Tag Archives: The Wallis


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.



Twyla Tharp had her Nine Sinatra Songs, and at the Wallis this week, Bodytraffic presents its take on the Great American Songbook with Matthew Neenan’s A MILLION VOICES, a new dance work set to five Peggy Lee performances, featuring standards by Arlen and Mercer, Irving Berlin, Leiber and Stoller, and, of course, Benny Goodman—the bandleader with whom Lee started working when she was 22.

Is that all there is? For this tenth anniversary engagement, Bodytraffic will open the show with BEYOND THE EDGE OF THE FRAME (choreographed by Sidra Bell) and an excerpt from FRAGILE DWELLINGS (Stijn Celis), and after the intermission audiences will see the company premiere of Ohad Naharin’s GEORGE & ZALMAN.

The evening will close with a return to jazz: O2JOY, by Richard Siegal, set to songs by Jimmy McHugh and Dorothy Fields, and performances by Billie HolidayCount Basie, Ella FitzgeraldOscar Peterson, and Clark Terry.


BODYTRAFFIC, Thursday, Friday, and Saturday, May 31 through June 2, at 7:30 pm.

THE WALLIS, 9390 Santa Monica Boulevard North, Beverly Hills.



The company includes Tina Finkelman Berkett, Lorrin Brubaker, Joseph Davis, Haley Heckethorn, Natalie Leibert, Jessica Liu, Guzmán Rosado, and Jamal White.

Above: Choreographer Richard Siegal rehearsing O2Joy (in performance below).

Photograph below by Christopher Duggan.


The Los Angeles company premieres of Benjamin Millepied’s SARABANDE and Ohad Naharin’s YAG are among the highlights of L.A. Dance Project’s spring season at The Wallis.

Also on the bill: the three Graham pas de deux that make up MARTHA GRAHAM DUETS, and HELIX, choreographed by Justin Peck and set to music by Esa-Pekka Salonen.

For SARABANDE, Devan Jaquez (flute), and Fabiola Kim (violin) will accompany the dancers onstage.



Thursday through Saturday, April 5, 6, and 7, at 7:30 pm.

Wallis Annenberg Center for the Performing Arts

9390 Santa Monica Boulevard, Beverly Hills.

Above: L.A. Dance Project, Martha Graham Duets. Photograph by James Welling.

Below: Stephanie Amuro and Aaron Carr in Helix.