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Pasadena Playhouse cancels 'Anything Goes,' 'Follies' concerts as fires threaten L.A. theater scene

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Pasadena Playhouse cancels 'Anything Goes,' 'Follies' concerts as fires threaten L.A. theater scene

Pasadena Playhouse producing artistic director Danny Feldman first had the idea years ago: concert stagings of classic American musicals, each featuring an all-star cast and a full orchestra.

The Tony-winning regional theater scheduled the shows for back-to-back weekends, three performances each, at the Pasadena Civic Auditorium: Cole Porter’s 1934 comedy “Anything Goes,” starring Jinkx Monsoon, Wayne Brady and J. Harrison Ghee and directed by Annie Tippe, on Jan. 25 and 26; and Stephen Sondheim’s 1971 composition “Follies,” led by Rachel Bay Jones, Stephanie J. Block, Derrick Baskin and Aaron Lazar and directed by Leigh Silverman, on Jan. 31 and Feb. 1.

But on Tuesday, multiple fires began to spread throughout areas of Los Angeles, killing 10 people and destroying thousands of homes, businesses and cultural institutions. The Eaton fire, which has burned 13,956 acres and structures in Altadena and Pasadena, spurred mandatory evacuations and official warnings about not consuming the region’s smoke-filled air and contaminated tap water supply.

With numerous Playhouse staff, board members and artists evacuated from their homes — some of which have been lost in the fires — as well as the ongoing hazardous conditions in the Pasadena area, Feldman made the decision on Friday to cancel all six performances.

“Everyone was trying their absolute hardest to keep going, but at a certain point, it just became clear that this wasn’t the best thing to move forward with,” Feldman said Friday afternoon. “We know how many people were looking forward to it, and we all were too. But my tiny heartbreak of all the work all of us have put into it pales in comparison to the loss everyone is dealing with, which is vast and overwhelming and deeply hitting.”

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Rehearsals for “Anything Goes” began at the nonprofit theater on Tuesday but were canceled starting Wednesday. (“Follies” was scheduled to start rehearsals next week). The performances at the 3,000-seat Pasadena Civic Auditorium — a first-time expansion of the Playhouse’s commitment to put on regional revivals of classic American musicals — were well on track to hit sales goals, with a final marketing push set to unfold in the coming weeks. The theater will be contacting ticket holders for both shows about refunds and other ticket options.

“It’s a huge unknown, but two to three weeks from now, people might be ready to smile again and enjoy, and we’d have to put in the work now to make that happen,” Feldman said.

“But it just hit a point where it stopped making sense to ask folks to come together in smoky conditions to make a thing, as much as we’d be doing so in service of the community. It’s going to be a financial hit, but there are just bigger things at hand. We have to care for our people and our community and make sure we can get everyone through this moment together.”

The Eaton fire torched Altadena Community Church.

(Christina House / Los Angeles Times)

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The Playhouse’s cancellations are among many throughout L.A.’s live performance scene. The Hollywood Pantages Theatre canceled three performances of “Wicked” this week and is aiming to resume on Saturday afternoon. The Wallis rescheduled its weekend Jeremy Jordan concerts and the Los Angeles Chamber Orchestra performance; Los Angeles Philharmonic postponed its shows with Igor Levit and Cody Fry, among others. The Actors’ Gang Theater canceled the opening weekend of its 10-minute play festival “Night Miracles,” now starting on Jan. 16 and runs through Feb. 8.

Additionally, many other companies that were readying to open full productions also saw their plans thwarted by the fires. The world premiere of Laura Shamas’ “Four Women in Red” was set to begin this weekend at Victory Theatre Center and is now scheduled to begin Jan. 17. Moving Arts Theatre’s world premiere of Lisa Kenner Grissom’s “here comes the night,” initially scheduled to start shows Jan. 16, has delayed its first performance by a week.

Colony Theatre canceled its first weekend of performances of Arthur Miller’s “Death of a Salesman” and is aiming to begin its run on Jan. 14. The production is offering free tickets to firefighters and first responders on Jan. 14, 15, 21, 22 and 25 (with code LAFF) and is doubling as a donation center for nonperishable foods, clothing and pet supplies.

Rogue Machine Theatre’s West Coast premiere of Will Arbery’s “Evanston Salt Costs Climbing,” set to begin performances at the Matrix Theatre on Jan. 18, lost power during Wednesday’s rehearsal but continued its preparations with lanterns in the parking lot and later canceled two rehearsals. Center Theatre Group’s world premiere of Larissa Fasthorse’s “Fake It ‘Til You Make It,” scheduled to start performances at the Mark Taper Forum on Jan. 29, initially canceled rehearsals and has since resumed.

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And both the Fountain Theatre’s production of Audrey Cefaly’s “Alabaster” (beginning Feb. 5) and A Noise Within’s staging of Shakespeare’s “Macbeth” (starting Feb. 9) have moved their rehearsals to Zoom this week.

These theaters are monitoring the situation as it develops, and preparing to potentially cancel more rehearsals and performances — a tough decision, said Feldman. But given the circumstances, it’s one that needs to be made.

“That phrase of ‘The show must go on’ is widely mistaken,” he said. “That’s for when you’re going onstage and your prop is missing, so you make it up. But when people are in pain and trauma the way our community is right now, I don’t think the show has to go on.”

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Movie Reviews

1986 Movie Reviews – Black Moon Rising | The Nerdy

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1986 Movie Reviews – Black Moon Rising | The Nerdy
by Sean P. Aune | January 10, 2026January 10, 2026 10:30 am EST

Welcome to an exciting year-long project here at The Nerdy. 1986 was an exciting year for films giving us a lot of films that would go on to be beloved favorites and cult classics. It was also the start to a major shift in cultural and societal norms, and some of those still reverberate to this day.

We’re going to pick and choose which movies we hit, but right now the list stands at nearly four dozen.

Yes, we’re insane, but 1986 was that great of a year for film.

The articles will come out – in most cases – on the same day the films hit theaters in 1986 so that it is their true 40th anniversary. All films are also watched again for the purposes of these reviews and are not being done from memory. In some cases, it truly will be the first time we’ve seen them.

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This time around, it’s Jan. 10, 1986, and we’re off to see Black Moon Rising.

Black Moon Rising

What was the obsession in the 1980s with super vehicles?

Sam Quint (Tommy Lee Jones) is hired to steal a computer tape with evidence against a company on it. While being pursued, he tucks it in the parachute of a prototype vehicle called the Black Moon. While trying to retrieve it, the car is stolen by Nina (Linda Hamilton), a car thief working for a car theft ring. Both of them want out of their lives, and it looks like the Black Moon could be their ticket out.

Blue Thunder in the movies, Airwolf and Knight Rider on TV, the 1980s loved an impractical ‘super’ vehicle. In this case, the car plays a very minor role up until the final action set piece, and the story is far more about the characters and their motivations.

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The movie is silly as you would expect it to be, but it is never a bad watch. It’s just not anything particularly memorable.

1986 Movie Reviews will continue on Jan. 17, 2026, with The Adventures of the American Rabbit, The Adventures of Mark Twain, The Clan of the Cave Bear, Iron Eagle, The Longshot, and Troll.


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Commentary: California made them rich. Now billionaires flee when the state asks for a little something back.

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Commentary: California made them rich. Now billionaires flee when the state asks for a little something back.

California helped make them the rich. Now a small proposed tax is spooking them out of the state.

California helped make them among the richest people in the world. Now they’re fleeing because California wants a little something back.

The proposed California Billionaire Tax Act has plutocrats saying they are considering deserting the Golden State for fear they’ll have to pay a one-time, 5% tax, on top of the other taxes they barely pay in comparison to the rest of us. Think of it as the Dust Bowl migration in reverse, with The Monied headed East to grow their fortunes.

The measure would apply to billionaires residing in California as of Jan. 1, 2026, meaning that 2025 was a big moving year month among the 200 wealthiest California households subject to the tax.

The recently departed reportedly include In-n-Out Burger owner and heiress Lynsi Snyder, PayPal co-founder and conservative donor Peter Thiel, Venture Capitalist David Sacks, co-founder of Craft Ventures, and Google co-founder Larry Page, who recently purchased $173 million worth of waterfront property in Miami’s Coconut Grove. Thank goodness he landed on his feet in these tough times.

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The principal sponsor behind the Billionaire Tax Act is the Service Employees International Union-United Healthcare Workers West (SEIU-UHW), which contends that the tax could raise a $100 billion to offset severe federal cutbacks to California’s public education, food assistance and Medicaid programs.

The initiative is designed to offset some of the tax breaks that billionaires received from the One Big Beautiful Bill Act recently passed by the Republican-dominated Congress and signed by President Trump.

According to my colleague Michael Hiltzik, the bill “will funnel as much as $1 trillion in tax benefits to the wealthy over the next decade, while blowing a hole in state and local budgets for healthcare and other needs.”

The drafters of the Billionaire Tax Act still have to gather around 875,000 signatures from registered voters by June 24 for the measure to qualify on November’s ballot. But given the public ire toward the growing wealth of the 1%, and the affordability crisis engulfing much of the rest of the nation, it has a fair chance of making it onto the ballot.

If the tax should be voted into law, what would it mean for those poor tycoons who failed to pack up the Lamborghinis in time? For Thiel, whose net worth is around $27.5 billion, it would be around $1.2 billion, should he choose to stay, and he’d have up to five years to pay it.

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Yes, it’s a lot … if you’re not a billionaire. It’s doubtful any of the potentially affected affluents would feel the pinch, but it could make a world of difference for kids depending on free school lunches, or folks who need medical care but can’t afford it because they’ve been squeezed by a system that places much of the tax burden on them.

According to the California Budget & Policy Center, the bottom fifth of California’s non-elderly families, with an average annual income of $13,900, spend an estimated 10.5% of their incomes on state and local taxes. In comparison, the wealthiest 1% of families, with an average annual income of $2.0 million, spend an estimated 8.7% of their incomes on state and local taxes.

“It’s a matter of values,” Rep. Ro Khanna (D-Fremont) posted on X. “We believe billionaires can pay a modest wealth tax so working-class Californians have Medicaid.”

Many have argued losing all that wealth to other states will hurt California in the long run.

Even Gov. Gavin Newsom has argued against the measure, citing that the wealthy can relocate anywhere else to evade the tax. During the New York Times DealBook Summit last month, Newsom said, “You can’t isolate yourself from the 49 others. We’re in a competitive environment.”

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He has a point, as do others who contend that the proposed tax may hurt California rather then help.

Sacks signaled he was leaving California by posting an image of the Texas flag on Dec. 31 on X and writing: “God bless Texas.” He followed with a post that read, “As a response to socialism, Miami will replace NYC as the finance capital and Austin will replace SF as the tech capital.”

Arguments aside, it’s disturbing to think that some of the richest people in the nation would rather pick up and move than put a small fraction of their vast California-made — or in the case of the burger chain, inherited — fortunes toward helping others who need a financial boost.

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‘Song Sung Blue’ movie review: Hugh Jackman and Kate Hudson sing their hearts out in a lovely musical biopic

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‘Song Sung Blue’ movie review: Hugh Jackman and Kate Hudson sing their hearts out in a lovely musical biopic

A still from ‘Song Sung Blue’.
| Photo Credit: Focus Features/YouTube

There is something unputdownable about Mike Sardina (Hugh Jackman) from the first moment one sees him at an Alcoholics Anonymous meeting celebrating his 20th sober birthday. He encourages the group to sing the famous Neil Diamond number, ‘Song Sung Blue,’ with him, and we are carried along on a wave of his enthusiasm.

Song Sung Blue (English)

Director: Craig Brewer

Cast: Hugh Jackman, Kate Hudson, Michael Imperioli, Ella Anderson, Mustafa Shakir, Fisher Stevens, Jim Belushi

Runtime: 132 minutes

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Storyline: Mike and Claire find and rescue each other from the slings and arrows of mediocrity when they form a Neil Diamond tribute band

We learn that Mike is a music impersonator who refuses to come on stage as anyone but himself, Lightning, at the Wisconsin State Fair. At the fair, he meets Claire (Kate Hudson), who is performing as Patsy Cline. Sparks fly between the two, and Claire suggests Mike perform a Neil Diamond tribute.

Claire and Mike start a relationship and a Neil Diamond tribute band, called Lightning and Thunder. They marry and after some initial hesitation, Claire’s children from her first marriage, Rachel (Ella Anderson) and Dayna (Hudson Hensley), and Mike’s daughter from an earlier marriage, Angelina (King Princess), become friends. 

Members from Mike’s old band join the group, including Mark Shurilla (Michael Imperioli), a Buddy Holly impersonator and Sex Machine (Mustafa Shakir), who sings as James Brown. His dentist/manager, Dave Watson (Fisher Stevens), believes in him, even fixing his tooth with a little lightning bolt!

The tribute band meets with success, including opening for Pearl Jam, with the front man for the grunge band, Eddie Vedder (John Beckwith), joining Lightning and Thunder for a rendition of ‘Forever in Blue Jeans’ at the 1995 Pearl Jam concert in Milwaukee.

There is heartbreak, anger, addiction, and the rise again before the final tragedy. Song Sung Blue, based on Greg Kohs’ eponymous documentary, is a gentle look into a musician’s life. When Mike says, “I’m not a songwriter. I’m not a sex symbol. But I am an entertainer,” he shows that dreams do not have to die. Mike and Claire reveal that even if you do not conquer the world like a rock god, you can achieve success doing what makes you happy.

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ALSO READ: ‘Run Away’ series review: Perfect pulp to kick off the New Year

Song Sung Blue is a validation for all the regular folk with modest dreams, but dreams nevertheless. As the poet said, “there’s no success like failure, and failure’s no success at all.” Hudson and Jackman power through the songs and tears like champs, leaving us laughing, tapping our feet, and wiping away the errant tears all at once.

The period detail is spot on (never mind the distracting wigs). The chance to hear a generous catalogue of Diamond’s music in arena-quality sound is not to be missed, in a movie that offers a satisfying catharsis. Music is most definitely the food of love, so may we all please have a second and third helping?

Song Sung Blue is currently running in theatres 

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