This has not been a good year for museums. An annual report released last month by the American Alliance of Museums showed that nationwide attendance and financial performance are trending in the wrong direction for the first time since the pandemic.
More than half of museums reported receiving fewer visitors than in 2019; and nearly one-third noted decreased attendance this year attributed to a drop in travel and tourism as well as the economic uncertainty brought on in part by tariffs, inflation and market instability.
AAM, which represents art and history museums, as well as science centers and zoos, surveyed 511 museum directors to cull its findings, which included a sobering section illustrating the impact of the sweeping federal policies and funding cuts implemented by the Trump administration.
“One-third of museums (34%) have suffered the cancellation of government grants or contracts, most frequently from the Institute of Museum and Library Services, the National Endowment for the Humanities, and the National Endowment for the Arts,” a synopsis of the report reads. “Only 8% of affected museums report that lost federal funding has been fully replaced by foundations, sponsors, or donors, while 67% report the funding has not been replaced at all.”
After federal funds were lost, 24% of affected museums canceled programming for students, rural communities, the disabled, the elderly and veterans; and 28% reduced programming for the general public. Museums also postponed plans to improve infrastructure or complete new construction.
“The economic impact extends far beyond museum walls, affecting architects, construction firms, engineers, and design professionals who partner with cultural institutions, illustrating just one example of the broader ripple effects throughout local and regional economies,” the synopsis notes.
Museum directors expect the uncertainty of the current moment — which is also affecting philanthropist’s willingness and ability to donate money — to extend through next year. But in reality, the problems could remain unresolved for much longer. Trump has been in office for almost 11 months, with three years to go. During that time chances are nil that funding will be restored to the NEA or NEH, and high tariffs, a cornerstone of Trump’s economic agenda, will continue to inflict financial strain as long as they are in place.
Tourism is also unlikely to rebound as the administration expands the scope of its deportation efforts and artists, writers and musicians continue to cancel tours and shows by choice or out of necessity when a visa isn’t given or fails to arrive on time.
Nonetheless, museums persevere. The report notes, “Over one-third (36%) provide direct educational support such as tutoring, after-school programs, and school supplies. One-fifth (19%) offer workforce development or job training. Museums also provide mental health and wellness resources, digital access and literacy services, civic engagement opportunities, and language access services.”
AAM President and CEO Marilyn Jackson summed up the wish of the organization, writing in a statement, “Museums are doing their part by adapting their business models, engaging with lawmakers, and continuing to serve their communities despite financial headwinds. Now we need policymakers and philanthropists to recognize that investing in museums is investing in education, economic development, and community cohesion.”
I’m arts and culture writer Jessica Gelt seeking sanity somewhere, anywhere. Here’s your arts news for the week.
On our radar 
BodyTraffic performs “Coalescence” by Jordyn Santiago.
(BodyTraffic)
‘Check-Mate’
BodyTraffic, the L.A.-based contemporary dance company founded in 2007 by artistic director Tina Finkelman Berkett, showcases four pieces based in storytelling and bold movement: a world premiere by Trey McIntyre for four dancers to the music of Sam Cooke; David Middendorp’s “Flyland,” which uses projection and animation; “Coalescense,” by Jordyn Santiago, which combines contemporary ballet, social dance and movement inspired by house culture to celebrate femininity, queerness, and community; and Cayetano Soto’s “Schachmatt (Check-mate!),” which unfolds on a giant, theatrical chessboard.
7:30 p.m. Thursday-Saturday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
— Jessica Gelt
American Cinematheque’s Saturday screening of “Reds” (1981), starring Jack Nicholson, left, Diane Keaton and Warren Beatty, will be part of a tribute to Keaton.
(Paramount Pictures via Getty Images)
‘Reds’
“Big and beautiful, ‘Reds’ isn’t an epic and doesn’t mean to be one,” wrote Times film critic Sheila Benson in her 1981 review. “As shaped by director-producer, co-writer and co-star Warren Beatty, it could be called an intimate epic, history as it was hammered out and argued by some of the most influential minds of the day. … It is also the difficult love story of two strong-willed free spirits, [American journalists John] Reed and Louise Bryant (Diane Keaton),” set against the backdrop of the Russian Revolution. The 35 mm screening is part of the American Cinematheque’s tribute to Keaton, who died Oct. 11.
2 p.m. Saturday. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com
The Broadway production of “Stereophonic.” The play has its L.A. premiere Tuesday and runs through Jan. 2.
(Valerie Terranova)
‘Stereophonic’
David Adjmi’s Tony-winning blockbuster drama, ablaze with original music by Will Butler, formerly of Arcade Fire, invites us to eavesdrop on the roller-coaster recording sessions of a 1970s British and American rock group on the cusp of super-stardom. Art isn’t easy, as Sondheim told us. But romantic conflicts, inflamed by drugs and alcohol, only add to the creative combustion of a band chasing immortality. Daniel Aukin’s production, with its unerring ear for realism, immerses audiences in the glory and madness of rock ’n’ roll. The play’s L.A. premiere is one of the unmissable theatrical events of the year.
Tuesday through Jan. 2. Hollywood Pantages Theatre, 6233 Hollywood Blvd. broadwayinhollywood.com
— Charles McNulty
You’re reading Essential Arts The week ahead: A curated calendar
FRIDAY
‘Bob’s Holiday Office Party’
“Insurance claims roasting on an open fire, beer cans nipping at your nose. … It can only mean one thing: The hilariously deranged populace of Neuterberg, Iowa, is reveling once again,” wrote Times contributor Philip Brandes in 2000. And 25 years later they’re still at it in co-creators and co-stars Rob Elk and Joe Keyes’ irreverent farce about an insurance agent with big dreams and some crazy friends and neighbors.
Friday through Dec. 21. The Odyssey Ensemble Theatre, 2055 S. Sepulveda Blvd., L.A. https://bobsofficeparty.com/
‘DakhaBrakha’
The Ukrainian world music quartet delivers its trademark “ethno-chaos” combining ancient music traditions with cross-cultural influences.
7:30 p.m. Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
‘Fancy Nancy: Splendiferous Christmas’
The family-friendly musical based is an adaptation of the popular children’s picture books series written by Jane O’Connor and illustrated by Robin Preiss Glasser.
Through Dec. 21. Chance Theater, 5522 E. La Palma Ave., Anaheim. chancetheater.com
The L.A. Phil will perform the score for the 35th-anniversary screening of “Home Alone” (1990), which stars Macaulay Culkin, left, and Joe Pesci.
(TNS)
‘Home Alone’ in Concert
David Newman conducts the L.A. Phil as it performs John Williams’ score for this 35th-anniversary screening of the holiday classic.
8 p.m. Friday; 2 and 8 p.m. Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
‘Mrs. Christmas’
A musical play by Tom Jacobson finds a woman dealing with the legacy of her mother’s holiday traditions through songs and over-the-top storytelling. Directed by Karole Foreman.
7 p.m. Fridays and Saturdays; 2 p.m. Saturdays and Sundays through Dec. 21, additional performance, 7 p.m. Dec. 15. Aurora Theatre, 4412 E. Village Road, Long Beach. theauroratheater.com
‘Twas the Night Before Groundlings
The improv troupe’s annual holiday show directed by Ben Falcone and Lisa Schurga gets a three-weekend run.
7:30 and 9:30 p.m. Fridays and Saturdays, through Dec. 20. Groundlings Theatre, 7307 Melrose Ave. groundlings.com
Esperanza América in the holiday pageant “La Virgen de Guadalupe, Dios Inantzin.”
(Grettel Cortes Photography)
‘La Virgen de Guadalupe, Dios Inantzin’
This free holiday pageant from the Latino Theater Company was adapted for stage by Evelina Fernández from the mid-16th century text “The Nican Mopohua” and directed by José Luis Valenzuela. Esperanza América and Sal Lopez lead a cast featuring more than 100 actors, singers, musicians and Indigenous Aztec dancers, as well as children and seniors from the community.
7 p.m. Friday-Saturday. Cathedral of Our Lady of the Angels, 555 W. Temple St., downtown L.A. latinotheaterco.org
SATURDAY
Carols by Candlelight
The Pacific Chorale’s chamber singers perform classic and contemporary holiday music.
8 p.m. Saturday-Tuesday. Our Lady Queen of Angels Catholic Church, 2100 Mar Vista Drive, Newport Beach. pacificchorale.org
‘Esther Perel Ruined My Life’
Inspired by a celebrity sex and intimacy expert, a struggling couple attempt to reignite their passion by opening up their marriage in this workshop production of playwright Mathilde Dratwa’s dramedy. Directed by Jeremy B. Cohen.
Through Dec. 15. Atwater Village Theatre, 3269 Casitas Ave. adam-shapiro-ewlk.squarespace.com
‘A Snow White Christmas’
This Lythgoe Family holiday panto mashes up the beloved Brothers Grimm fairy tale with contemporary music, including Lady Gaga and Bruno Mars.
Through Dec. 28. Laguna Playhouse, 606 Laguna Canyon Road, Laguna Beach. lagunaplayhouse.com
‘Murmurs in Time’
Third Coast Percussion and tabla virtuoso Salar Nader perform this tribute to celebrated Indian musician and composer Zakir Hussain, who died in December 2024.
8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Colburn Orchestra
Kevin John Edusei conducts “Schelomo,” Ernest Bloch’s Rhapsodie Hébraïque for cello and orchestra, with soloist Sieun Park; and Czech composer Bedřich Smetana’s tribute to his homeland, “Má Vlast (My Country),” featuring “The Moldau.”
7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
SUNDAY
Christmas With the Drifters
The current lineup of the iconic vocal group performs their hits, including “Under the Boardwalk,” “This Magic Moment” and “Stand by Me,” as well as classic holiday tunes.
3 p.m. La Mirada Theatre 14900 La Mirada Blvd. lamiradatheatre.com
THURSDAY
Paul Pfeiffer
The sculptor, photographer and video artist explores Corita Art Center’s extensive collection of over 15,000 35mm slides as part of the Corita’s lecture, programming and exhibition series.
7 p.m. Marciano Art Foundation, 4357 Wilshire Blvd. marcianoartfoundation.org
Max Pitegoff and Calla Henkel of New Theater Hollywood.
(Etienne Laurent / For The Times)
‘The End Is New’
A film editor works to complete the unfinished documentary of a recently deceased filmmaker revealing unexpected narratives in a new play by Calla Henkel and Max Pitegoff, founders of New Theater Hollywood. Henkel and Pitegoff will appear Friday for a post-show Q&A, moderated by REDCAT’s Katy Dammers.
8 p.m. Thursday-Saturday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
Culture news and the SoCal scene 
Hollywood sign Ed Ruscha, 1968,
(Museum Associates / LACMA)
Signing off
In his farewell column, Times art critic Christopher Knight pens a lovely, insightful and informative piece about how Los Angeles became an art capital during the 36 years that he worked at the paper (plus the nine years prior to that he spent at the Herald Examiner). He credits the transformation to three things: world-class young artists who stayed in the city after graduating its many art schools; global media attention that came with the arrival of the Getty in 1982; and an infrastructure boom that began with the public debut of MOCA the following year. “Looking back, the transformation of the cultural life of Los Angeles during my journalism career has been extraordinary. When I started out, the size of the balkanized art community was small. Now it’s big. Or very big. A few signs of contraction have been glimpsed — a gallery closure here, a market slide there — but it won’t ever be small again,” Knight writes. (We already miss you, Christopher! Come back!)
Tech mogul chips in on hit S.F. opera
Times classical music critic Mark Swed declares Huang Ruo’s “The Monkey King” to be “potentially the most important new opera of the year.” In a review of the final performance of the San Francisco Opera hit, Swed writes that the show “operates at the intersections of pop art and high-ish art, of the sacred and profane, of radicalism and die-hardism.” David Henry Hwang wrote the libretto, which is based on the late Ming Dynasty Chinese classic, “Journey to the West.” The production was funded in part by a $5-million gift from Jensen Huang, the founder and CEO of Nvidia.
Bohemian rhapsody
For its 40th season, L.A. Opera has once again revived its oft-produced mainstay, “La Bohème.” The company has performed a number of creative iterations of the beloved classic over the decades, but this year it has returned to its most successful production: the one by Hollywood director Herbert Ross. “The latest revival of the Ross production, which I saw at its second performance Sunday afternoon, runs through Dec. 14,” Swed writes. “Well cast and still able to set off a spark or two on stage, it is not likely to disappoint a holiday crowd.”
Star light, star bright
Sixty-five years after making her Broadway debut in the Ethel Merman-led production of “Gypsy,” June Squibb, 96, is starring in her first leading role on Broadway in Jordan Harrison’s “Marjorie Prime.” In a delightful profile, Times theater critic Charles McNulty, sits down for a chat with Squibb at the kitchen table of the Upper West Side apartment where she’s staying during the run of the show.
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Tom Stoppard
(Matthew Lloyd / For the Times)
He was the real thing
One of the greats is gone. Larger than life British playwright Tom Stoppard — who penned “Rosencrantz and Guildenstern Are Dead” and “Leopoldstadt,” among many others — died late last week. He was 88. In a heartfelt appreciation, McNulty calls Stoppard the “true 20th century heir to Oscar Wilde” and describes him thus: “Few people were more agnostically alive than Stoppard, who loved the finer things in life and handsomely earned them with his inexhaustible wit. A man of consummate urbanity who lived like a country squire, he was a sportsman (cricket was his game) and a connoisseur of ideas, which he treated with a cricketer’s agility and vigor.”
Essential Arts editor Kevin Crust contributed a piece listing Stoppard’s nine essential plays — in case you need a refresher course, or would like to pick up a hard copy of one to read. The story also lists a number of films the playwright wrote or co-wrote.
The Soraya salutes outgoing leader
The Soraya announced that it is honoring its departing Executive and Artistic Director Thor Steingraber, with a new initiatiive called the Thor Steingraber Fund for Artistic Innovation. The fund, created with financial support from the Younes & Soraya Nazarian Family Foundation and Milt and Debbie Valera, “will underwrite high-quality, original public performances that exemplify The Soraya’s artistic leadership and profile, preserving and perpetuating its commitment to new works, commissions, premieres, and major programs in scale or scope,” according to a news release.
— Jessica Gelt
And last but not least
You guys! Case Study House #22 — also known as the Stahl House — is for sale. The two-bedroom, 2,300-square-foot Midcentury Modern stunner in the Hollywood Hills is going for a cool $25 million. If you don’t buy it, I will. (A girl can dream, right?)