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Sometimes we’ll cook on Skid Row, or sometimes we’ll cook right here at my house in the front yard where the volunteers make all the plates. And then we’ll just stuff a van with all the plates and snack bags,” says Lopez. Both Pit City Pits and Sweet Daddy Rose kept a minimal social media presence.
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Sometimes the feeling is fey; other times the literalization of song ideas flirts with corniness. But the intensity of the dancer’s relationship to the material speaks volumes. Other dancers hold illuminated orbs around Henry, reminding him of his spiritual presence. He is reluctant to spill his secrets, but it’s only a matter of time before he joins the others in unburdening his soul. Admittedly, the book by playwright Jackie Sibblies Drury and director and choreographer Justin Peck is more of an evolving scenario than a discernible drama. A compromise is struck between the theater’s proclivity for story and dance’s penchant for abstraction, allowing audience members to connect narrative strands in their own way.
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More often than not, owner Dwight Morgan — also known as Dwight the Barber — will have his black barrel barbecue pit set up directly outside his four-year-old business. Morgan performs double duty as he crafts sleek fades on the heads of loyal customers before cleaning himself up, washing his hands, and moving outside to rotate food on his weathered barrel barbecue pit. On days like this, Morgan sells plates to customers, typically people passing by, or just gives them away to those who want something to eat but can’t afford it. He’s a busy man with multiple ventures, including his budding career as a stand-up comedian who brings his barbecue setup to gigs. Pit City Pits owner Volley Dykes is another mysterious business owner and maker of barrel pits.
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Each maintained a ghostlike online demeanor, without an Instagram profile. But Sweet Daddy’s name and his pits are omnipresent; everyone interviewed for this story was well aware of his reputation. We don't visit as often as we used to, but it would be a rare occurrence if I was disappointed with my experience at Barrel House. Great service, a good menu, and overall it's a quality establishment, and has been since I first walked in the door.
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Eduardo Diaz, owner of J & G Ornamental Iron & BBQ Pit Factory, donated another barrel pit to Mission ECHO after learning that Lopez had purchased one. Eduardo inherited J & G from his father Jose Diaz, who’d started the business on South Main Street just north of Century Boulevard in 1988. Eduardo, 30, describes his father as an artist who emigrated from Guadalajara and a metal fabricator who welded security doors and iron gates throughout the Southland, back when the region was a far more violent place. In the late 1990s, Jose added barrel barbecue pits to his inventory and found them to be popular. If you’re driving on Centinela slightly west of La Brea, glance over to the north side of the street to Close Up Kuts barbershop.
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Top Reviews of Broadway Barrel House
“Illinoise” becomes a road trip, as Henry ventures to Chicago and then to New York, testing himself in big-city landscapes that are incorporated in Rigg’s scenic design. Get our big stories about Hollywood, film, television, music, arts, culture and more right in your inbox as soon as they publish. This common story is communicated in a dance vocabulary of determined strides overcoming invisible burdens.
But for every Stephen Sondheim masterpiece there’s a barrage of jukebox and movie musicals eager to cash in on the forgiving nostalgia of theatergoers. Whether the piece — I hesitate to call this delicate hybrid a show — is more dance than musical is not all that important. Let the theater award categories stretch to accommodate new forms and visions. The production, which was at the Park Avenue Armory earlier this season, has arrived at the St. James Theatre in the role of deus ex machina, rescuing Broadway from its hidebound habits.
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Though it may seem like the Los Angeles barbecue boom is something that came on suddenly, the city has a deep history of outstanding barbecue. The Second Great Migration made sure of that when more than five million Southern Black migrants relocated to Los Angeles from 1940 to 1970 for economic opportunity. Throughout the South, segregation meant Black people were limited to low-skilled and low-paying jobs, but in California, they could find well-paying jobs in the military and the private sector. Prior to that, large populations of Black Americans moved to LA from Southern cities between the 1890s and 1910 to escape racism and segregation. If Henry’s story were elaborated in dialogue, it would have trouble escaping sentimentality.
The phrase “circle of grief” was my own silent articulation for this communal stopping ground. Three vocalists (Elijah Lyons, Shara Nova, Tasha Viets-VanLear), kitted out in street-art butterfly wings, are perched on platforms. J & G Ornamental Irons & BBQ Pit Factory, Pit City Pits, and Sweet Daddy Rose are modern continuations of this LA tradition. Sweet Daddy Rose and Pit City Pits are Black-owned, while the family-operated J & G Ornamental Irons was started by a Mexican immigrant who came to Los Angeles from Guadalajara in 1985.
There was also the famous LA resident Joe Romero, known as the Barbecue King, who made a name for himself by throwing what he called “Californio” barbecues. According to the Los Angeles Times, Romero hosted 50 barbecues a year from 1885 to 1932. Along with the deliciously prepared meats, the meals always came with beans, tamales, and enchiladas, and Romero served up to 30,000 people. The imagery conjures a supernatural patchwork of revenants and Superman.
All the elements of a musical are to be found in “Illinoise.” The music, blending indie folk, alt rock and chamber pop, creates space for collective reflection. The lyrics — poetic shards that blur the line between the personal and the historic, the symbolic and the idiosyncratic, the living and the dead — swirl from the recesses of inner life. As the third of seven siblings, Eduardo feels a responsibility to his family and the community in South Central Los Angeles. Before Jose died, Eduardo shadowed his father to learn all he could about the family business and his father’s welding technique.
But it’s still a bustling business with customers across the region from all walks of life. In the break area, there’s an altar with Jose’s photo surrounded by candles. The main workroom has the drawing of Nuestra Señora de Guadalupe that Jose originally kept there. Every year, Jose used to create a Christmas tree by stacking barrels up to 20 feet high and decorating them with lights to illuminate the neighborhood. What he’s done for this community, it’s not something that everyone could do,” says Eduardo.
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