Category Archives: PERFORMANCE


The songs on the first album are the children. The songs on the second album are their parents. GHOSTEEN is a migrating spirit.

Thus Nick Cave describes his new double album GHOSTEEN, songs from which he may perform this week at Disney Hall as part of his CONVERSATIONS WITH NICK CAVE—AN EVENING OF TALK AND MUSIC.

Four years ago, Cave’s teenage son Arthur fell off a cliff to his death after taking LSD. On the album Skeleton Tree (2016), the documentary One More Time with Feeling, and his interactive fan website The Red Hand Files, Cave has worked through his grief, an ongoing process he continues in GHOSTEEN.

Per a notice on Disney Hall’s website, during Tuesday night’s show—during which Cave will sing and play solo on piano, as well as take questions from the audience—”no subject is sacred, and the entire evening will be unfiltered, unscripted, and unmoderated, leading to what Cave calls an exercise in connectivity.”


Tuesday, October 15, at 8 pm.

Walt Disney Concert Hall

111 South Grand Avenue, downtown Los Angeles.

Nick Cave images courtesy and © the artist, photographers, designers, and publishers.


William Forsythe presents A QUIET EVENING OF DANCE, two weeks of performances at The Shed mixing old and new works, set to the sound of the dancers breathing.

The program includes DIALOGUE (DUO2015) and CATALOGUE (SECOND EDITION) and, as a closer, the new SEVENTEEN/TWENTY ONE.

SEVENTEEN/TWENTY ONE is… a work whose brilliance Mr. Forsythe has deliberately primed us to see through the quiet rigors of the preceding works.” — Judith Mackrell

A QUIET EVENING OF DANCE will be performed by Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf Yasit, and Ander Zabala.


October 11 through 25.

Tuesday through Saturday at 7:30 pm. Sundays at 3 pm.

No performance on Thursday, October 17.

Griffin Theater, The Shed

545 West 30th Street, New York City.

William Forsythe, A Quiet Evening of Dance, from top: Ander Zabala and Parvaneh Scharafali; Rauf Yasit (foreground) and Christopher Roman (2); Jill Johnson and Roman (2); Riley Watts (right), Zabala, and Brigel Gjoka(red pants); Yasit and Scharafali; Johnson and Roman. Images courtesy and © the choreographer, the dancers, and the videographer.


I am homosexual, I am a psychiatrist. I, like most of you in this room, am a member of the [American Psychiatric Association] and am proud of that membership. However, tonight, I am insofar as it is possible, a we.— Dr. John E. Fryer, aka Dr. Henry Anonymous

So began Dr. Fryer’s 1972 speech at the APA convention in Dallas. Wearing a rubber mask and speaking through a voice-altering device, Fryer anonymously addressed a panel titled Psychiatry: Friend or Foe to the Homosexual? A Dialogue.

(Since 1952, the APA had classified homosexuality as a “sociopathic personality disorder”—a diagnosis, paradoxically, welcomed at the time by many in the gay community, who saw it as a step up from the then prevailing view of queerness as a criminal perversion.)

Dr. Fryer was convinced he needed his disguise to keep medical license, but his courageous speech struck the convention like a bolt of lightening, and the following year the APA removed homosexuality from its Diagnostic and Statistical Manual of Mental Disorders.

Writer-director Ain Gordon went through Dr. Fryer’s personal papers to create 217 BOXES OF DR. HENRY ANONYMOUS, onstage this weekend at UCLA’s Freud Playhouse. This conceptual theater piece focuses on three people in Dr. Fryer’s life: his secretary Katherine M. Luder (played by Laura Esterman), his father Ercel Fryer (Ken Marks), and one of his patients, Alfred A. Gross (Derek Lucci)—a fascinating character who, among other things, assisted doctors working with the Selective Service System to weed out potential gay troops leading up to World War II, during which time Gross was accused of “fraternization” with a number of his interlocutors.


Friday, October 11, at 8 pm.

Saturday, October 12, at 3 pm and 8 pm.

Freud Playhouse, UCLA

245 Charles E. Young Drive East, Los Angeles.

Ain Gordon, 217 Boxes of Dr. Henry Anonymous, from top: Derek Lucci; Dr. John E. Fryer (right) at the 1972 APA convention in Dallas; Laura Esterman; Ken Marks, with rear projection of Dr. Fryer. Lucci and Marks photographs by Paula Court. Images courtesy and © the performers, the photographers, and CAP UCLA.


In conjunction with BAUHAUS BEGINNINGS, open for one more week at Getty Center, BAUHAUS—BUILDING THE NEW ARTIST is an online exhibition that “offers an in-depth look into the school’s novel pedagogy.”*

Following the end of World War I, the provisional government of the short-lived Free State of Saxe-Weimar-Eisenach in Germany initiated an effort to reestablish two schools, the Weimar School of Applied Arts (Weimar Kunstgewerbeschule) and the neighboring Academy of Fine Arts (Hochschule für bildende Kunst), as a single, unified institution…

Upon the recommendation of Belgian architect Henry van de Velde, who had previously directed the Weimar School of Applied Arts, the Berlin architect Walter Gropius was invited to head the new school. Gropius’ request to rechristen the institution under a new name, BAUHAUS STATE SCHOOL (Staatliches Bauhaus), was approved in March 1919.*


Online exhibition in conjunction with


Through October 13.

Getty Center

1200 Getty Center Drive, Brentwood, Los Angeles.

From top: Postcard sent to Jan Tschichold with aerial photograph of Bauhaus Dessau, Walter Gropius, architect, 1926, photograph by Junkers Luftbild, 1926, gelatin silver print on postcard, Jan and Edith Tschichold Papers, 1899–1979; Vassily Kandinsky, Color Triangle, circa 1925–1933, graphite and gouache on paper, Vassily Kandinsky Papers, 1911–1940; students in a workshop at the Bauhaus Dessau (2), photographer(s) unknown, undated, gelatin silver prints; Erich Mzozek, Still-life drawing with analytical overlay, circa 1930, graphite on paper and vellum, © Estate Erich Mrozek; Geometric study of spiral form, artist unknown, undated, graphite and colored graphite on paper; Friedl Dicker, Light-dark contrast study for Johannes Itten’s Preliminary Course, 1919, charcoal and pastel collage on black paper. ; Pamphlet for Farben Licht-Spiele (Color-light plays), Ludwig Hirschfeld-Mack, 1925, letterpress, Bauhaus Typography Collection, 1919–1937, © Kaj Delugan; Erich Mzozek, Study for Vassily Kandinsky’s Farbenlehre (Course on color), circa 1929–1930, collage with gouache on paper, © Estate Erich Mrozek. All images courtesy and © the Bauhaus-Archiv and the Getty Research Institute.


The world premiere engagement of THE SUN STILL BURNS HERE—a collaboration between choreographer Kate Wallich and her troupe The YC, performer Mike Hadreas / Perfume Genius, musician Alan Wyffels, and art director Andrew J.S.— starts this weekend in Seattle, followed by a New York presentation at the Joyce, and dates in Minneapolis and Boston.


Friday and Saturday, October 4 and 5, at 8 pm.

Moore Theatre

1932 2nd Avenue, Seattle.

Wednesday, November 13, at 7:30.

Thursday through Saturday, November 14, 15, and 16, at 8 pm.

Sunday, November 17, at 2 pm.

Joyce Theater

175 Eighth Avenue (at 19th Street), New York City.

From top: Kate Wallich and Mike Hadreas / Perfume Genius, photograph by Agustin Hernandez; The Sun Still Burns Here MASS MoCA work-in-progress rehearsal and performance, June 2019, photographs by Andrew J.S. (2); posters for the Moore and the Joyce engagements, photographs by Agustin Hernandez (2); Hadreas MASS MoCA photograph by Andrew J.S., The Sun Still Burns Here photograph by Agustin Hernandez. Images courtesy and © the artists, performers, designers, and photographers.