SENSATION
The Tony Award-winning âDear Evan Hansen,â about a teenager who becomes a social media star under false pretenses, has landed at the Ahamanson Theatre. âThis beautifully acted touring production [is] one of the most evocative portraits of the inner turmoil of adolescence ever put on stage,â writes Charles McNulty. [Los Angeles Times](
Ben Levi Ross in the title role of "Dear Evan Hansen" at the Ahmanson Theatre. (Genaro Molina / Los Angeles Times)
McNulty also has a look at Inua Ellamsâ âThe Barber Shop Chroniclesâ at the Freud Playhouse, which takes place across a series of barber shops where African-heritage men gather. âThese aren't voices we hear from regularly, so the news they bring of trials and ragged triumphs is enlightening,â he writes. âBut the play exists in some cloudy limbo between drama and pure performance.â [Los Angeles Times](
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A MAGNIFICENT PRODUCTION
Times classical music critic Mark Swed had a gander at the âmust-see magnificent productionâ of Philip Glassâs âSatyagrahaâ being staged by the Los Angeles Opera. He says Glassâ work, inspired by Mohandas Gandhiâs years as a barrister in South Africa, âessentially reformed the whole concept of what American opera could be.â [Los Angeles Times](
Sean Panikkar as Mohandas Gandhi surrounded by puppets in L.A. Opera's production of "Satyagraha." (Maria Alejandra Cardona / Los Angeles Times)
Swed also writes about Barrie Koskyâs production of âFiddler on the Roofâ (or âAnatevkaâ) at Berlinâs Komische Oper, âan easy stroll from the Reichstag, where the Nazi government once managed its endeavor to eliminate Jews.â At a time when anti-Semitic hate crimes are on the rise in Germany, the production, with half its cast Jewish, has struck a nerve with audiences, gaining rave reviews even as, Swed writes, âimmigration has everyone here uneasy about the uncertain social calculus of maintaining identities, hospitality and assimilation.â [Los Angeles Times](
Plus, Swed, who is one busy dude, checks out the L.A. Philharmonic on Week 3 of its centennial celebration. On the docket: Prokofievâs âRomeo and Julietâ and a performance by L.A. Dance Project. [Los Angeles Times](
In other classical music news, contributor Rick Schultz reports on pianist Seong-Jin Choâs âevocativeâ L.A. Phil debut. [Los Angeles Times](
ON STAGE
Margaret Gray reports on the fright-filled âWoman in Blackâ at the [Pasadena Playhouse]( â a âclever, playful, high-spiritedâ work that also offers plenty of good scares, while The Timesâ Daryl H. Miller checks out Sarah Burgessâs politically minded âKingsâ at [South Coast Repertory](. The artistic team is terrific, he notes, but the script is âcoldly wonkish.â
Miller also profiles Oliver Mayer upon the release of his new play, âMembers Only,â about an Irish Mexican boxer named Pedro Quinn, that is being staged by the Latino Theater Company. Of his soulful, pugilist character, Mayer says: âI thought that Quinn potentially could help me understand being alive in these years and the choices Iâve made.â [Los Angeles Times](
Playwright Oliver Mayer at Los Angeles Theatre Center. (Maria Alejandra Cardona / Los Angeles Times)
A NEW PERFORMANCE SPACE
The shuttered Crest Theater on Westwood Boulevard will soon be reborn as the UCLA Nimoy Theater, an experimental performance space programmed by UCLAâs Center for the Art of Performance. As CAP director Kristy Edmunds tells me: âIt allows a range of work, including digital film, live cinema and music and... dance.â [Los Angeles Times](
Brett Steele, dean of the UCLA School of the Arts and Architecture, and Kristy Edmunds, director of UCLA’s Center for the Art of Performance. (Carolyn Cole / Los Angeles Times)
ALL ABOUT THE ART MARKET
Nathaniel Kahnâs new documentary âThe Price of Everythingâ is in L.A. theaters this week. I review the new doc, which looks at the upper echelons of the art market, where âa painting fulfills a desire for power, prestige and financial one-upmanship.â [Los Angeles Times](
Buyers at an art auction, as seen in Nathaniel Kahn's "The Price of Everything." (HBO)
Plus, Jonathon Sturgeon has a worthwhile essay on art, the market and Banksyâs shredding stunt: âWith all things being equal, Banksy is the Thomas Kinkade of his generation.â [Baffler](
Related: Christieâs sold a portrait made via algorithm for $432,500 because art market. (Me thinks that algorithm is very Western art.) [New York Times](
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STREET SYMPHONY
Since 2011, L.A. Phil violinist Vijay Gupta (now a newly minted MacArthur fellow), has been performing free concerts for L.A.âs homeless community. The Timesâ Deborah Vankin followed him on his perambulations around skid row. âWe need arts now more than ever as a public health intervention,â he says. âThe role of the artist in todayâs world is not only to heal and inspire, but to disrupt and provoke.â [Los Angeles Times](
Violinist Vijay Gupta, left, visits with Kelvin Jefferson, 55, who lives on skid row with his dog Prince. (Genaro Molina / Los Angeles Times)
EXPLOSIONS OF COLOR AND POLITICS
Vankin also sat down for a Q&A with Tony Berlant, a key figure in the West Coast Pop Art Movement of the â60s. Berlant has a new solo exhibition at Kohn Gallery that features more personal work, including self-portraits. âTheyâre not for the art world, theyâre for me,â says Berlant. âThe more personal and intimate work becomes, the more universal and timeless it actually becomes.â [Los Angeles Times](
A detail from Tony Berlant's photographic, collaged-metal portrait of his wife at Kohn Gallery. (Patrick T. Fallon / For The Times)
Vankin (who has been busy) also hung with Robbie Conal, a poster artist who has long papered L.A. with his political broadsides. The artist has a show of work at Track 16 that takes on Trump and his Cabinet. His scathing caricatures, he says, were inspired by âthe best of the worstâ of the current administration. [Los Angeles Times](
A detail of Robbie Conal's print: "Brett Kavanaugh Breaking Bad." (Track 16)
MORE POLITICAL ART
Actor Jim Carrey is handy with a pen â and heâs using it to render Donald Trump in unflattering ways in a series of political cartoons that are now on view at L.A.âs Maccarone gallery. âThis is a piercing scream,â he tells The Timesâ Jessica Gelt of the exhibition. âI want people to vote. I feel like if we donât regain some sort of balance in the midterms, then weâre really lost.â [Los Angeles Times](
Jim Carrey at his gallery show of political cartoons at L.A.’s Maccarone gallery. (Christina House / Los Angeles Times)
IN THE GALLERIES
Contributing reviewer David Pagel reports on director David Lynchâs paintings at [Kayne Griffin Corcoran]( which âgive intimate form to the insecurities of adolescence, as well as installation artist Olafur Eliassonâs âmesmerizingâ âplanetary magicâ at [Tanya Bonakdar Gallery](. Pro tip: give yourself time to absorb this âwonder-inducing adventure.â
Olafur Eliasson, “Straight back.” (Jens Ziehe)
READY FOR THE WEEKEND
Margaret Gray rounds up whatâs happening in the [99-seat theaters]( some Southern Gothic) and Matt Cooper has his [weekend picks]( covering everything from âLa Traviataâ to Social Distortion.
Plus, my weekly [Datebook]( includes a quarter-mile long piece by Robert Rauschenberg and architecture by Sou Fujimoto.
AND THE WEEK AHEAD IN ARTS
Matt Cooper previews the [coming week in dance]( including a new seven-hour, three-part marathon work from Bill T. Jones and Arnie Zane Company at UCLA; coming [in classical music]( weâre looking forward to the Halloween performances of âVampyrâ from LA Opera and âNosferatuâ at Walt Disney Concert Hall. Looking ahead [in SoCal theater]( thereâs Eliza Clarkâs new comedy âQuackâ at the Kirk Douglas. Plus, Cooper looks at whatâs coming in [SoCal museums and galleries](.
IN OTHER NEWS…
â Someone tried to steal the Magna Carta. [BBC](
â On the myth of whiteness in classical sculpture. [New Yorker](
â Related: A video game that is faithful to what ancient classical cities may have looked like. [Hyperallergic](
â Gentlemen, start your quarters: Banning, Calif., is now home to a museum of pinball. [Los Angeles Times](
â New York City has allocated its largest budget ever for cultural programming: $198.4 million. [Hyperallergic](
â Broadway audiences are getting younger. [Deadline Hollywood](
â How do you stage a sex scene? Hire an intimacy director. [American Theatre](
â Two critics reflect on #MeToo and ballet. [New York Times](
â Kelly Hargraves is taking over as executive and artistic director at Dance Camera West. [LA Dance Chronicle](
â A show of Chicano art in Mexico City helps connect the Mexican and the American. [Artbound](
AND LAST BUT NOT LEAST…
Don’t go in the closet: The soundtrack for “Halloween” deconstructed. [Song Exploder](
Follow me on Twitter [@cmonstah](.
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