Life’s a beach in Santa Monica
DOGS WITH PONYTAILS. Someone dressed like Jimmy Buffet on psychedelics blaring music from a speaker hanging from his neck. Another gent taking a conference call on a ’90s-era headset at the skate park. These are all scenes from a leisurely hour in Venice Beach, where eclecticism and luxury intersect in true Los Angeles fashion.
Between the good vibes and the whole weather-not-being-a-thing thing, it’s not hard to understand why people from all walks of life gravitate to the City of Angels. But above all, L.A. remains a place where the rich and famous, along with those who like to cosplay being rich and famous, thrive.
Take the Fairmont Century Plaza, for instance. The iconic hotel recently underwent a post-Covid renovation to the tune of $2.5 billion (yes, with a “b”), preserving its mid-century nostalgia while nodding to Los Angeles’ laidback luxury of the 2020s. In addition to 400 guest rooms (including 49 suites), the 16-floor property, situated on more than six Beverly-Hills-adjacent acres, has dozens of privately owned residences, a beautiful art collection — as well as Fairmont Gold, the brand’s 70-room hotel-within-a-hotel for uber-VIP guests.
The hotel’s brasserie, Lumiere, has what might be the best baguette ever, delightfully salty and served with extra-creamy butter. Stop in for bread and a cocktail, or stay and enjoy a plate of squid-ink pasta with spicy crabmeat and an unexpected hit of cilantro.
The Fairmont’s bottom-floor spa is a must, boasting its share of L.A. intrigue: chlorophyll water, experiential rain showers, bio-hacking treatments, a hammam room.
But for the true celeb experience, make a day trip to the Hotel Bel-Air, where a tucked-away spa sits among acres of lush gardens and instantly whisks visitors away to the privacy-laden land of Hollywood Glam.
Those who want to make more of a splash will find themselves in Brentwood, dining at hip, new restaurants like the Barcelona-inspired Teleferic. Or perhaps back in Venice, shopping along Abbott Kinney — Made in Earth jewelry; sustainable cashmere by Naadam; health-centric items a la green juice and essential oils — before hitting the vintage shops and the beach.
Meanwhile, Downtown L.A. may be a little more subdued, but isn’t without its charm. The Hotel Per La, occupying a former bank building that was previously the NoMad Hotel until 2022, is in the heart of one of the most walkable districts in the city. Nearby, the dual-property Moxy and AC Hotel just opened Level 8, an immersive-nightlife destination with eight different restaurants and lounges on the eighth floor.
That’s convenient, seeing as there’s something Houstonians might be reluctant to admit about L.A.: The traffic is, indeed, measurably worse.
The verdant lobby of Hotel Per la
Pasta at Per L’Ora inside Hotel Per la
The Fairmont
The bakery at The Fairmont
The spa at The Fairmont
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In Homecoming Show, Isabel Wallace-Green Dances Her Way Back to Jones Hall with Alvin Ailey Company
Mar. 4, 2024
Isabel Wallace-Green (photos by Kent Barker and Xavier Mack)
HOUSTON-BORN DANCER AND arts educator Isabel Wallace-Green vividly recalls seeing a performance of Alvin Ailey’s landmark 1960 dance work Revelations as a child, peering over a high balcony in Jones Hall. “The dancers were pretty small!” laughs Wallace-Green, who nevertheless was captivated, especially by a section in Revelations titled “Wade in the Water,” where translucent white, cobalt, and aquamarine cloths are stretched across the stage to evoke baptismal waters and — for African American slaves — the riverbed as a pathway to freedom. “I’d never seen anything like that.”
Now based in New York as a member of Alvin Ailey American Dance Theater, Wallace-Green is looking forward to her first Houston performance with the company March 7-9 at Jones Hall, the same venue where she first witnessed Ailey’s genius. “It’s always special to come back to Houston, especially since it’s a place that fostered me and set me in motion to do what I am doing now,” says Wallace-Green. “I’m so grateful for all of the communities I was a part of, and to be able to return to that is very full circle.”
Those communities include Houston Ballet Academy, where she trained for nine years, and studied with Cheryne Busch as her primary instructor. Wallace-Green cites Lauren Anderson, the first Black principal dancer at Houston Ballet, as a role model whose presence and accessibility affirmed that a career as a Black ballerina was not unusual or unattainable. “Her expertise and her demanding excellence was the greatest motivator,” says Wallace-Green of Anderson’s instruction. “I understood if you worked hard, that it was achievable.”
Revelations is on the bill for all three of the Houston performances, along with contemporary works by Ronald K. Brown, Alonzo King, Kyle Abraham, and Jamar Roberts set to music ranging from Duke Ellington, Drake, Erykah Badu, Radiohead, and experimental composer Miguel Frasconi. (Revelations has retained its score of powerfully sung traditional spirituals, which recall Ailey’s childhood church-going experiences in rural Texas.)
For Wallace-Green — who is also a talented choreographer, and premiered her solo Resilience at UH’s Blaffer Art Museum in response to Jamal Cyrus’ exhibit, The End of My Beginning — the creation of new repertoire is just as important as maintaining a connection to classics like Revelations. “That’s why I love to be a part of a repertory company where we get to do so many different types of movement,” says Wallace-Green. The new and the old help nurture a more inclusive and forward-thinking dance community.
Revelations is the rare work that audiences applaud before any movement or music begins. For Wallace-Green, it is nothing less than “a celebration of humanity,” shared from an African American perspective, but rooted in basic human experiences, from tragic to joyous, that anyone, regardless of their identity, can relate to. “It has something that really pulls at us as human beings,” says Wallace-Green. “By the end of it, audiences are so excited and on their feet, clapping along with us while we’re dancing.”
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