As you may recall from Gavin Creel's earlier post, the entire Broadway cast of "Hair" has made its way across the country, landing in L.A. in the wee hours of the evening after a rather wild flight from New York.
After the "Hair" tribe wraps its taping for "The Tonight Show" (tonight on NBC), they'll dash to the Here Lounge (696 N. Robertson Blvd., West Hollywood) for a special "be-in" event in support of marriage equality. They'll join gay-rights activist Cleve Jones and Oscar-winning screenwriter Dustin Lance Black at the event from 7 to 8 p.m. before heading back to New York. Then it's back to their normal routine, with a performance Tuesday night at the Hirshfeld Theatre.
Here's what they've been up to today:
8:36 a.m.: Wake-up call. Got to bed at 3:15 a.m. How am I functioning? It's sunny out. Go figure. Shower then down to the bus. Listening to "Apes and Androids" in this massive shower.
For those who attended the opening of “Crowns” at Pasadena Playhouse on Sunday, you needn’t have felt too bad if you missed Mass earlier in the day. This celebration of African American women and their proud tradition of hats provides enough church fervor to light up a thousand high holy days.
A theatrical work by playwright Regina Taylor that combines cultural studies, oral testimony and evangelical preaching, “Crowns” is based on the coffee-table book “Crowns: Portraits of Black Women in Church Hats” by Michael Cunningham and Craig Marberry. And the show, part gospel musical, part historical sermon, is indeed a milliner’s dream. Not only do the women don different chapeaus for different moods, but the set is lined with hanging headgear ranging from a modest pew pillbox to an Aretha Franklin bird cage.
This presentation of Taylor’s 2002 play is a co-production between Pasadena Playhouse and Ebony Repertory Theatre, whose inaugural production last fall of August Wilson’s “Two Trains Running” succeed by all accounts in setting a high bar for the new venue. Ebony Rep artistic director Israel Hicks, who staged that acclaimed revival, lends an assured directorial hand to "Crowns" — one that Wilson, whose plays magisterially heeded James Baldwin’s call for “a profound articulation of the black tradition,” would no doubt have heartily applauded.
Saturday morning a major story out of Washington had this headline on the front page of the Los Angeles Times: “Bush-era Surveillance Went Beyond Wiretaps.” That evening, “West Side Story” was screened in all of its widescreen glory at the Aero in Santa Monica as part of the American Cinematheque’s tribute to director Robert Wise. A critic’s exercise is to connect the dots.
The film of "West Side Story" opened in New York on Oct. 18, 1961, and went on to win 10 Academy Awards. In September 1962, the new home for the New York Philharmonic had its gala opening ceremonies. Philharmonic Hall (now Avery Fisher Hall) was the first theater of the new Lincoln Center complex on the Upper West Side of Manhattan, a revitalization of the nasty neighborhoods where the Anglo and Puerto Rican gangs fought it out in “West Side Story.”
On the surface, this was a triumphant time for Leonard Bernstein, who was music director of the New York Philharmonic and who had written the music for the great, politically acute Broadway show. Moreover, Bernstein’s friend, John F. Kennedy, was in the White House, and the mood in the country was optimistic.
In fact, quite a bit was eating away at Bernstein, and not merely that Philharmonic Hall turned out to have lousy acoustics or that Wise watered down the “West Side Story” score. Bernstein himself had been a victim of Eisenhower-era surveillance. This led to his being black-listed by CBS and the New York Philharmonic a decade earlier. His passport was also taken away. He'd had to if not sell his soul, at least lease it out temporarily to get his career back.
Robert Korda, a violinist who played with the Los Angeles Philharmonic for nearly 20 years, was found dead Sunday by the Los Angeles Police Department after he was reported missing by his family on Wednesday.
The LAPD said that Korda, 68, was reported missing after he failed to show up for work at the Gower Studios in Hollywood last week. An investigation as to the cause of his death is underway.
Korda began his tenure as a second violinist at the L.A. Philharmonic during the 1960-61 season and played with the orchestra until 1980. During his time with the philharmonic, Korda played under the baton of two music directors -- Zubin Mehta and Carlo Maria Giulini.
Since leaving the philharmonic, Korda has worked as a freelance musician and played with various orchestras and chamber groups.
According to police reports, Korda's body was identified Sunday in custody at the coroner's office. It turned out that authorities had picked up his body Wednesday at a home in Glendale and transported it to a hospital where he was pronounced dead later that same day. The body was subsequently transferred to the coroner's office.
Korda's son, Noah, had launched a frantic search for his father via a personal blog.
"My father has been found and my family and I are making funeral arrangements," says the latest entry on the blog. "At the families request, we ask at this time to please do not call any of the family's cell phone numbers or home numbers."
It's not every day that a pop star assumes the heavy mantle of opera, but if any songwriter has the hubris and vanity to take on the challenge, it would be Rufus Wainwright.
"Prima Donna," the Canadian star's first attempt at composing opera, generated a huge amount of buzz leading up to Friday's opening night at the Manchester International Festival. Composed by Wainwright, who also co-wrote the libretto, the opera tells the story of Regine Saint Laurent, a fallen opera diva who is contemplating her big career comeback after six years away from the stage. Set during Bastille Day 1970, the opera follows her interactions with a journalist and her servant as she seesaws between emotional extremes.
Performed in French, "Prima Donna" was originally slated for the Metropolitan Opera in New York, but Wainwright reportedly refused to give in to the company's insistence on an English-language opera. Following its run this month in Manchester, the opera is scheduled to play at Toronto's Luminato Festival in 2010.
Wainwright, who arrived at Friday's premiere dressed as Giuseppe Verdi, has made a point of telling journalists about his lifelong love for all things operatic. But does the opera world love him back? More to the point, do the critics?
The first reviews for "Prima Donna" have been all over the map, though one can safely assume that Rufus won't be giving up his day job anytime soon...
As Culture Monster reported earlier this month, the Tony Award-winning cast of "Hair" will be appearing today on "The Tonight Show" with Conan O'Brien. The cast completed the Sunday matinee performance, then the tribe -- 50 members strong -- hopped on a bus to catch a chartered plane from Teterboro Airport to L.A. Today they'll rehearse in the morning, perform on the show, then hop back onto the plane, returning to New York in time for their Tuesday night performance.
Tony nominee Gavin Creel (best actor in a musical) agreed to share with Culture Monster some behind-the-scenes details of the Hair tribe's whirlwind journey to the City of Angels. Here's his diary:
11:25 a.m. (EST): Today¹s the day. The "HAIRplane" will take to the skies to whisk 50 hippies to the West Coast. "Tonight Show," here we come! I'm at my apartment doing some last-minute packing and truly starting to contemplate what we are about to do. This is insane!!
2:25 p.m.: Nancy Harrington (our stage manager) and Penny Daulton (our company manager) just had a meeting with us about the ambitious travel plans. The "tribe," as usual, talked though the entire thing. We¹ll be lucky if we make it onto the plane! Now let's do a matinee!
5:45 p.m.: Steel Burkhardt and I are hangin' with Anthony Hollock (Mr. Broadway!) while we wait for the bus. "I wanna get outta heeeeere," Anthony says.
6:25 p.m.: Boarding the bus. We maaaaaay have taken a trip to the liquor store. No security on a private plane baby! We can make our own drinks!!!!
-- Take it or leave it: Dispute over his conservative architecture views leads Prince Charles to resign from Heritage board.
-- Back on stage: JoBeth Williams to star in Pasadena Playhouse production of Charles Randolph-Wright's "The Night is a Child."
-- Wear brown: Free admission to the Bowers Museum on Wednesday if you dress up like Rembrandt.
-- Set your TiVo: Cast of Broadway's "Hair" to perform on "Tonight Show" with Conan O'Brien. Read "Hair" star Gavin Creel's travel diary today on Culture Monster.
Productions of "Richard III," "Awake and Sing!" and "The Playboy of the Western World" are the highlights of A Noise Within's coming 2009-10 season, which will be the classical theater company's last at its Glendale location before moving to Pasadena.
The season will start in October with Shakespeare's "Richard III," to be directed by the company's co-artistic director Geoff Elliott. It will be followed by an adaptation of Dostoevsky's "Crime and Punishment" (Oct. 17) and a production of Michael Frayn's "Noises Off" (Nov. 14).
In the spring, the company will present productions of Shakespeare's "Much Ado About Nothing" (March 6), Clifford Odets' "Awake and Sing!" (March 20) and John Millington Synge's "The Playboy of the Western World" (April 17).
A Noise Within will bring back its production of Samuel Beckett's "Waiting of Godot" for a limited run starting Jan. 16.
The company said it expects to break ground at its new 35,000-square-foot facility in early fall. It intends to refurbish the Stuart Pharmaceutical Building, a midcentury modern landmark designed by architect Edward Durell Stone on Foothill Boulevard. The company has raised $9.2 million toward its revised goal of $13.3 million.
Currently the company resides at the former Masonic Temple on Brand Boulevard in downtown Glendale.
When The Times reported last year on the move, A Noise Within said it was aiming to raise $16 million. But thanks mostly to a decline in construction costs, the fundraising goal has decreased by about $2.7 million, according to the company.
-- David Ng
Photo: A Noise Within's current home, the former Masonic Temple in downtown Glendale. Credit: Los Angeles Times
If you want an art that can perpetuate an official, authoritative point of view, you could do worse than marshal the services of bronze sculpture. The copper and tin alloy has longevity. Refined production is exclusive, because it's hugely complex and expensive. Multiples can be made, spreading the official word.
But bronze casting is probably not the best way to go if you want an independent art that can challenge, experiment, invigorate or reconfigure your deepest assumptions. Important artists have certainly worked in bronze since the Renaissance, including some contemporary ones; but for every thrilling historical bronze sculpture by Donatello, Adriaen de Vries or Alberto Giacometti, there are countless quotidian examples by sculptors whose names are known only to specialists.
Most of the French ones are included in a new exhibition at the J. Paul Getty Museum. “Cast in Bronze: French Sculpture from Renaissance to Revolution” is a case study in art’s usefulness as a tool for consolidating officially expressed doctrine. However thorough, informative and often interesting, though, the array of more than 120 bronze sculptures, reliefs and medallions rarely inspires.
Jointly organized by the Getty, Paris’ Louvre Museum and New York’s Metropolitan Museum of Art,
where it has already been seen, the show opens at its final venue by recording a stylish transfer of power.
By my count (from the listing in the program book), 382 choristers filled the seats right up to the top balcony behind the stage of Walt Disney Concert Hall on Friday night for a performance of Beethoven Ninth Symphony by the Asia America Symphony. That’s a lot of singers to come by, and at least one was an admitted amateur.
Writing in the program book, he owned up to being “triply challenged: I don’t understand German, I can’t correctly read sheet music, and I can’t sing very high.” But Junichi Ihara, who happens to be the consul general of Japan in Los Angeles, said he spent eight months weekly rehearsing with the chorus in preparation to sing Schiller’s “Ode to Joy.” One couldn’t possibly tell how Ihara faired Friday, but the forthright mega-chorus was exceedingly well drilled and exciting to hear. Would that the world had more such culturally committed diplomats.
Ihara wasn’t this quixotic concert’s only Beethovenian interloper. David Benoit, who has been music director of the Asia America since 2001, is well known as a smooth jazz pianist and composer. His conducting experience is pretty much limited to the Asia America’s four or five concerts a season, and the programs are usually a mix of light classics, pop numbers and his own compositions.
A performance of Beethoven’s grandest symphony is, for this organization, unquestionably a stretch. Friday’s event was a special event, sponsored by the Japanese Business Association of Southern California and given a grand theme: “Bridging USA & Japan Concert.”
Of all of Shakespeare's comedies, "As You Like It" might just be the most difficult to follow. The comedy of romance and mistaken identity contains cross-dressing, character doubling and a fly-by gallery of supporting clowns whose paths intersect with a velocity that can make your head spin.
The New York-based Aquila Theatre, in residence at the Shakespeare Festival/LA, mischievously seeks to compound rather than simplify the confusion by having actors take on multiple roles in Russian-doll fashion. But instead of frustrating the viewer, this finely acted production succeeds at creating a pleasantly tipsy experience as it merrily toys with the fluidity of identity.
Set on a mostly bare stage, the Aquila's modern-dress interpretation takes a few liberties with Shakespeare's text, most noticeably in the beginning when the actors (playing themselves) perform a prologue set to music. Rosalind (Leandra Ashton) is a French nobleman's daughter who falls for Orlando (Richard Kidd), a moody young man from a rival clan. A series of arguments and misunderstandings leads to the exile of most of the main characters to the Forest of Arden, where they become unmoored from their former identities and engage in covert games of romantic hide-and-seek.
"One man plays many parts," says a character midway through the play, and indeed this production holds true to that edict by having most of the cast play multiple roles or play characters who assume multiple identities. Rosalind disguises herself as a man named Ganymede with the help of her saucy cousin Celia (Vaishnavi Sharma), who assumes the identity of a servant. The rest of the cast fills out the supporting ranks, with some actors taking on as many as eight parts.
The discombobulation is deliberate and largely successful thanks to laser-sharp acting from a seven-member cast called on to bring to life 20 characters. The best performances come from the actresses, who deliver their lines with clarity and unforced charm. As Rosalind, Ashton is superb in a famously difficult role, rendering her character's long-winded repartee with a seeming ease that is coupled with spot-on physical comedy. And Lucy Black, who plays a gallery of supporting roles of both genders, deserves special recognition for her versatility that never feels ostentatious or self-congratulatory.
Kenn Saberton's direction doesn't always manage to untangle the play's knotty twists and turns, but it succeeds in finding the right balance between comedy and melancholy while implicitly acknowledging that the two are joined at the hip. Those ambiguous moments are best encapsulated in a series of songs performed on guitar by Damian Davis, who casts the theatrical equivalent of an autumnal sigh over the play.
"As You Like It" isn't an easy comedy to embrace for either the audience or the cast. The Aquila's superb production makes the challenge feel worthwhile and exceptionally rewarding.
-- David Ng
"As You Like It." The Cathedral of Our Lady of the Angels, 555 W. Temple St., Los Angeles. 8 p.m., Tuesday through Sunday. (Also at South Coast Botanic Garden, 26300 Crenshaw Blvd., Palos Verdes Estates. 8 p.m. July 23-26.) $15-$23 (plus a limited number of free tickets). www.freewillLA.org. Running time: 2 hours, 30 minutes.
Photo: James Lavender, left, Damian Davis and Lucy Black in '"As You Like It." Credit: Marshall Bissett
Joel Grey always had disdain for people who took photographs with their cellphones.
“To me, that’s like standing in front of the Statue of Liberty or shooting yourself or shooting your friends,” says the 77-year-old Grey. “I never took it seriously.”
Best known for his Tony- and Oscar-winning performance as the malevolent, mischievous emcee in the seminal musical-drama “Cabaret,” Grey has also developed a reputation as a photographer.
He’s published two books — “Pictures I Had to Take” and “Looking Hard at Unexamined Things” — featuring vibrant, colorful images he shot around the world with a Nikon he bought in London in 1972.
“We had a show that sold very well in New York and had another show there about a year ago,” says the father of actress Jennifer Grey. “I have two pieces in the Whitney Museum and one in the New York Public Library.”
And now, with the release of his new book, “1.3: Images From My Phone,” it seems he doesn’t hate cellphone photos anymore.
In April I went to the Standard hotel in downtown L.A. to meet Paul Lewis, a British piano soloist who had just performed Mozart at Walt Disney Concert Hall the night before. I expected a remote, perhaps self-absorbed character: On the covers of his albums, he’s a brooding figure against a dark background, and he’s written about the strain and emotional agony it takes to play late Beethoven.
But Lewis turned out to be easygoing, and, in person, looked as if he were headed to a Renaissance fair.
We discussed his growing up in a household with no classical music, his dedication to Beethoven (of course), the importance of earning “belief” in your own sound, the tendency for young pianists to fall in love with the thunderous approach of Glenn Gould -- and the importance of moving away from his all-too-powerful influence.
As I stood to leave, I mentioned something about the British television show “The Office,” and found myself in a sophisticated conversation about the tradition of British humor from Shakespeare to Monty Python to Steve Coogan to Ricky Gervais, and to the American “Office.”
My experience with classical musicians is often that the demands of practicing and endless travel make them culturally isolated, so I was surprised by Lewis’ range.
I spoke to an old friend of the pianist, L.A.-based violinist Songa Lee. “I missed Paul’s wild years,” she said jokingly. But she said that even in the hothouse atmosphere of their conservatory, the Chetham’s School of Music, Lewis was never one to put on airs. “Really with two feet on the ground -- that’s how he’s always been. And he’s still, ‘Hey, how you doing?’ There’s been no transformation.”
While arts festivals are in full swing throughout Europe, culture also amps up during the sweltering summer months in Israel. The size of New Jersey, this hot-button country of 7 million-plus is in full celebratory mode, mounting opera in the park (from La Scala, no less) and an all-Hebrew production of “Who’s Afraid of Virginia Woolf?" and reveling in the 100-year anniversary of Tel Aviv.
Strolling Tel Aviv's tree-lined Avenue Rothschild, taking in the numerous Bauhaus buildings -- about 4,000 dot the city -- I make my way past bustling cafes and a surprising outdoor sushi bar to the architecturally superb Suzanne Dellal Center, currently celebrating its 20th anniversary.
Located in the heart of Neve Tzedek, a historic district with a mix of artists and intellectuals and where real estate, alas, is king, the Ottoman complex houses the world-famous Batsheva Dance Company. Directed by cutting-edge choreographer Ohad Naharin, 57, an Israel native, who recently sent his second company to Rwanda to open a children’s school, the troupe unveiled his latest piece, “Hora.”
Having nothing whatsoever to do with the traditional folk dance (and no, the hora is not a staple at weddings here), the 50-minute work is a mash-up of irony and imagery: A theremin-like “Afternoon of a Faun” accompanies Nijinsky-esque arm gestures, 11 dancers execute alarmingly precise unisons, and hard-core technique yields balancing poses to die for.
Apparently, Rembrandt, who engraved this self-portrait in 1630, didn't foresee that the Bowers Museum in Santa Ana would be celebrating his 403rd birthday on Wednesday by offering free admission to anyone who shows up dressed as the birthday boy -- or in any other form of Renaissance period garb.
Those with doublets, tights, plumed hats, flowing gowns, halberts and helmets -- or any other leftover costume from a Shakespearean stage production or the Renaissance Faire -- can pull it out of the trunk and skip the $12 regular admission or the $9 fee for seniors and students.
But those who want to truly dress for the occasion might consider a more raggedy look. The just-opened exhibition at the Bowers -- best known for its cultural history shows of Asian, Oceanic and ancient artifacts -- celebrates the ultimate Dutch master. It's called "Sordid and Sacred: The Beggars in Rembrandt's Etchings."
It’s difficult to imagine 50,000 people assembling in an American city’s central square to watch a ballet performance, but when Roberto Bolle and friends danced in Milan’s Piazza del Duomo, the atmosphere was more like a rock concert. He also brought ballet to Rome’s Colosseum and a central square in Naples. Bolle can attract huge crowds for this normally rarefied art form because he has achieved a level of celebrity in his native country that is hard to imagine being accorded to a comparable American virtuoso.
Advertisers such as Ferragamo feature this Italian ballet star’s boyishly handsome face and chiseled physique in campaigns, and he is often featured in magazine spreads and invited to fashion shows. For him, such extracurricular activities help shine a spotlight on ballet and cultivate a broader audience. “Many people know me as a dancer and start to come to the theater to see ballet, and before they didn’t,” he said recently in New York, where he was performing as American Ballet Theatre’s newest male principal dancer.
Soon after he first appeared with ABT in 2007, as a guest squiring Alessandra Ferri through her farewell performances, editors at American magazines caught on. Vanity Fair created a Florida beach scene featuring his hunky torso, and Vogue centered a lush 15-page "Romeo and Juliet" fantasy spread by Annie Leibovitz around him as the doomed lover.
Romeo is the role that will introduce Bolle to Los Angeles audiences this week, on ABT’s opening night (Thursday) at the Dorothy Chandler Pavilion. But even though he performs the heroes of all the full-length ballets — he danced four of them with ABT in New York — his interests extend to more contemporary works. In May, he danced Balanchine’s Apollo, one of ballet’s great touchstone male roles, at La Scala, and this fall he reprises the technically taxing role of Oberon in that choreographer’s "Midsummer Night’s Dream."
“I really want, more and more, to dance modern and different choreography. I think it’s important for me — it’s like growing as an artist, changing my repertoire. In December, I will dance in a new production by John Neumeier, with the Hamburg Ballet — a brand-new ballet he will create for me — something I’m dreaming about!”
In recent years, Anselm Kiefer has been known as much for his reclusive nature as for his works of art. So when the France-based, German artist agreed two years ago to design and direct a new production at the Opera National de Paris, the international art world sat up and took notice.
"In the Beginning," which opened this week in Paris, is being billed as a hybrid theatrical production and art installation. The new piece was created to honor the 20th anniversary of the company's main house, the Opera Bastille, and was commissioned by the company's leader, Gerard Mortier. Kiefer serves as the principal designer -- sets and costumes -- as well as the director. The music is composed by Jörg Widmann, who is best known as a clarinet soloist.
The mostly plotless spectacle begins with a recorded introduction by French movie actor Denis Podalydès, and features recitation accompanied by a clarinet (Widmann), an accordion and a glass harmonica. Slowly and with dance-like deliberation, the onstage performers enact an abstract version of Western civilization's endless cycle of destruction and rebirth. There are also biblical references galore, as the actors intone ominous passages from the Old Testament.
Of course, the star of the production is Kiefer, who has brought his epic monumentalist sensibility to bear on this world premiere staging. His sets evoke the great ruins of European antiquity while also suggesting a vaguely sci-fi apocalypse.
The limited-run engagement ends July 14.
Click through to see more images of Kiefer's striking set designs...
Suits of armor were once so finely wrought that an attacking lance would glance off their smooth metal harmlessly. But then, as the Middle Ages moved into the Renaissance, European kings demanded that the craftsmen finish the armor with elaborate decoration. All the engraving and embossing upset the surface of the armor. A lance would no longer slip away. But that did not matter.
Decorated armor was for show, so that the kings would look majestic and powerful and indestructible, especially in portraits by great painters.
One of the grandest collections of decorated armor belongs to the Royal Armory of Spain. The National Gallery of Art has now brought some of the finest samples of this Spanish armor and placed them alongside portraits of armor-bearing kings and noblemen by such painters as Diego Velázquez, Peter Paul Rubens and Anthony van Dyck. Both National Gallery and Spanish Armory officials say this has never been done before.
The exhibition, “The Art of Power: Royal Armor and Portraits From Imperial Spain,” which closes Nov. 1, is part of an extraordinary Spanish summer at the National Gallery. A second but far different exhibition, “Luis Meléndez: Master of the Spanish Still Life,” closes in late August and goes on to Los Angeles. There is an ironic link between the shows, for Meléndez tried for many years during the 18th century to become a court painter of kings but failed despite enormous talent.
Pink hair, plaid suits, red carpet: That was the scene on Thursday evening outside downtown's Club Nokia as a crowd gathered to watch celebrities arrive for the Forever Plaid 20th Anniversary Special! (Exclamation point courtesy of the show's PR machine, not Culture Monster.)
Don't say we didn't warn you: In a recent post, Culture Monster revealed that, to celebrate the 20th birthday of the ubiquitous "Forever Plaid," a movie version of the musical -- plus a red carpet pre-show and a live stage show with audience sing-along presented after the movie -- would be shown via satellite feed to 500 theaters in the U.S. and Canada, live from Club Nokia.
There were TV and movie celebs -- Carl Reiner, JoAnne Worley, Tippi Hedren, Loretta Devine, to name a few -- and local Web-celebs: pink-haired darling Audrey Kitching, who Culture Monster is told is "an international model and Internet sensation," and Clint Catalyst (in a plaid suit you had to see to believe), also well known on the Web as a writer and the kind of guy who hunts out "cool," then lets Web friends in on the buzz.
Watching the impassioned crowds surge through Tehran's tense streets, pop singer Andy Madadian wanted to take action. But how?
An Armenian native of Iran who has lived for three decades in Los Angeles, Madadian avoids direct involvement in his homeland's politics. But as Iran was plunged into crisis last month by a fiercely disputed presidential election, the man known as "the Persian Elvis" wanted to send a musical message of sympathy and support to his countrymen.
So it was that on June 24, working with A-list producer Don Was, rock singer Jon Bon Jovi and his longtime guitarist Richie Sambora, Madadian recorded a propulsive cover of "Stand by Me," the old Ben E. King classic, with lyrics in Farsi and English. Although "Stand by Me" -- or, if you prefer, "Ma Yeki Hastim," which translates as "We Are One" -- is no protest anthem, it appears to have struck a chord, judging by its combined 600,000 hits on YouTube and other sites.
Read the rest of the story here. And for a look at how U2 has joined in, click here.
Photo: Andy Madadian. Credit: Christine Cotter / Los Angeles Times
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