CALIFORNIA | LOCAL
December 22, 1988 |
A Los Angeles man with experience as an international arts festival coordinator was selected Wednesday to be artistic director of San Diego's upcoming Soviet arts festival. Bruce Joseph, 36, was chosen "because of his vast experience, superior organizational skills and creative artistic vision," said Bruce Herring, executive director of San Diego Festivals Inc., a nonprofit advisory board formed by Mayor Maureen O'Connor earlier this month to organize the festival.
October 3, 1994 |
So many things can happen on your way to your theater seat. When a good performance begins, the nastier things fade. Which is what happened Saturday night, during the riveting L.A. debut of Phoenix Dance Company. As part of the current UK/LA Festival, the 13-year-old troupe from Leeds, England, inaugurated the Harriet and Charles Luckman Fine Arts Complex, on the campus of Cal State Los Angeles.
September 24, 1994 |
Why do things the usual way? That is the question the composers, performers and producers involved in the Royal Northern College of Music's music theater/instrumental program Thursday night must have asked themselves. It certainly wasn't business as usual. A wide-ranging 20th-Century agenda featured unusual combinations and imaginative presentations as key elements in the Manchester musicians' second offering in Bing Theatre at USC, part of the UK/LA Festival.
October 7, 1994 |
The Scene: Wednesday's opening-night performance of the Royal National Theatre company's "Racing Demon" at the Doolittle Theatre. A party followed at the Hollywood Roosevelt hotel. The play is part of the UK/LA Festival, the British cultural bash. When Prince Charles Arrives, He'll Explain It: Asked about the festival, the play's British director, Richard Eyre, said, "Excuse me, I don't mean to be unpatriotic, but what exactly is that?"
September 23, 1994 |
Sometimes a little nonsense is good for the soul. So it was Wednesday night in Bing Theatre at USC, where visiting students from England's Royal Northern College of Music presented Harrison Birtwistle's 1969 dramatic pastoral "Down by the Greenwood Side" as part of the UK/LA Festival.
April 8, 1988 |
Anyone who's been longing for alternative television had better cancel late-night going-out plans on Fridays and Saturdays, or else make sure they've figured out how to program their VCRs. "New Television," a 13-part feast of independent works from American video makers, debuts tonight at 11:30 on KCET Channel 28. Saturday at 11 p.m.
January 23, 1988 |
The UK/LA Festival looms next month, with its promise of much British music. But Andre Previn and the Los Angeles Philharmonic have never needed an excuse to import such works. Thursday evening at the Dorothy Chandler Pavilion, Previn and Co. introduced Sir Michael Tippett's 33-year-old Piano Concerto to a West Coast audience, with the solo duties assigned to Emanuel Ax. One first impression of Tippett's Concerto was: Goodness, what a lot of notes.
April 1, 1988 |
Four tenured English artists continue the hoopla of the UK/LA Festival. Los Angeles knows Michael Heindorff as a master of Carborundum etching and wispy scenes of the English countryside that have the same easy appeal as Hockney's recent canyon scapes. Here in place of Happy Easter pastel tones and quaint hillside cottages, Heindorff serves up abstract paintings with a murky undercoat of brick marbled with burnt reddish strokes and black serpentine tendrils.
April 4, 1988 |
Black dance with a British accent: That's Irie!, the eight-member, 2-year-old London company that appeared over the weekend at the Los Angeles Theatre Center as the sole dance attraction in the ongoing UK/LA Festival. The subjects in the five-part Irie! program proved familiar--African roots, the Caribbean heritage, contemporary urban experience.
November 23, 1989 |
When the Academy of St. Martin in-the-Fields first set up shop in a London church, it represented the state of the early music art. Neville Marriner led a doughty little band in Baroque specialties, and through recordings soon captured audiences well beyond Trafalgar Square. Thirty years later, the academy is the musical equivalent of heavy industry, exporting ensembles from quintets to a symphony orchestra around the world on seeming perpetual tours.