Letters to Calendar

Letters to Calendar
LaMarcus Miller plays Philip in "Fallujahâ." (Barbara Davidson / Los Angeles Times)

Insight on 'Fallujah'

Jeffrey Fleishman's commentary pertaining to Long Beach Opera's "Fallujah" production ["Blood, Sand and Tears in 'Fallujah,'" March 21] is insightful and poignant. Americans and others must be reminded "that the echoes of battle reverberate through the homes of veterans and the clinics that fit them with titanium limbs and treat them for post-traumatic stress."


Jim Watson

Dana Point

The letter writer is a retired U.S. foreign service officer.

Hey, what about the architect?

The article on the Musco Center for the Arts by David Ng ["Musco Center Is Built of Love for Arts," March 19] gave kudos to the donors, a rave description of the hall, including wood paneling, large stage, comfy seats, ladies' room stalls, acoustics by Yasuhisa Toyota and color schemes, but no mention of the architect. This is a huge oversight, as I know your readers might like to know the creator of this big, excellent new theater. I know I would.

D. Kuhns

Santa Barbara

Editor's note: The Musco Center for the Arts was designed by Pfeiffer Partners Architects.

'Baskets' of love for a great show

So glad to see a Calendar front-page article on Louie Anderson ["Female Focused: Louie Anderson Channeled His Mom to Play One in 'Baskets,'" March 20]. We love "Baskets." Every character is so real, making us laugh — humor and pathos in one complex show. Hope to see as much coverage as possible for this show, so it doesn't disappear.

Ellen Butterfield

Studio City

Don't forget this performance too

RE: "Domingo, Fleming Seize Opportunity" [March 21]. On Sept. 25, 2015, I and a few thousand others were thrilled to witness Renée Fleming, Andrea Bocelli and Plácido Domingo performing together at the Dorothy Chandler Pavilion. So The Times was mistaken in noting that the only other time Fleming and Domingo performed together was in Chicago in 1998.


Richard Kopelle

Los Angeles

Really, it's all for the audience

Drew Nellins Smith's review of "The Throwback Special" by Chris Batchelder ["Males Whose Rites of Passage Are Perennial," March 20] reminded me of the amazing creativity of some artists. I particularly enjoyed the comment of one of the characters that the real function of marriage is simply to have someone watch you."

Otherwise, he said, honest to God, we're all just like penguins at the North Pole, doing it all for no real reason." I had to point out that there are no penguins at the North Pole. Of course, this comment was only gratifying because my wife was there to hear it.

George Cole


Cup of joe, but hold the Trump

What's in that coffee Chris Erskine is drinking? His column ["The Middle Ages: Happy Hour Hiking Club Lifts Spirits," March 20] about the writers' life surrealistically morphs into a cutesy puff piece on Donald Trump's virtues. I don't want to appear "fretful," but wow. When Erskine praises Trump's vehement and invigorating political incorrectness, he conveniently omits the "blowhard's" explicit racism, misogyny, vulgarity and frequent incitement to violence. I'm worried about Erskine. And Donald Trump.

Jo Perry

Studio City

It's a question of geography

Why is there an article on the Tijuana River ["Powerful Plan for Tijuana River," March 23] in the Calendar section?

Paul L. Hovsepian

Sierra Madre

Truly 'Beautiful' response to tune

Rick Schuktz's review of the L.A. Chamber Orchestra's Sunday concert ["LACO Is Full of Surprises," March 23] barely mentions the strong response from the audience. It should be noted that as we left the hall, after Jeffrey Kahane's moving impromptu of "America the Beautiful," we saw many dabbing tears from their eyes.

Carleton Cronin

West Hollywood