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Downtown L.A. curfew update: City carves out exemptions for L.A. Opera and the Mark Taper Forum

Downtown L.A. curfew update: City carves out exemptions for L.A. Opera and the Mark Taper Forum

Yahoo12-06-2025
Los Angeles city officials on Thursday carved out a curfew exemption for ticket holders of indoor events and performing arts venues downtown including the Music Center, paving the way for evening performances of Center Theatre Group's "Hamlet" and Los Angeles Opera's "Rigoletto."
The news comes as Mayor Karen Bass' 8 p.m.-to-6 a.m. curfew for the civic center area approaches its third night and arts organizations, restaurants and other businesses across the area report a drop in patrons. On Wednesday, Center Theatre Group canceled a second night of director Robert O'Hara's world-premiere adaptation of "Hamlet" at a cost of roughly $35,000 in ticket sales per night. That's in addition to what the company is spending on production expenses.
"At this time, Center Theatre Group, the Music Center, and the surrounding streets have not been directly impacted by protest or law enforcement activity. Our staff and artists are already on site, and we look forward to seeing you," CTG wrote in a statement Thursday.
Major protests are planned nationwide for Saturday, when Trump's 79th birthday coincides with the massive 250th anniversary military parade he is throwing in Washington, D.C., at a reported cost of $45 million.
One of the so-called "No Kings" protests is scheduled to take place 10 a.m. to 2 p.m. in front of City Hall, prompting Center Theatre Group to cancel its Saturday matinee and evening performances of "Hamlet." Other events scheduled for that day and night have been been postponed, including a show by the rock band Ozomatli that's part of the Grand Performances series at California Plaza, and a Metro Art event called Bollywood Express at Union Station.
The Broad museum, adjacent to the Music Center, said it will close all weekend. "The safety and well-being of our visitors and staff continues to be our highest priority," the museum said in a statement.
L.A. Opera, however, issued a mid-afternoon news release announcing the curfew exemption and noting that "Rigoletto," scheduled to run from 7:30 p.m. to about 10:30 p.m. Thursday, would go on as planned. The company also is moving forward with its Saturday "Renée Fleming and Friends" concert, scheduled for 7:30 p.m.
"Attendees will need to leave the theater immediately afterward without lingering on the Music Center campus," the release said, adding that guests may need to prove their attendance at the show if stopped by law enforcement. "All ticket holders should have their tickets with them while in the area, either printed, digital or as a screen shot of the ticket."
The release also says that people should avoid driving through downtown from the south, where much of the military activity is centered.
A representative for L.A. Opera acknowledged that given the circumstances, ticket holders may choose not to show up. They will be allowed to exchange their tickets for one of the remaining performances June 15, 18 or 21; or they can request a refund from the box office.
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This story originally appeared in Los Angeles Times.
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Listen to ‘Hamlet.' Feel Better.
Listen to ‘Hamlet.' Feel Better.

New York Times

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  • New York Times

Listen to ‘Hamlet.' Feel Better.

'It is we who are Hamlet,' wrote the essayist and critic William Hazlitt. Though that observation is more than 200 years old, the similarities between Shakespeare's bewildered, semi-deranged prince and his audience — all of us — have rarely been clearer than they are today. His circumstances may not match yours in every particular (your newly widowed mother might not have married your uncle, who maneuvered you out of your claim to the throne) but, after the traumas of the past few years, Hamlet's sorrow is likely to feel familiar, as is his sense of powerlessness. Amid political unrest, military deployments in the streets, an unfolding climate crisis and the unforeseeable, possibly apocalyptic disruptions of A.I., who among us hasn't felt, as Hamlet does, that 'the time is out of joint'? A boomlet in productions of 'Hamlet' offers further evidence for the perennial relevance of this bloody tragedy — the story of a young man cracking up as he discovers that his life, his family, the kingdom and very possibly the divine order are not what he thought they were. Eddie Izzard has been touring a solo version of the play; the Royal Shakespeare Company has produced not one but two high-profile revivals, including 'Hamlet Hail to the Thief,' which fuses Shakespeare's text and a Radiohead album; and this year saw the American release of 'Grand Theft Hamlet,' a documentary about the play being staged inside a video game. This surge in popularity for the Dane need not be seen as an ill portent. Hamlet can, these days, seem like the distant forebear of a heavily scrutinized modern type — the lonely, paranoid boy prone to violent speechifying — but there's more than darkness in 'Hamlet,' and more than despair in its title character. You just need to see the story from the right angle — specifically, his. Hamlet's despair is so pervasive, and rendered so vividly by Shakespeare, that even people who have never seen the play or only dimly remember reading it in high school are familiar with the persona of the melancholy Dane: clad in black, moping around, unable to take action. Laurence Olivier gave the definitive description of Hamlet's paralysis when he opened his 1948 film adaptation by calling it the story of a man 'who could not make up his mind.' But there's a different way of interpreting the play. When you keep the focus on Hamlet — that is, when you omit all of the scenes when he's offstage, many of which are spent speculating on what he intends to do — you see that in the ways that matter most, he's not paralyzed at all. Contrary to what Olivier said, making up his mind is precisely the story of 'Hamlet.' Would you like to submit a Letter to the Editor? Use the form below to share your thoughts on this or any other piece published in The New York Times in the past seven days. If your submission is selected, an editor will contact you to review any necessary edits before publication. Most published letters will appear in both the online and print editions. Your submission must be exclusive to The New York Times. We do not publish open letters or third-party letters. Click here for more information about the selection process. Want all of The Times? Subscribe.

Grammy Museum in L.A. Presents ‘& Juliet: The Music of Max Martin and Friends'
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time3 days ago

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Grammy Museum in L.A. Presents ‘& Juliet: The Music of Max Martin and Friends'

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‘Videoheaven' Required Maya Hawke's Voice, a Decade of Close Viewing, and Seinfeld Jokes
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‘Videoheaven' Required Maya Hawke's Voice, a Decade of Close Viewing, and Seinfeld Jokes

There's a blink-and-you'll-miss-it moment in 'Lethal Weapon 3,' a tracking shot, that isn't meant to draw any kind of attention to itself. But it did draw the eye of director Alex Ross Perry and appears as part of his essay film, 'Videoheaven' because in the background of the shot, there are not one, but two video stores. Perry and editor Clyde Folley have watched movies and television shows for a decade now, hunting out depictions of video stores in cinema. 'Videoheaven' isn't just charting their rise and fall across the American commercial landscape, but the ways in which the cultural reception of video stores in films and TV shows allowed cinema to speak to and about itself, and to position us as viewers and consumers in a moment in history. 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