Although not all of ICE‘s comedy clicks, Martell’s story has both weight and charm. The production’s overriding plus is its successful rendering, fashioned with humor and craft, of the difficulties immigrants face.
A new staging of Nancy Keystone’s award-winning political play comes to the Kirk Douglas Theatre in Culver City.
A striking juxtaposition between the past and present courses throughout the small gallery. Celia Blomberg’s “International Women’s Day March 8” can’t help but make one think of 2017’s Women’s March, which occurred 37 years after the print’s first appearance.
The New York Times has credited Sirota’s Wall Street reporting for showing “that secrecy can hide high fees, low returns, excess risk and the identity of politically connected dealmakers.”
The Inner City Youth Orchestra of Los Angeles’ Wednesday concert reflects on M.L. King Jr.’s times, struggle and sacrifice, with the orchestra’s musical setting of King’s “I Have a Dream” speech.
Yusuf Toropov’s drama, set in a contaminated, cancer-ridden community, involves a publisher and his brother — a priest struggling against the local archdiocese.
Stamped by their government as enemy aliens, the Kimura family is uprooted from their home and re-housed in a barracks-like setting where they are treated like criminals.
Playwright Quiara Alegría Hudes pays special homage to the folk music, food and familial culture of the Puerto Rican community, but her story winds through a mountain of prosaic exposition.
In the Golden Age of Hollywood, producers knew that social issues sold tickets. It’s a lesson the film industry might be ready to re-learn.
Most people know that Malcolm X began his public career by calling for black separatism. Lost Tapes: Malcolm X reveals surprising details that have not been seared into our collective view of the martyred activist.
The second drama in playwright Quiara Alegría Hudes’ trilogy juxtaposes one soldier’s post-war tribulations with stories generated by a group of recovering drug addicts.
A revolutionary buddy film from the director of I Am Not Your Negro.
Born in Poland and brought up in New Jersey by an immigrant mom who cleaned houses for a living, playwright Martyna Majok has fashioned her experience into a compelling feminist work.
Many of the miscreants exposed in Netflix’s Dirty Money series take the “everyone else does it” defense. The misdeeds chronicled here underscore just how insidious and pervasive the grab for cash all around us is.
The L.A. Times newsroom remains in a state of siege. Tronc has established an alternative editorial team for its shadowy “Los Angeles Times Network,” and has declined to explain to Times staffers what its intentions are for this new enterprise.
By 11:30 a.m. Friday morning the votes were tallied in the first-ever union vote taken by L.A. Times editorial staffers: 248 in favor, 44 opposed.
In Sam Steiner’s futuristic play, a new law limits conversation between people to 140 words a day. How will they get around this ration?
Thursday’s vote by Los Angeles Times editorial staffers to choose or reject unionization was overseen by the National Labor Relations Board at the paper’s downtown building and Orange County offices.
Today, over 350 Los Angeles Times reporters and editorial staff will vote on whether to allow NewsGuild CWA to represent them at the famously anti-union company.
With the first tumultuous year of Donald Trump’s presidency winding down, Capital & Main looks back at the images and stories we presented over the last 12 months.
Fr. Gregory Boyle’s book includes stories of young parents who have figured out how to manage jobs and child care, and enjoy their kids even if the parents themselves didn’t have much of a childhood.
“We’re at a crucial historical juncture, where literally the fate of the planet hangs by a thread,” says rocker Tom Morello. “We are musicians, so our message is in the mosh pit.”
Playwright Michael John Garcés’ labyrinthine plot follows two sisters through a myriad of fantastical scenarios involving a mega-corporation that aims to control worldwide food production.
Structured as a radio play, Pang! is made up of three stories of struggle and survival distilled from real-life accounts of impoverished families, including one from Los Angeles.
Inspired by Federico Garcia Lorca’s 1934 classic play, Yerma, this one-act by Oliver Mayer is set in contemporary Los Angeles where Yerma (Jean Murillo) labors as part of a janitorial team at an elite university.
And Then They Came For Us is not the first film to tell the story of Executive Order 9066. Rarely, however, has any account of this shameful history been presented with such persuasively contemporary urgency.
Christopher Chen’s play is partly inspired by the real-life controversy surrounding playwright/performer Mike Daisey’s 2011 solo piece, The Agony and the Ecstasy of Steve Jobs.
A photographic exhibit reveals long-unseen images of the Chicano community at a time of political upheaval and demands for civil rights.
Playwright Josefina López appropriates the basic construct of Ibsen’s An Enemy of the People, tosses in large dollops of magical realism and transforms the lead character from a 19th-century Norwegian doctor into a 21st-century Mexican curandera.
Co-published by The American Prospect
Kikito, an enormous photograph of a 1-year-old child, pasted onto plywood sheets, stands 65 feet high on Mexico’s side of the border. Viewed from the U.S., he is a giant black-and-white toddler, his chubby hands appearing to grip the top of the border wall as he looks over it, into the mysterious United States.