Lifestyle
Naked and unafraid at 73, she’s challenging ideas about aging women on a Hollywood stage
Telling her life story — naked onstage — was the only way.
That much, Pamela Redmond was sure of.
It was a sweltering July afternoon last year and Redmond was sitting on the sofa in her Hollywood home stewing over how AI was nearly putting her out of business. At 72, she had published 20 books, seven of them works of fiction, and she’d even sold one novel, “Younger,” as a hit television series. She was the founder of the largest baby naming website online which, as a single divorcee, was her lifeline financially (and meant to be her retirement). But AI had scraped her website’s content and used it to rank itself higher in search results; her company’s revenue had plummeted by about half and she’d had to let employees go.
“I thought: What can I bring to the conversation that AI can’t?” Redmond says. “And then it came to me: a body!”
She felt compelled to create an in-person experience that was distinctly human — something true and personal — the antithesis of the digitally-saturated, fragmented and ephemeral world we live in, where truth is often opaque. Though she had zero theatrical experience, not even in a high school musical, theater is what came to mind.
“I decided I wanted to tell the story of my life, as told by my body. That’s how I came up with a one-woman show, ‘Old Woman Naked.’”
Pamela Redmond, right, chats with Los Angeles Times writer Deborah Vankin about her solo show, “Old Woman Naked.”
Telling me this, Redmond is sitting in a hot tub, nude, at Wi Spa in Koreatown. As am I. Because interviewing Redmond — naked in an intimate setting — seemed the best way to have a personal conversation about such a revealing topic. We’ve been friends for several years and it made sense to visit the Korean spa, at which we both feel comfortable.
Redmond sinks deeper into the steaming bath, the water level rising to her decolletage, leaving her face flushed as beads of sweat drip down the curve of her neck.
“Old Woman Naked” is about Redmond, but it’s also about being in a woman’s body, in America, at a certain time — from the pre-internet, ‘50s and ‘60s until today. Redmond performed it for one night only in New York City at the Laurie Beechman Theatre in October, directed and produced by Janice Maffei — just 10 weeks after she had conceived of it. The show opens April 29 in Los Angeles at the Broadwater in Hollywood for three nights, directed by Jennifer Chambers (“POTUS”). Kate Juergens and Jenn Gerstenblatt, both formerly of ABC Family, produced it.
In the hour-long performance, Redmond stands on a bare stage and tells intimate stories she hasn’t shared with anyone until now, not even her former husband of 33 years, her three children or her best girlfriends. She tells of her first stirrings of lust while she was growing up in Norwood, N.J., sparked by the desire to touch her best girlfriend’s breasts; she tells of being a 19-year-old child bride and how her new father-in-law took her to a strip club shortly after the wedding; she tells of her jealous first husband who, when she tried to leave him, held a knife to her throat and tried to rape her.
But she also tells of the thrill, and all-consuming love, tangled up in having children; of creative reinvention and late-life success publishing a novel at 50, creating an internet company at 55 and selling a book as a TV show at 60; and of the absolute freedom she felt after menopause, when she could no longer have children and her body, at long last, belonged only to her.
Pamela Redmond performs “Old Woman Naked” in New York in October 2025. (Scott Hoffmann)
As Redmond performs these stories during the show, she takes off her clothing, piece by piece, often cleverly stitched into the storytelling. At 11 years old, she explains onstage, she was desperate to wear a bra. “Now I feel like I’m 11, but with a drawer full of bras I never want to wear,” she reveals, letting the undergarment drop to the ground. By the end of the show, Redmond is facing the audience entirely naked.
Ultimately, that moment is the point of the show: proudly bringing an image that’s been culturally steeped in taboo and shame — that of an older woman’s bare body, with all its folds and dimples and curves — into the light.
“I wanted to show people what an older woman’s body actually looked like,” Redmond says. “Young women take their clothes off all the time, they’re scantily dressed onstage or using their body and their sexuality as part of their art. But older women — it’s just not seen. Or it’s seen as ugly. I knew right away: This is intrinsically different and kind of radical.”
Even as she was researching the show, Redmond became increasingly aware of the extent to which older women’s nude bodies “have been so hidden away.”
“There is so little art, so little pop culture [showing it],” she says. “I went to the Metropolitan Museum of Art in New York, the fourth-largest museum in the world, and searched their archives and there are six images from all of history. In the Louvre [in Paris], there are three drawings that show old women naked — and they’re grotesque. Representation is really important. It matters.”
Pamela Redmond, right, tells Times writer Deborah Vankin that she felt “on fire” writing her solo show. “I wanted to show people what an older woman’s body actually looked like.”
Redmond says she wasn’t nervous about being nude in front of a live audience. “I’ve been through so many things in my life that have been kind of harrowing,” she says. “I was scared about not remembering my lines. That terrified me!” But Redmond doesn’t consider herself an exhibitionist, either. She’s had a love-hate relationship with her body throughout her lifetime, she says. “You know, gaining and losing the same 40 pounds over and over.”
At one moment in the show, Redmond shows an overhead slide of herself at 22, posing for an artist friend, nude. She looks up at the image, admitting: “Look at me, I was a goddess. I had no idea. I thought I was fat, unfashionably curvy and unattractive.”
If there is a message to the show, Redmond says, it’s that “you are the sum of everything you’ve been and everything you’ve done. And to see yourself not just as this old body but as someone who’s lived this incredibly rich life in this body that has taken you through this incredible range of experiences.”
“Old Woman Naked” hit a nerve that night in New York, Redmond says. Audience members — mostly women, older and younger — came up to her afterward and revealed personal stories they hadn’t told anyone to date. Other women said they were inspired by the play or felt they’d been given newfound freedom to be themselves.
Redmond has since fleshed out the Los Angeles version of the show, going deeper into stories and punching up the jokes.
She also sees “Old Woman Naked” as a much bigger creative gesture than a limited run solo show. She hopes to write a book expanding on the ideas in the show and, separately, self-publish the script to sell in the theater lobby, afterward. She’s thinking about a titular podcast, in which she’d interview women of different ages about their bodies and their lives. And she’s working with a theater director to develop the script of “Old Woman Naked” for a celebrity to star in.
Pamela Redmond, left, relaxes with Times writer Deborah Vankin at Wi Spa in Koreatown.
“I see it as Jessica Lange on Broadway,” Redmond says. “It’s like stealth feminism: They come for the nudity, they leave with their views of women’s bodies totally revolutionized. I want this to be a bigger conversation about women, aging, bodies, humanity, owning our individuality and uniqueness — and celebrating that.”
So what does Redmond see now, when she looks at her body in the mirror?
“I think I look great. I like what I see. I like my smile,” she says. “I’m good.”
Stepping out into the sunlit parking lot after our spa day, that smile is on full display.
“That was so fun,” Redmond says. “Our conversation — everything we talked about — it’s different when you’re naked, it really is. You’re just more open, more vulnerable.”
She takes a seat in the shade, waiting for the valet to bring her car.
“It’s the same with the show, the conversation I wanted to have with the audience. That’s why it had to be: ‘Old Woman Naked.’”
“Old Woman Naked” plays at the Broadwater, in Hollywood, April 29-30 and May 17. Tickets: $35.
Lifestyle
James Burrows, director of classic shows ‘Cheers’ and ‘Friends,’ dies at 85
Director James Burrows attends the “Will & Grace” start of production kick off event and ribbon cutting ceremony at Universal City Plaza on August 2, 2017 in Universal City, California.
Jason LaVeris/Getty Images
hide caption
toggle caption
Jason LaVeris/Getty Images
LOS ANGELES — James Burrows, who helped create volumes of laughter as director of more than a thousand episodes of such classic television comedies as “Cheers,” “Taxi,” “Friends” and “Will and Grace,” died Friday. He was 85.
His family confirmed his death in a statement to People, saying he “passed away peacefully today surrounded by his family.” No location or cause of death was provided.
Burrows spent his career behind the camera specializing in situation comedies. Few viewers recognized him or knew his name, other than to see it flash quickly on the screen in the opening credits. But they knew his work.
Burrows got his start in television relatively late at age 35 in 1974, directing episodes of “The Mary Tyler Moore Show,” “The Bob Newhart Show,” and “Laverne & Shirley.”
He co-created “Cheers,” directing 243 of the 273 episodes, as well as all 246 episodes of “Will and Grace.”
He also helmed multiple episodes of such hits as “Frasier,” “Friends” and “Mike & Molly,” and the pilots of “Two and a Half Men” and “The Big Bang Theory.”
“When I direct a television show, I try to reach that sweet spot where the best script meets the best performance and the best chemistry between performers,” Burrows wrote in his 2022 memoir “Directed by James Burrows.” “Hitting that exact moment, where these factors land in combination, results in the sweetest and most enduring laugh.”
His family said, “Burrows understood that great comedy was never simply about laughter. It was about humanity, connection, and truth. That understanding became the foundation of a career that forever changed television.
“But beyond his remarkable achievements, Burrows will be remembered for something even greater: his kindness, generosity, and unwavering belief in the people around him. He possessed a rare ability to make everyone better and was known for remembering every person he met by name, making colleagues at every level feel seen, valued, and appreciated,” the family statement said.
Born James Edward Burrows on Dec. 30, 1940, in Los Angeles, he moved to New York when he was 5 years old. He spent five years in the Metropolitan Opera Children’s Chorus until his voice started to change. He attended LaGuardia High School of Music & Art.
His father was writer, director and producer Abe Burrows, whose Broadway hits included “Guys and Dolls” and “Can-Can.” The elder Burrows also mentored Larry Gelbart, future creator and producer of the TV show “M(asterisk)A(asterisk)S(asterisk)H.”
The younger Burrows spent hours of his youth in theaters and studios watching his father work, dining with him at such famed New York haunts as Sardi’s and Gallagher’s and meeting celebrities who attended his father’s New Year’s Eve parties.
After earning a bachelor’s degree from Oberlin College, Burrows attended the graduate program of the Yale School of Drama, where his classmates included actor-comedian Robert Klein, playwright John Guare and film director John Badham.
At Yale, he was required to take directing classes and he got hooked.
Burrows’ first sitcom experience was as Burl Ives’ dialogue coach on “O.K. Crackerby!” which was directed by his father and ran for one season on ABC in 1965.
From there, he was an assistant on “The Patty Duke Show.” He moved back to New York and worked for Broadway producers Lee Guber, Frank Ford and Shelly Gross. He first met actor Moore while working on the Broadway production of “Holly Golightly,” an adaptation of “Breakfast at Tiffany’s” that was directed by his father.
Burrows eventually worked as a stage manager for various road productions, where he met such actors as Hugh O’Brien, Zsa Zsa Gabor and Julie Harris.
By 1974, after working in dinner theater and summer stock, he turned on his television and saw Moore’s eponymous TV show. He wrote her a letter asking if there was any opening “small or smaller” at her production company that he could fill, according to his memoir.
Moore’s husband and business partner, Grant Tinker, invited Burrows to Los Angeles to direct an episode of the comedy. He apprenticed for MTM Enterprises, which had four sitcoms on the air at the same time.
Burrows cited his theater background for learning how to give actors direction and block out scenes. He’s credited for being one of the first sitcom directors to increase the typical multi-camera television shoot from three to four cameras.
The common thread between Burrows’ shows were the bonds between friends and unrelated families, whether it was the motley crew of regulars meeting at the bar in “Cheers” or the drivers working toward a better life in “Taxi” or the 20-somethings sharing the same apartment building in “Friends.”
“The best sitcoms transcend the screen and reach out and grab the audience by the throat and by the heart,” Burrows wrote in his memoir.
He relished discovering new acting talent while directing more than 75 pilots that were picked up as series.
“Having directed over a thousand shows means that almost any night you can turn on your television or go online and find a show that I directed. I’m very proud of that,” he wrote in his memoir.
In 2019, Burrows was an executive producer on live productions of “All in the Family” and “The Jeffersons” with famous actors re-creating episodes of those 1970s comedies.
Burrows was married in 1997 to Debbie Easton, whom he met when she worked as a hairstylist on “Frasier.” Daughters Kat Schatzow, Ellie Gluck and Maggie Burrows, who followed her father into directing, are from his first marriage to Linda Solomon, who died in 2004. His stepdaughter Paris is from his wife’s previous marriage. He has a sister, Laurie Burrows Grad, and seven grandchildren.
Lifestyle
Beer, with a twist? SoCal dads find solidarity through an unexpected activity
GOLETA — For a few minutes, the atmosphere inside Captain Fatty’s Brewery in Santa Barbara County was quiet, different from the usual Friday night clamor.
On this late May evening, the 15 men gathered there were contemplating tackling something few had previously had the courage or skill to take on. Austin Nieves, a recent transplant to the area and the man who had brought this brave group together, broke the strained silence by handing out beers.
Within minutes, the men, who ranged in age from 30 to 60, began chatting among themselves.
Then they started braiding hair.
The May 22 event — Goleta’s version of the viral U.K.-inspired “Pints and Ponytails” night — was sold out. The idea is to have expert hairstylists train uninitiated or intimidated fathers on how to comb and braid their kids’ hair, using salon-type head mannequins but in a setting for bros.
“When the first guys got there, they were stiff,” said Nieves, a Pasadena native who moved to Santa Barbara in April 2025. “Then after that first beer, they went from sitting around the edge of the bar to jumping right into learning and giving it a shot.”
Dads group members Dan Ucko, left, and Eric Schalla participate in the hairstyling event at Captain Fatty’s Brewery in Goleta.
The gathering was one of several father functions by the Santa Barbara Dads group, which Nieves founded last spring.
May’s papa party offered, along with the suds, a learning experience and camaraderie among fathers, which Nieves believes is much needed.
“When my wife had our son, she immediately became part of at least five mom groups and classes that offered her help, advice, friendship and training,” Nieves said. “As a first-time father, I really only had my brothers, who had children themselves, to turn to.”
Scientific studies have shown that as fathers have taken a more active role in child rearing, they’ve faced loneliness, doubt and confusion.
Researchers Chris Knoester and David J. Eggebeen wrote in 2006 in the “Journal of Family Issues” that fatherhood leads “to declines in feelings of well-being and participation in social activities” as fathers spend less time with friends.
Clinical psychologists Hillary Halpern and Maureen Perry-Jenkins documented that the transition from single life to fatherhood is often accompanied by a roller coaster of emotions. And researchers from Stockholm’s Karolinska Institute determined in a 2021 study that fathers might require help “during their transition to fatherhood.”
Eric Drachman, of Santa Barbara, center, pays close attention as hair stylist Chi Jou Lin, left, teaches a group of dads how to style their daughters’ hair.
A detail of one of the mannequin heads.
One such way to assist men is specifically a fathers group, according to the 2021 study.
Most men “were mostly satisfied with participating in father groups and described that they positively impacted their relationship with their partner and child.”
The increased contact also helped improve “their self-confidence and family equality and decreased their loneliness.”
Nieves agreed that his leisure time and focus changed sharply after the birth of his child, Hudson, now 3 years old, as did his friend group updates.
“They were talking about all this crazy fun or TV shows and I was talking about my son being able to lift his head,” Nieves said. “That’s when I knew I had to branch out.”
Nieves, then living in Costa Mesa with his wife, Katie, created the Orange County Dads club in October 2023.
Scientific studies have shown that as fathers have taken a more active role in child rearing, they’ve faced loneliness, doubt and confusion.
His group of merry men held meetups at coffee shops, beer halls and the zoo, hosted holiday hootenannies and even offered CPR classes.
Its success helped spawn a chapter in the Whittier area.
Though strictly a fathers club, the group, Nieves said, has grown thanks to wives and partners sharing his social media posts with their husbands.
Mikhail Alfon, founder of Blue Light Media, a social media strategy agency, took his son, Santos, to multiple Orange County meetups.
“This is our first child and obviously life changes a lot,” said Alfon in a social media post. “Finding peers and friends that are in the same stage of life is great.”
That sense of community, however, faced a challenge as Nieves and his family purchased a home in Santa Barbara and moved in April 2025.
Peter Aguilar, left, and Fredy Medel work on their technique. Medel’s partner, Daniela Fajardo, holding their 1-year-old daughter, Faylani, records the event.
Within a month, however, he had established a Santa Barbara-based dads group. Their first meetup was in May 2025, and they’ve made a point to gather once a month.
Austin Jones, a Santa Barbara-based real estate agent and investor, found Nieves through Instagram.
“I’m a husband, a dad and businessman, and it ends up being a lot of hats but very little support, at times,” Jones said. “It’s nice to find people in the trenches with you.”
Jones was intrigued by Pints and Ponytails as he’s battled the hair-care needs of his 2 ½-year-old daughter, Noa, and her textured, curly locks.
In a short while, Jones had gained enough confidence in whipping his mannequin’s hair into a ponytail that he vowed to try with his daughter soon.
“I was only pretty good at putting on a headband before this,” he quipped.
The six mannequin heads and the hour of instruction came courtesy of Santa Barbara cosmetologist Chi Jou “Belle” Lin, who offers area mobile services.
“I saw the social media post and a lot of people reached out to me to teach the class,” Lin said. “I had to help.”
Lin said the mannequins she brought varied in hair length and type, from straight to coily, but also fine in texture, as she tried to replicate young children’s hair.
A pint of beer, hairstyling tools and sprays.
She also taught the fathers basic hair-care techniques, including shampooing, detangling, checking for lice and how to tie ponytails and braids.
Even if they started out reticent, the fathers became active participants, asking questions about creating a neat French braid, what to do about tangled ponytails and how to deal with frightened children, Lin said.
“I was really impressed with the dads and their skills and the real-life questions,” said the stylist, who has personal experience at home in her 2 ½-year-old daughter, Lotus. “Not all men have the courage to ask questions.”
For Nieves, the secret in gaining new dads and retaining others is simplicity.
“If you open the door, the fathers will follow because everyone can use some help,” Nieves said. “But they just need to know it exists and they’re not alone.”
Dads Gabriel Sandoval, left, Jose Guerrero and David Talavera toast one another at the May 22 Santa Barbara County Dads’ “Pints and Ponytails” event in Goleta.
Days after the Goleta get-together, Santa Barbara dad Eric Drachman became a celebrity at the preschool of his daughter, Noa, who is soon to be 3.
“When the videos of the event were posted, the teachers at the school recognized me,” Drachman said. “They would ask my daughter, ‘Who did your hair?’”
The query that means most, however, is when Noa asks her father to fix her hair.
“She asks occasionally,” he said. “It‘s such a fun dynamic we have.”
Lifestyle
This Pride month, teen flicks are recasting familiar tropes with a queer sensibility
Stacy Clausen and Joe Bird in Leviticus.
NEON
hide caption
toggle caption
NEON
Summer movies aimed at high-schoolers — comedies, romances, horror flicks — have been a tradition for ages. Think Fast Times at Ridgemont High, Dirty Dancing and the original Friday the 13th, which all drew hot-weather crowds back in the 1980s.
This summer, the movies are queer — not just in casting, but in method and purpose. These three teen flicks transform familiar movie styles by bringing them an LGBTQ sensibility.
A raunchy comedy: She’s the He
YouTube
You know the drill: a bonkers lose-my-virginity plan is hatched by inseparable high-school best buds who are so eager to get girls to notice them, they can hardly think straight.
So, they don’t think … straight. For reasons that could only make sense to horny 17-year-olds, Ethan and Alex decide the way to catch the attention of the school’s hottest girls is to pretend to be trans.
Filmmaker Siobhan McCarthy uses that premise to tell a sweet story about Ethan (who realizes mid-scam that she really is trans), while also mocking some of the more ridiculous transphobic notions — “bathroom scare,” anyone? — that have been politically weaponized recently.
When the whole football team decides that donning women’s attire is a small price to pay to get access to the girls’ locker room, McCarthy prompts boisterous laughs while also establishing how idiotic and unlikely this scenario would be in real life. Casting trans men — say, team captain played by Emmett Preciado — as the cis male characters allows McCarthy to further poke at conservative anxieties.
As leads Alex and Ethan, Nico Carney (a sharp trans comic whose read on toxic masculinity proves hilarious), and Misha Osherovich (sweetly affecting as Ethan discovers her true self) head a terrific, mostly trans and non-binary cast. And a similarly queer team behind the camera helps make She’s the He a raucous, touching, seriously fun charmer — think Some Like It Hot meets American Pie with a Heartstopper vibe.
The romance: Girls Like Girls
YouTube
This gentle teen love story sprang from a hit song Hayley Kiyoko released in 2015. The music video that accompanied the song pictured a budding lesbian romance and has since racked up over 160 million YouTube views. In 2023, Kiyoko penned a young adult book version, which debuted at the top of bestseller lists. Now, she’s brought all of those elements together in a movie about Coley (Maya da Costa) and Sonya (Myra Molloy), two 17-year-old girls navigating a summer romance that takes both of them by surprise.
First-time filmmaker Kiyoko seems content to honor teen romance conventions in a more or less by-the-book tale of first love that has been through enough permutations to feel vaguely workshopped. Still, she’s gotten engaging performances from her leads, as well as from a supporting cast that includes Zach Braff as a loving dad, and Levon Hawke (son of Ethan Hawke and Uma Thurman) as Sonya’s jealous boyfriend.
The horror thriller: Leviticus
YouTube
First-time feature writer/director Adrian Chiarella uses horror conventions in this Australian thriller to explore the trauma caused by a particularly callous strain of homophobic cruelty. The story is centered in a small mill town where high school boys Naim (Joe Bird) and Ryan (Stacy Clausen) fall for each other, only to run afoul of the conservative teachings of their religious community.
Chiarella imagines a Christian sect that has put conversion therapy on steroids, curbing queer desire with a scare-away-the-gay ritual that conjures supernatural demons. The boys smirk as church leaders conduct the ritual, but later discover that when they’re left alone, they’re attacked by murderous entities that take the form of the person they love — each other. Soon, reaching out to — even just seeing each other in school hallways fills them with anxiety. This is, of course, the design: the church leaders want them to be scared. And it will never end.
It’s a conversion therapy metaphor as apt for gay kids as the metaphor in Jordan Peele’s thriller Get Out was for victims of racial bigotry.
Breathtakingly well-crafted, Leviticus clearly has queer teen audiences in mind — all three of these films do — but not exclusively. Yes, Leviticus fills a representation gap. It’s also freakin’ scary.


-
Seattle, WA1 minute agoSuarez’s no-hit try ends on Naylor double in seventh, but Boston still tops Seattle
-
San Diego, CA4 minutes agoNeymar expected to return from right calf injury and play for Brazil in World Cup against Scotland
-
Milwaukee, WI9 minutes agoToday’s Summerfest schedule and picks: Saturday, June 20
-
Atlanta, GA16 minutes agoAtlanta Ballet Returns to the Fox Theatre to Present Cinderella for One Weekend Only This Fall
-
Minneapolis, MN19 minutes agoMERAUDER, JUDGE, ARKANGEL and many more announced for Minneapolis’ Snow and Flurry 2026
-
Indianapolis, IN24 minutes agoThird Public Safety Camera Added on Washington Street in Downtown Indy
-
Pittsburg, PA31 minutes agoAnalysis: Most Pittsburgh‑area communities are losing residents — here’s why that might be OK
-
Washington, D.C34 minutes agoTrump’s DC makeover frenzy bewilders locals and visitors: ‘It’s like we’re under occupation’