Sales are good, tickets are selling out, events are full, and the sun is shining—although a brief shower is forecast for midday Sunday—so the inaugural edition of Frieze Los Angeles should be followed by many more.
We hope Felix returns, too. Co-founded by Morán Morán brothers Al and Mills and collector Dean Valentine, it’s an intimate fair headquartered in Hollywood.
When you’re out on the Paramount studio backlot in the Frieze Projects section, stop by the Sqirl/Acid-Free space for Sqirl Away to-go items from the Los Feliz restaurant as well as a selection of art books and periodicals, including Liz Craft’s …my life in the sunshine—published by DoPe Press—and the new print issue of PARISLA.
FRIEZE LOS ANGELES
Through Sunday, February 17.
Paramount Pictures Studios
5515 Melrose Avenue, Los Angeles.
From top: Ken Price, Return to LA, 1990, courtesy the artist and Matthew Marks (Frieze LosAngeles); Florian Morlat, collage, courtesy of the artist and The Pit (Frieze Los Angeles); JessiReaves installation at Felix, courtesy the artist and Bridget Donahue, New York; KristenMorgin, Jennifer Aniston’s Used Book Sale (detail), ceramic, courtesy the artist and Marc Selwyn Fine Art (Felix); David Hockney, Peter Showering, 1976, C print, courtesy the artist and MatthewMarks (Frieze Los Angeles); Nan Goldin, Blue, 2016, courtesy the artist and Marian Goodman (Frieze Los Angeles).
Liz Larner—whose exhibition at Regen Projects opens in May 2019—and Ariana Reines—author of the forthcoming collection A Sand Book—get together for a late afternoon talk on the final day of this year’s Frieze Los Angeles.
From top: Liz Larner, photograph by Daniel Marlos, courtesy Larner and Regen Projects; LizLarner, iv (inflexion), 2014–15, ceramic, epoxy, pigment, stones, and minerals, courtesy the artist; Ariana Reines, photograph courtesy Reines and Frieze.
In the early 1990s, Ian Hart played John Lennon in two movies.* The first—THE HOURS ANDTIMES (1991)—imagines Lennon and Beatles manager Brian Epstein engaging in a nascent sexual relationship during a long weekend in Barcelona.
The film—written and directed by Christopher Munch, and co-starring David Angus as Epstein—has been restored by the UCLA Filmand Television Archive, and will screen on the closing day of their 2019 FestivalofPreservation.
By the mid-1950s, Nat “King” Cole was one of the biggest singing stars in the world and the most prominent African-American, by far, to host his own television variety show. The Nat King ColeShow aired for just over a year during NBC’s 1956–1957 season and drew only one national sponsor—the makers of Arrid deodorant bought a few months of airtime. The slack was taken up by a number of local alcoholic beverage companies—Rheingold in New York, Regal beer in New Orleans, rotgut Thunderbird in Chicago—who didn’t seem to share Madison Avenue’s fear of a boycott once eyes in the South got a look at Cole sharing the stage with such white, female stars as June Christy, Margaret Whiting, Peggy Lee, Gogi Grant, and the raw and raucous Betty Hutton. (Heads must have exploded across the country when mixed-race couple PearlBailey and Louis Bellson appeared as Cole’s guests in July 1957.)
This is the story from which playwright and actor Colman Domingo and writer-director Patricia McGregor have crafted LIGHTS OUT: NAT “KING” COLE, their short and bracing blend of show-stopping entertainment, social activism, and American Grand Guignol, set on December 17, 1957, the final night of the broadcast.
The drama begins with Cole (DuléHill, a picture of grace under pressure) sitting at his dressing-room table, contemplating his future and enduring the indignity of the studio’s make-up artist (Mary-Pat Green) reluctantly lightening his skin with powder. Visited by memories, hallucinations, and nightmares, Cole is confronted with the question: Will he call out the racism and abuse that were/are a part of everyday life for black men and women in this country, no matter how successful, or will he remain the singer white America loved to listen to, but not share a meal with—smooth, dignified, reserved Nat Cole?*
The angel-devil on Cole’s shoulder pushing him to break out of his shell is the triple-threat Rat Packer Sammy Davis, Jr., played by Daniel J. Watts as a delight of motor-mouth megalomania. Singing, swinging, mugging, telling jokes, imitating Cole, and—midway through the show—joining the headliner in a cathartic tap-dance duel that brought down the house, Davis is Cole’s conscience, a release valve for his eleventh-hour breakdown.
About the showstoppers: In addition to the tap number, the vocalists ZonyaLove (as Cole’s mother) and Ruby Lewis (as Betty Hutton, singing Frank Loesser’s “I Wish I Didn’t Love You So”) nail their big numbers and school the audience in Fifties-style professionalism, and Gisela Adisa brilliantly captures the erotic cheek and wonderful feline absurdity of Eartha Kitt.
Edgar Godineaux is the show’s choreographer, and tap and additional choreography are by Jared Grimes. The tight music and vocal arrangements and orchestrations by John McDaniel live up to those by the legendary Nelson Riddle, portrayed upstage with his live band led by David Witham.**
*Six months before the premiere of his television show, Cole was attacked and beaten on stage in Birmingham, Alabama.
**In addition to Witham on keyboards, Greg Porée plays guitar, Edwin Livingston is the bassist, and Brian Miller handles drums and percussion.
From top: Dulé Hill as Nat “King” Cole in Lights Out—Nat “King” Cole, Geffen Playhouse, 2019; Hill and Daniel J. Watts as Sammy Davis, Jr.; Gisela Adisa as Eartha Kitt; Ruby Lewis as Betty Hutton and Hill; Watts and Hill; Hill. Photographs by JeffLorch.
From top: Lauren Halsey; Lauren Halsey, The Crenshaw District Hieroglyph Project (PrototypeArchitecture), (detail), 2018, Hammer Museum, Made in L.A. 2018, image courtesy the artist and the Hammer Museum; Halsey.