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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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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.
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When moments of virtuosity explode, as happen when Bryon Tittle unleashes a spectacular display of Olympian tap, the effect is a victory of spirit as much as it is of mortal flesh. Peck, a prolific presence at New York City Ballet who choreographed dance sequences for Steven Spielberg’s 2021 film “West Side Story,” hugs tight to the inner journey. Henry (Ricky Ubeda), a quirkily ordinary young man in shorts and a pink hat, seems to be on the run from painful memories. He and his journal have come to a clearing where others have gathered to share their stories. The campfire setting, demarcated with lanterns, suggests a support group.
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But it’s the universal pattern, the way Henry’s experience echoes our own, that transcends the handling of specific plot points. The 12-dancer company is highly individualized, distinct in presence and style of movement. Each figure suggests a unique background, but certain facets of being recur. The inherent difficulty of coming of age is shared in a piece that tracks the movement from innocence to experience. Personally, I was relieved not to bear witness to another forced marriage between script and score. When the book musical works — as it does gloriously this season in the revival of “Merrily We Roll Along” — there’s nothing more satisfying.
His Hyde Park shop doubles as a TV repair shop and barrel barbecue outlet on West Boulevard south of Slauson. Although he also declined to be interviewed for this story, locals say the shop has been there for decades, with a worker producing and customizing pits in the rear of the store. The drums used by barrel pit makers were previously filled with spent cooking oil from restaurants. After the barrels have seen enough action, they’re typically discarded and end up in landfills. Some of these barrels are salvaged, and typically by a third party selling them to businesses like barrel pit manufacturers, who recycle them. A barrel that once held oil can be transformed into a 15- to 25-gallon barbecue pit with two racks or more, or even a double-sized barrel pit painted red, green, or yellow, or with custom colors.
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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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.
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.
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.
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.
“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.
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