I can’t think of another time that I was quite as terrified as when I walked alone into an interactive horror maze called “Feast” at a chilling carnival-like event called “The Queen Mary’s Dark Harbor: Summoned by the Seas,” which takes place in the parking lot in front of the famously haunted ship, and also in the creepy bowels of its engine rooms, through Nov. 2.
“Dark Harbor,” is the scarier sister event to Griffith Park’s famous “Haunted Hayride.” Both Halloween season fright fests are produced by Thirteenth Floor Entertainment Group, which specializes in seasonal terror. The highlight of the nightly carnivals — which include food and drink booths, bars and rides — are a series of interactive mazes populated by bloody monsters, drooling ghouls, murderous clowns, spectral ghosts and maniacal serial killers.
The spooks are largely played by local actors — many of whom come back year after year for a guaranteed paycheck while pursuing a profession that is anything but financially sound. It is to these hardworking artists that the events owe their success. I was struck by just how dedicated the actors were to scaring us mere mortals out of our pants.
The masks, elaborate makeup and props, including butcher knives and bats, surely help the players stay in character— but this is not easy work. The actors must contend with aggressive guests who try to get in their faces (this is against the rules), as well as shrill, shrieking patrons who jump and run as they approach (guilty!).
But the actors are specially trained to handle these reactions and more.
“Each fall, Queen Mary’s Dark Harbor and Los Angeles Haunted Hayride hire a few hundred performers, most of our cast are locals who come back year after year. We hold open calls in the summer and focus on energy, movement, and presence more than traditional acting experience,” wrote “Dark Harbor‘s” general manager, Star Romano, in an email.
After the performers are hired, Romano explained, they attend orientation, safety training and rehearsals leading into opening weekend.
“It’s a huge community effort, part performance, part team reunion, and one of my favorite things about the season,” Romano wrote.
The result of those efforts led to me sleeping with the lights on for two nights straight.
“Get away from me! I’m too scared!” I shouted at one Leatherface-type character as he approached me with a chain saw.
“That’s the whole point,” he growled under his breath before obeying my wishes and lurching off toward another fear-stricken guest.
(NOTE: For a kid-friendly immersive Halloween experience, you can head to the company’s “Magic of the Jack O’Lanterns,” which features 5,000 hand-carved pumpkins on-site at South Coast Botanic Garden.)
I’m arts and culture writer Jessica Gelt, inviting you to sink into spooky season with me. Here’s your weekly arts and culture news.
On our radar
Benjamin Millepied’s L.A. Dance Project performs “On the Other Side.”
(Laurent Philippe)
L.A. Dance Project
Renowned choreographer Benjamin Millepied continues his exploration of the intersection of dance and visual art with the ballet triptych “Gems,” featuring artwork by collaborators Barbara Kruger, Liam Gillick, Mark Bradford and others. The performance is composed of three contemporary ballets inspired by precious stones: “Reflections” (2013), “Hearts & Arrows” (2014) and “On the Other Side” (2016). The show — with music by David Lang and Philip Glass — marks the first time these pieces have been staged together.
— Jessica Gelt
7:30 p.m. Thursday through Oct. 25. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. https://thewallis.org/show-details/la-dance-project-gems
New York artist Jon Henry stages photographs that reflect on reports of Black men killed by police.
(The Brick)
Monuments
The most eagerly anticipated theme exhibition this fall is reflected in the emphatic title, pointedly written all in caps. “MONUMENTS” was inspired by the wave of revulsion following the violent 2017 white supremacist Unite the Right rally in Charlottesville, Va. — a deadly riot opposing the proposed removal of a local statue of Confederate Gen. Robert E. Lee. That statue is now gone, torn down along with some 200 other tributes across the country to American turncoats who supported chattel slavery. (The last known Confederate monument in Southern California was removed in 2020.)
A selection of decommissioned Confederate statues will be shown at MOCA and alternative space the Brick, joint organizers of the exhibition; they’ll be paired with contemporary work by Bethany Collins, Stan Douglas, Leonardo Drew, Jon Henry, Martin Puryear, Hank Willis Thomas, Kara Walker and a dozen other artists, borrowed and commissioned for the occasion.
— Christopher Knight
Thursday through May 3, 2026. Geffen Contemporary at Museum of Contemporary Art, 152 N. Central Ave., Little Tokyo; The Brick, 518 N. Western Ave. moca.org
Vikingur Olafsson will perform with conductor Santtu-Matias and Philharmonia.
(Timothy Norris / Los Angeles Philharmonic)
Santtu-Matias Rouvali and Vikingur Ólafsson join the Philharmonia Orchestra
It’s been almost a decade since Finnish conductor Santtu-Matias Rouvali, a former Dudamel Fellow at the L.A. Phil, last returned to Southern California as a guest conductor of the L.A. Phil. In the meantime, though, he’s been busily attracting attention in London as principal conductor of the Philharmonia Orchestra (having succeeded Esa-Pekka Salonen in 2021). For his first local appearance with the Philharmonia, he is joined by the stellar Icelandic pianist Vikingur Ólafsson in Ravel’s Piano Concerto in G. The program also includes the local premiere of a new score meant to awaken environmental awareness, popular Mexican composer Gabriela Ortiz’s “Si el Oxígeno Fuera Verde” (If Oxygen Were Green), along with Shostakovich‘s Fifth Symphony. Shortly after fall, Ólafsson heads back to Disney in January as soloist with the L.A. Phil for John Adams’ latest piano concerto, “After the Fall.”
— Mark Swed
8 p.m. Tuesday. Renée & Henry Segerstrom Concert Hall, 615 Town Center Drive, Costa Mesa. philharmonicsociety.org
The week ahead: A curated calendar
FRIDAY
Ethan Remez-Cott, left, and Matthew Goodrich in the play “Amerika or, The Man Who Disappeared.”
(Amanda Weier)
Amerika or, The Man Who Disappeared
There’s Kafkaesque and then there’s the genuine article. Open Fist Theatre Company presents the world premiere of Dietrich Smith’s adaptation of the Franz Kafka novel that details the strange experiences of a 17-year-old European immigrant after he arrives in New York City aboard a steamer.
7:30 p.m. Friday; 7 p.m. Saturday; 2 p.m. Sunday; and 7:30 p.m. Monday, Oct. 20; through Nov. 22. Atwater Village Theatre, 3269 Casitas Ave. openfist.org
Ms. Holmes & Ms. Watson–Apt. 2B
Two free-spirited roommates embrace mystery and adventure in the L.A. premiere of Kate Hamill’s dark modern comedy, a gender-bent spin on Sir Arthur Conan Doyle directed by Amie Farrell.
7:30 p.m. Thursday-Saturday; 2 p.m. Sunday through Nov. 2. International City Theatre, 330 E. Seaside Way, Long Beach. ictlongbeach.org
नेहा & Neel
Asian American theater collective Artists at Play and Latino Theater Company collaborate for the world premiere of Ankita Raturi’s new comedy about an Indian immigrant and single mom on a cross-country college tour with her 17-year-old American-born son. Directed by East West Players artistic director Lily Tung Crystal.
Through Nov. 16. Los Angeles Theatre Center, 514 S. Spring Street, downtown L.A. latinotheaterco.org
17th OC Japan Fair
Japanese culture festival featuring food, shopping, a cosplay show, a tuna cutting show, popular Japanese entertainers, traditional instrument performances, games, kimono models meet and greet, and more.
4 p.m.-10 p.m. Friday; noon-10 p.m. Saturday; 11 a.m.-7 p.m. Sunday. OC Fair & Event Center, 88 Fair Drive, Costa Mesa. oc-japanfair.com
David Roussève will perform “Becoming Daddy AF” Friday and Saturday at the Nimoy.
(Rachel Keane)
Becoming Daddy AF
Renowned dance-theater artist David Roussève presents the West Coast premiere of his experimental movement journey “Becoming Daddy AF.” The piece marks Roussève’s first full-length solo performance in more than two decades and explores themes that have touched and shaped his life, including HIV, genealogy and the loss of his husband of 26 years. (Jessica Gelt)
8 p.m. Friday and Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Unravelled
The story of Canadian biologist Dr. Anne Adams, who turned to painting at age 53, and her remarkable connection to French composer Maurice Ravel, with whom she shared the same rare brain disease. A play infused with music and visual art, written by Jake Broder and directed by James Bonas.
7:30 p.m. Friday and Saturday; 2 p.m. Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
SATURDAY
British artist Edmund de Waal will install new work in three sites at the Huntington, including the Chinese garden.
(Linnea Stephan)
The Eight Directions of the Wind
British artist, potter and writer Edmund de Waal is obsessed with archives, which he describes as “places, streets, hillsides as much as card indexes.” For a body of new work, he once traveled to the place in China where the clay used to make porcelain was discovered — and then on to Dresden, Germany; Cornwall, U.K.; and the Appalachian Mountains, where subsequent cultures reinvented it. De Waal’s three site-specific, yearlong installations will be in the Huntington’s cultural and natural “archives” that are its art gallery and Chinese and Japanese gardens. (Christopher Knight)
Through Oct. 26, 2026. The Huntington, 1151 Oxford Road, San Marino. huntington.org
Lorde performs Saturday at the Kia Forum.
(Scott A Garfitt / Invision/AP)
Lorde
Just as her generation has, by all accounts, sobered up and gone sexless, Lorde returned this year with a defiant album about the giddy rush of partying and the frightening ramifications of a body in search of pleasure. “Virgin” pulls her back to the experimental electro-pop many fans were hoping for after the relatively complacent “Solar Power,” and the album is brimming with startling meditations on pregnancy scares, familial inheritance and the malleability of gender. (August Brown)
7 p.m. Kia Forum, 3900 W. Manchester Blvd., Inglewood. thekiaforum.com
Orchidées
Cellist Kate Ellis performs composer Nick Roth’s cello étude — which traces the 100‑million‑year evolution of orchids by translating their DNA sequences into music — accompanied by time‑lapse footage of blooming specimens from the Huntington’s orchid collection. Also available to livestream.
7 p.m. The Huntington, 1151 Oxford Road, San Marino. huntington.org
Tortoise
The lauded post-punk band performs “Touch,” their first new album in nine years with opening sets from local duo Jeremiah Chiu & Marta Sofia Honer and KCRW DJ Ale Cohen.
8 p.m. Saturday. The Broad, outdoor East West Bank Plaza, 221 S. Grand Ave., downtown L.A. thebroad.org
TUESDAY
A Concert for Lowell
A memorial tribute to Lowell Hill, one of the great patrons of new music in L.A., featuring many of the city’s top local artists, including Wild Up, MicroFest, Piano Spheres, the Industry, Partch Ensemble, Monday Evening Concerts, Long Beach Opera and People Inside Electronics.
8 p.m. Monk Space, 4414 W. 2nd Street. brightworknewmusic.com
Morgan Siobhan Green as Eurydice and Nicholas Barasch as Orpheus in the 2022 “Hadestown” North American Tour.
(T Charles Erickson)
Hadestown
The Tony and Grammy Award-winning musical that reimagines the myth of Orpheus and Eurydice as a New Orleans-style folk opera returns on its latest national tour. “Born out of a concept album by Anaïs Mitchell, who wrote the book, lyrics and music, the show travels to the underworld and back again with liquified grace,” wrote Times theater critic Charles McNulty in a 2022 review. “Developed by Rachel Chavkin, the resourceful director who won a Tony for her staging, ‘Hadestown’ achieves a fluidity of musical theater storytelling that makes an old tale seem startlingly new.”
Through Nov. 2. Hollywood Pantages Theatre, 6233 Hollywood Blvd., Hollywood. broadwayinhollywood.com
Learning to Draw
The exhibition traces a 300-year evolution of artistic training and the mastery of drawing in Europe from about 1550 to 1850. Bringing together the physical control of the hand and the concentration of the mind, the foundational artistic act became essential to exploring, inventing and communicating visual ideas in the modern world.
Through Jan. 25, 2026. Getty Museum, 1200 Getty Center Drive. getty.edu
Dispatch: Ben Platt: Live at the Ahmanson
Actor, singer and songwriter Ben Platt stands for a portrait at the Bernard B. Jacobs Theatre in New York on Thursday, April 20, 2023.
(Justin Jun Lee / For The Times)
Breaking news sure to make L.A. musical theater fans swoon: Center Theatre Group announced Friday that Broadway superstar Ben Platt will be in residency for two weeks and 10 shows at the Ahmanson Theatre , Dec. 12–21. Two-time Tony Award-winning director Michael Arden is set to direct the the residency, appropriately titled, “Ben Platt: Live at the Ahmanson.” Platt’s appearance comes a year after he staged a wildly successful three-week residency at Broadway’s Palace Theatre, which included a cornucopia of famous special guests including Cynthia Erivo, Nicole Scherzinger, Jennifer Hudson, Kacey Musgraves, Sam Smith, Micaela Diamond and Shoshana Bean. The production is staying mum on who might appear onstage alongside Platt during his L.A. run, but it’s safe to expect more big names.
“When you think of the very best in musical theatre, it simply doesn’t get any better than Ben Platt, whose stage presence and charisma make him one of the seminal performers of his generation,” said CTG’s artistic director, Snehal Desai, in a news release that promised “the holiday event of the season.”
Tickets and information can be found at centertheatregroup.org.
Culture news and the SoCal scene
Bassist Tonya Sweets, from left, Marlon Alexander Vargas and drummer Dee Simone in “littleboy/littleman,” directed by Nancy Medina, at Geffen Playhouse.
(Jeff Lorch)
A tale from a land of immigrants
Rudi Goblen’s “littleboy/littleman” is in the midst of its world premiere at the Geffen Playhouse. The two-person show about two Nicaragua-born brothers is much like a performance piece, writes Times theater critic Charles McNulty in his review. It’s also a deeply American story. “Lest we forget our past, America is the great democratic experiment precisely because it’s a land of immigrants. Out of many, one — as our national motto, E pluribus unum, has it. How have we lost sight of this basic tenet of high school social studies?” McNulty writes.
Les Miz at 40
I went backstage at the Pantages for the opening night of “Les Misérables,” which happened to coincide with the 40th anniversary of the legendary musical. The mood was euphoric and everyone in the cast and crew seemed to have a story about a formative connection to the show. Stage manager Ken Davis walked me through the maze-like wings and filled me in on what it takes to tour a show of this scale. Of particular note: The touring production travels with 11 tractor trailers containing over 1,000 costumes, 120 wigs and hundreds of props.
Patrick Martinez, “Fallen Empire,” 2018, mixed media
(Michael Underwood)
When the sum is less than the whole
Times art critic Christopher Knight was not impressed by “Grounded,” a newly opened exhibition at the Los Angeles County Museum of Art. The show’s theme, rooted in recent acquisitions of contemporary art, is promising, but ultimately falls apart. Viewed as a whole, “the 39 assembled contemporary paintings, sculptures, photographs, textiles and videos by 35 artists based in the Americas and areas of the Pacific underperform,” writes Knight. “Sometimes that’s because the individual work is bland, while elsewhere its pertinence to the shambling theme is stretched to the breaking point,” Knight writes.
Remembering Bernstein
Tuesday marked the 35th anniversary of Leonard Bernstein’s death, and reminders of the great composer’s tributes to John F. Kennedy abound, writes Times classical music critic Mark Swed. In a piece of commentary about what Bernstein’s work can teach us about memorials, Swed examines multiple L.A. productions rooted in that work, including L.A. Opera’s “West Side Story” and Martha Graham Dance Company’s “En Masse” at the Soraya. Swed also wonders whether those important pieces will reach the Trump administration’s newly configured Kennedy Center in the spring.
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Guests attend the K.A.M.P. family fundraiser at the Hammer Museum on Oct. 12, 2025, in Los Angeles.
(Stefanie Keenan / Getty Images for Hammer Museum)
Everyone went home happy
UCLA’s Hammer Museum raised nearly $200,000 last weekend with its 16th annual K.A.M.P. (Kids Art Museum Project) fundraiser. More than 700 excited parents and children showed up at the gloriously messy event co-chaired by Aurele Danoff Pelaia and Talia Friedman. Kids roamed the courtyard over the course of four hours, creating art at stations set up and manned by participating artists including Daniel Gibson; Sharon Johnston and Mark Lee of the Johnston Marklee architecture firm; Annie Lapin; Ryan Preciado; Rob Reynolds; Jennifer Rochlin; Mindy Shapero; Brooklin A. Soumahoro; and Christopher Suarez. Fairy Gardens were constructed of thick clay and foraged leaves; cardboard boxes were painted with rollers; plates were spray-painted and affixed with knickknacks and jewelry; and geometric shapes were glued to canvases and painted an array of bright colors. Children went home with their art, and parents left knowing they supported a host of free Hammer Kids programs that serve thousands of children and families annually.
Fair wages on Broadway
Musicians working on Broadway, represented by AFM Local 802, voted to authorize a strike earlier this week — with 98% in favor. The nearly 1,200 musicians have been working without a contract since Aug. 31. According to an open letter the musicians sent to the Broadway League on Oct. 1, their demands include: “Fair wages that reflect Broadway’s success. Stable health coverage to allow musicians and their families to enjoy the health benefits that all workers deserve. Employment and income security so that hardworking freelance musicians have some assurance of job security. This includes not eliminating current jobs on Broadway.” Bargaining talks are ongoing.
Gene Hackman co-stars in “Bonnie and Clyde,” alongside Warren Beatty and Faye Dunaway.
(Associated Press)
Gene Hackman, art collector
The late actor Gene Hackman’s art collection will go up for auction through Bonhams in November. Highlights of the 13-piece collection — which is being offered as a single-owner sale — include works by Milton Avery, Auguste Rodin and Richard Diebenkorn. Hackman was passionate about art throughout his life, and took an extra-special interest in it after he stopped acting. During that time he dedicated himself to taking classes and art-making. He even kept a journal of everything he learned, according to Bonhams.
Historic homes tour
Paging architecture fans: It’s not too late to reserve a spot in Dwell’s open-house event, back in L.A. for its second year. Tours of three historically significant Eastside homes are on offer during the day-long event, which launches from Frank Lloyd Wright’s Hollyhock House in Barnsdall Art Park. The three additional houses in the tour are: Richard Stampton’s Descanso House in Silver Lake; Taalman Architecture, Terremoto, and interior designer Kathryn McCullough’s Lark House in Mount Washington; and Fung + Blatt’s San Marino House in — you guessed it — San Marino.
— Jessica Gelt
And last but not least
Still feeling sad about losing Diane Keaton? Me too. Here’s a list I put together of her 10 most important films. Watch one you haven’t seen — if that’s possible.