Tag Archives: The Wallis


Jacob Jonas The Company will close out its triumphant 2018–2019 season as the Wallis Company-in-Residence with two performances this weekend.

Daniel Ezralow will join company founder Jacob Jonas to dance in the world premiere of their new work viceversa. The evenings will end with a second world premiere: THERE’S BEEN A STUDY, choreographed by Jonas to an original score by vocalist and pianist Nicole Miglis—lead singer of Hundred Waters—which she will perform live.

Also on the bill: TO THE DOLLAR, Jonas‘ dance interpretation of Senator Elizabeth Warren‘s 2016 speech on income inequality:

“Today is Equal Pay Day. By the sound of it, one would think it is some sort of historic holiday commemorating the anniversary of a landmark day that our country guaranteed equal pay for women, but that is not what it is about—not even close. Because in the year 2016, at a time when we have self-driving cars and computers that fit on our wrists, women still make only 79 cents for every $1 a man makes, and we are still standing in the U.S. Congress debating whether a woman should get fired for asking what the guy down the hall makes for doing exactly the same job…

“Equal Pay Day isn’t a national day of celebration. It is a national day of embarrassment.”


Friday and Saturday, May 10 and 11, at 7:30 pm.

Wallis Annenberg Center for the Performing Arts

9390 Santa Monica Boulevard, Beverly Hills.

Jacob Jonas The Company in performance at the Wallis Annenberg Center for the Performing Arts, May 10, 2019, from top: Daniel Ezralow and Jacob Jonas, viceversa, Ezralow (left) and Jonas; Jacob Jonas, Crash, Jill Wilson and Nicolas Walton; Crash (from left), Lorrin Brubaker, Emma Rosenzweig-Bock, Danielle Coleman, Joy Isabella Brown, Wilson, Walton, and Mike Tyus; Jacob Jonas, To the Dollar, Brown (left) and Walton; To the Dollar, Rosenzweig-Bock (left) and Brubaker; Jacob Jonas, There’s Been a Study, Rosenzweig-Bock and Tyus; viceversa, Ezralow (left) and Jonas. Photographs by Matthew Brush.


In its Los Angeles debut just over a year ago, Malpaso Dance Company performed a contemporary program and at one point were joined onstage at the Dorothy Chandler by Arturo O’Farrill and his Afro Latin Jazz Ensemble.

For their return this week—three nights at the comparatively intimate Bram Goldsmith Theater at The Wallis—the Cuban troupe investigates the archives of high modernism. The performances will open with Jamie Scott’s restaging of Merce Cunningham’s FIELDING SIXES—music by John Cage—which premiered at Sadler’s Wells in 1980.

Ohad Naharin went to Havana last year to collaborate with Malpaso in its restaging of Naharin’s thirty-year-old masterwork TABULA RASA, which will close the shows.

Rounding out the program are Malpaso artistic director and co-founder Osnel Delgado’s OCASO, and company member Beatriz García’s new work SER (BEING).

On opening night, join the artists for a post-performance talk-back.


Thursday, Friday, and Saturday, March 28, 29, and 30.

All shows at 7:30 pm.

Bram Goldsmith Theater

Wallis Annenberg Center for the Performing Arts

9390 Santa Monica Boulevard North, Beverly Hills.

Malpaso Dance Company. Photographs by Lawrence K. Ho.


This week in Beverly Hills, Ludwig Göransson—composer for all of Ryan Coogler’s films, and producer of Haim and Childish Gambino—will perform live and join Elvis Mitchell for a conversation about film music and production.



Tuesday, January 15, at 7:30 pm.

Wallis Annenberg Center for the Performing Arts

9390 Santa Monica Boulevard, Beverly Hills.

Above: Fruitvale Station original soundtrack album.

Below: Donald Glover (left) and Ludwig Göransson.


The Windy City is in the house this week at The Wallis with the collaborative performance of Hubbard Street Dance Chicago and the music ensemble Third Coast Percussion, here for a three-night engagement in Beverly Hills.

The West Coast premiere of Emma Portner’s FOR ALL ITS FURY will open the show, prefaced by the composition “Perfectly Voiceless.” The solo work by Rena Butler is outstanding in this piece, and the energetic male pairings between Craig D. Black, Jr., Elliot Hammans, Florian Lochner, and Andrew Murdock are distinctive.

A second local premiere—Teddy Forance’s EVERYTHING MUST GO—will close out the first half of the evening. The works in Act One run in continuum, and the music for all three was written by Devonté Hynes.

After the break, the groups will perform Ohad Naharin’s IGNOREAlejandro Cerrudo’s PACOPEPEPLUTO, and Crystal Pite’s SOLO ECHO.



Thursday through Saturday, January 10, 11, and 12.

All shows at 7:30 pm.

Wallis Annenberg Center for the Performing Arts

Bram Goldsmith Theater

9390 Santa Monica Boulevard, Beverly Hills.

From top:

Hubbard Street Dance Chicago performs choreographer Teddy Forance’s Everything Must Go with David Skidmore of Third Coast Percussion.

Hubbard Street dancers (from left) Kellie Epperheimer, Jacqueline Burnett, Adrienne Lipson, Alicia Delgadillo, and Rena Butler in Ignore from Decadance/Chicago by Ohad Naharin.

Hubbard Street dancer Craig D. Black Jr. in PACOPEPEPLUTO by Alejandro Cerrudo.

Hubbard Street Dance Chicago in Solo Echo by Crystal Pite.

Hubbard Street dancer Rena Butler in For All Its Fury by Emma Portner.

All photographs by Kevin Parry, January 10, 2019, at the Wallis Annenberg Center for the Performing Arts.


The structure of LONG DAY’S JOURNEY INTO NIGHT is a key to its content. A threnody of dependence and addiction that begins at the breakfast table and ends long after last call, Eugene O’Neill’s posthumously produced masterpiece (now on the boards at The Wallis) runs the clock through a familial tale of dashed hopes, loss, grievance, and judgment. And as sure as the sun rises every morning, the cycle will repeat itself the following day and the day after that.

The play is O’Neill’s autobiography, a mordant distillation of his life in the early 1900s, when he returns home from the sea and is making his way as a poet and reporter. His father and older brother are already established as itinerant actors, and his mother—a convent girl when she met Eugene’s father—has been reduced to making a home out of hotel rooms and train coaches as she raises a family on the road. Temporarily settled in a rundown house in coastal Connecticut when the play begins, all of the O’Neills (the Tyrone family in the play) are addicts—father and both sons are alcoholics, and mother Mary Tyrone has a long-running morphine habit.

Jeremy Irons plays patriarch James Tyrone as an incorrigible old ham who has earned his eternal hour upon the stage as the result of being thrown to the wolves at age ten, and Irons’ act of selfless self-dramatization is a definitive reading of O’Neill and, in Los Angeles, sets the performative bar higher than it’s been in years.

For Mary—a spectator to her own life—morphine barely quiets a racing mind, and Leslie Manville somehow turns this picture of narcissistic need into a figure of sympathy. This may be partly due to the play’s obvious double-standard: the characters view heavy drinking as “a good man’s failing,” but Mary’s morphine habit—no more debilitating than the alcoholism of the rest of the family—is seen as an unspeakable horror.

As big brother James, Jr.—a bit of a cartoon in character and voice—Rory Keenan comes into his own late in Act II with a riveting confession scene that tears the roof off the theater. Matthew Beard portrays the play’s author (renamed Edmund Tyrone) as a prototype member of the Lost Generation, searching for gravity at the bottom of a bottle of whiskey.

This landmark Bristol Old Vic production is directed by Richard Eyre.


Through July 1.

Wallis Annenberg Center for the Performing Arts

9390 Santa Monica Boulevard North, Beverly Hills.

Top: Leslie Manville and Matthew Beard.

Above: Rory Keenan.

Below: Manville and Jeremy Irons.

Photographs by Hugo Glendinning.