Yes, I do tend to search out and favor idiosyncratic stage productions, rather than the more familiar cultural offerings, as I have commented on my arts and entertainment report for public radio 99.1 KBUU, and select websites everywhere.

It is not that I don’t appreciate the attractions at the Hollywood Bowl, Disney Concert Hall , and the Pantages theatre, among the more popular venues. And I do enjoy attending them on occasion.

But as I have observed an evolving Los Angeles has become increasingly open to the staging of individualistic and experimental productions. While they may be more challenging, if not at times off putting, they should be encouraged, and for me and other culture vultures, this makes L.A. the place to be, for feeling alive.

So it was last week it was to the Music Center’s Ahmanson Theatre, where the Wayne McGregor Company performed a dance concert based on the choreographer’s genome sequence. It made each selection random and unique, and as exquisitely interpreted by the supple, accomplished dancers, mesmerizing and fascinating.

And this week it is back to the Ahmanson for an equally promising experience of the Diavolo company’s Architecture in Motion, which weaves contemporary dance with dare devil gymnastics and fearless acrobatics; in the words of the choreographer, using “dance to explore the relationship between the human body and its architectural environment.”

Expect is the unexpected. What fun, and thank you Gloyra Kaufman Dance, for its continuing support of the contemporary productions.

Then next week enthusiastically recommended is the Los Angeles Master Chorale as you never heard it before, in two performance of the a cappella Renaissance masterpiece by Orlando di Lasso, “Lagrime di San Pietro,” in English, the Tears of St. Peter.

As directed by the always inventive Peter Sellars, Twenty-one singers will perform the magnum opus consisting of a madrigal cycle depicting the seven stages of grief that St. Peter experienced after disavowing his knowledge of Jesus Christ on the day of his arrest and prior to his crucifixion. It is described as a contemporary allegory for our fractious times; think the recent Senate deliberations.

Making this production particularly attractive to Malibu and Westside residents, is that it is being presented at the inviting Wallis Annenberg Center for the Performing Arts, in an accessible Beverly Hills.

And for the culturally adventurous, the venue known in brief as the Wallis deserves a shout out and support, for its cutting edge offerings, which the upcoming Master Chorale production next Saturday and Sunday most definitely promises to be, and no doubt a sell out too.




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Parallel careers as an urban planner and a journalist, principally at present airing commentaries on pubic radio 99.1 KBU.FM The many arrows in my quiver have included Emmy award winning reporter/ producer for local Fox Television News, design critic for the Los Angeles Times, urban affairs reporter for The New York Times, an editor of The New York Post, contributor to various popular and professional publications, news services and broadcast outlets, including Reuters, NET, NBC, CBS, NPR and the BBC. Founding editor of the East Harlem (NY) Independent. A diversity of professional positions and consultancies in the private and public sectors, (Metro, Disney Imagineering, Howard Hughes, M. Milken, NYC Educational Construction Fund, US Comptroller of the Currency etc,) assorted academic appointments (UCLA, USC, CCNY, Art Center etc.), and always open to new challenge. And let us not forget fashioning sand castles and acting on 90210, crafting TV docs, design reviews, master plans. Books: "The Dream Deferred: People, Politics and Planning in Suburbia," "L.A. Lost and Found," an architectural history of Los Angeles, "L.A. Follies," a collection of essays, and co-author of "The New York City Handbook." Writings have appeared in academic texts, commentaries on the web, scripts for TV, and wherever, latest the Architects Newspaper, The Planning Report and Planetizen.

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