Sunday, 20 April 2025

Arts & Life



“RED ONE” RATED PG-13

What exactly is the holiday cheer to be found in “Red One,” a picture that has action and comedy along with a heavy dose of surreal fantasy which seems a lot more like science-fiction drama than a celebration of the Christmas spirit?

Well-known actors take center stage with Dwayne Johnson displaying qualities befitting his physical persona of “The Rock” and Chris Evans shedding his Captain America image for that of a scoundrel with a skewed moral compass.

The titular character for “Red One” is J.K. Simmons’ Santa Claus, or known to his family and friends as Nick, who has the code name “Red One” for his security detail, and we thought only U.S. presidents had code names bestowed by the Secret Service.

We first see Chris Evans’ Jack O’Malley as a delinquent youth acting like a shakedown artist. In adulthood, Jack is a deadbeat dad completely lacking in scruples when stealing other people’s lattes and newspapers before retreating to his job of hacking computers and being a tracker for hire.

With Christmas Eve around the corner, the North Pole comes under attack by evil forces connected to the Christmas witch Gryla (Kiernan Shipka), who wants to punish all the allegedly naughty people in the world and not just children.

The first step in Gryla’s misguided plan is the abduction of Santa Claus to be imprisoned in a fortified snow globe, so that Nick won’t be able to fulfill his yuletide mission of delivering presents.

Operating under the underground moniker “The Wolf,” Jack is surprised as anyone that Santa’s head of security, Callum Drift (Dwayne Johnson), has noticed his apparently inadvertent disclosure of the location of Santa’s domain to the bad guys.

Considering that the unattached Jack is estranged not only from his son and the boy’s mother, one can easily figure that a reconciliation with his offspring, Dylan (Wesley Kimmel), is in the offing since this is a Christmas movie after all.

But first, Jack reluctantly joins Callum in an odd couple buddy team in the hunt for Santa, facing off against an assortment of otherworldly henchmen, including Santa’s estranged brother Krampus (Kristofer Hivju) who looks like a cross between a Viking warrior and a horned space demon.

One of Callum’s neat tricks is a shape-shifting ability to respond to physical attacks, as well as turning toy cars into real ones for chase scenes and action figures into fighting machines.

The banter, such as it is, between stoic Callum and sardonic Jack is pretty much the comedic element here. “Red One” offers enough diversion to be enjoyably watchable for the most part and that may be enough.




‘ABSOLUTION’ RATED R

Ever since the 2008 action thriller “Taken” about a former CIA operative tracking down Albanian human traffickers for kidnapping his daughter in Paris, Liam Neeson has burnished his career with ongoing films in the same action genre.

Never mind that Neeson is now in the eighth decade of his life, he appears not to be slowing down in taking roles where a certain amount of mayhem and rough physical activity remains obligatory.

Unlike his usual good guy on a virtuous mission, Neeson’s character, only fittingly known as Thug, is an aging gangster who attempts to reconnect with his estranged children to rectify his personal failings.

Thug’s desire for absolution has much to do with a terminal illness with the incapacitating neurological malady of CTE, which usually afflicts athletes suffering too many concussions. Too many blows to the head apparently have happened to Thug, a former boxer.

Even though Thug is fading mentally and physically, he’s still capable of responding to deadly threats with his own lethality. The mystery centers on who wants to eliminate Thug before irreversible brain damage takes its deadly toll.

Having worked for crime boss Charlie Conner (Ron Perlman) for decades, Thug is tasked with providing tutelage to Conner’s lunkhead son Kyle (Daniel Diemer) to learn the ropes to eventually to take over his father’s criminal enterprise.

Meanwhile, Thug would like to repair what might be a lifetime of anguish for his alienated daughter Daisy (Frankie Shaw), who really wants nothing to do with her father, even though her young son Dre (Terrence Pulliam) appears curious about the mysterious grandfather.

Reconnecting with family is not helped when Thug can’t remember the name of his deceased son or where he’s buried. Perhaps he should have family information on the notebook used to keep track of things.

Don’t expect this film to be a non-stop action picture. It’s about an hour into the story before Thug even throws a punch, and while violence is toned down, the killer instinct of an aging criminal still emerges when the occasion arises.

The pace of “Absolution” is probably not exactly what fans of a righteous avengers usually played in action films by Liam Neeson would expect. As such, it’s a bit of slog with intermittent action, and you might as well wait until it ends up on a streaming service sooner than later.

Tim Riley writes film and television reviews for Lake County News.

Christmas lights are mostly not up yet, and still holiday programming is already available before anyone has had the chance to carve up a turkey for Thanksgiving dinner.

You can count on the Hallmark Channel to fill their schedule with a surfeit of Christmas movies. It happens every year, and this one is no exception.

Hallmark didn’t even wait for Halloween before launching “Scouting for Christmas,” in which Tamera Mowry-Housley’s Angela is a busy realtor since her amicable divorce a couple of years ago to Dakota (James Paladino), a paleontologist whose adventures kept him anywhere but home.

Now, she is a devoted, if often harried, single mom to smart and loving 10-year-old girl Brooklyn (Audrey Wise Alvarez). Angela’s busy schedule makes it hard for her to find time for much of anything, or anyone else.

Angela can barely get Brooklyn to her scout meetings on time, much to the disapproval of other mothers. Brooklyn gets the idea to have William (Carlo Marks), the owner of her favorite bakery, cater her scout troop’s annual holiday event, and asks Angela to work on pitching the idea to the other moms.

Despite sensing that her daughter might be trying to play cupid, Angela agrees to help and finds herself enjoying time with William, but is reluctant to open her heart and life to someone new.

When Dakota enters the picture again, after missing his ex-wife, Angela must decide what is best for her daughter and best for her heart. “Scouting for Christmas” presents a holiday dilemma.

Oddly enough, Hallmark’s all-new, six-episode holiday series “Mistletoe Murders,” was launched on Halloween, in what can be some sort of counter-programming on the eve of an ancient Celtic festival when the souls of the dead returned to their homes.

Sarah Drew headlines as Emily Lane, a small-town shop owner with a secret. The series also stars Peter Mooney as local detective Sam Wilner and newcomer Sierra Marilyn Riley as his teenaged daughter Violet.

“Mistletoe Murders” follows Emily, the outwardly friendly proprietor of a charming year-round Christmas-themed store, Under the Mistletoe. However, her inner voice reveals a sardonic sense of humor, cunning intellect, and keen eye for details most people would miss because she has a big secret.

Residing in the quaint tourist town of Fletcher’s Grove, Emily finds herself compelled to investigate a crime when her friend is accused of murder. Emily had tried to fit in without letting anyone get too close, but the murder case changes everything.

And when she begins her sleuthing, Detective Wilmer, a smart local cop, with a crush on Emily that is not completely unrequited, begins to wonder if there’s more to Emily than meets the eye.

Of course, it’s only a matter of time before Emily’s secret past catches up with her. Other than the fact that Emily runs a holiday-themed gift, “Mistletoe Murders” makes for an interesting choice for a Christmas-related program.

A sequel to Hallmark’s “Three Wise Men and a Baby” returns in a story that begins five years later with the Brenner brothers preparing for another memorable Christmas in “Three Wiser Men and a Boy.”

In a crazy turn of events, the director of Luke’s (Andrew Walker) son Thomas’ (Miles Marthaller) school holiday musical steps down. Luke is desperate to make his son’s stage dreams come true.

Luke enlists the help of his brothers Taylor (Tyler Hynes) and Stephan (Paul Campbell). Meanwhile, the trio navigates meeting their mom Barbara’s (Margaret Colin) new boyfriend.

The brothers grapple with their own feelings about this relationship. In true Brenner brother fashion, they are all in for a Christmas they will never forget. Maybe they will end up being wiser men.

Earlier in the year, Great American Family announced that Danica McKellar (“The Wonder Years”) and Oliver Rice (“Firefly Lane”) were set to star in “A Royal Christmas Ball,” which was acknowledged as a working title.

With a premiere date of this television film set for Friday, November 29th, the title is now “A Cinderella Christmas Ball.” This change may be owing to the fact that the working title was taken for a TV movie seven years ago.

McKellar’s Chelsea Jones is a dance instructor and studio owner in Chicago who inspires kids to find themselves through dance. Just before Christmas, Chelsea discovers a photo she’s never seen before.

Chelsea thinks the young woman is her birth mother who passed away when she was only five years old. The woman is in a wedding dress tugging on the hand of a man wearing a wedding ring, but all that is all than can be seen of the man Chelsea believes may be her father.

The photo’s handwritten inscription reads, “Our place, Havenshire, December 23, 1984.” With only the internet, a plane ticket, and lifelong determination to go on, Chelsea now has four days in Havenshire to solve the mystery of her birth family.

Along the way, she’ll sneak into a castle, teach stubborn Prince Phillip (Oliver Rice) how to dance, and be in just the right place on Christmas Eve when the bells toll.

Tim Riley writes film and television reviews for Lake County News.



'SATURDAY NIGHT' Rated R

For a column that writes about film and television, it would be almost indefensible to forgo a critical look at the film “Saturday Night,” the story of the tumultuous start to a late-night television show now just a year shy of reaching the half-century mark.

The sketch comedy variety show “Saturday Night Live,” now in its fiftieth season, has had its own turbulent history over the years as cast members, some shooting up to considerable stardom and success in films and television, would sometimes run afoul of NBC’s corporate culture.

Even Lorne Michaels, creator and producer and occasionally appearing on his own show, stepped away early on for five seasons, but remains a force behind the scenes to this day as executive producer.

The original title for the late-night program, which debuted on Oct. 11, 1975, was “NBC’s Saturday Night,” a reference overlooked in “Saturday Night” because that is a piece of trivia irrelevant to the premise of the movie.

The film, at a running time approximating the time frame of a dress rehearsal, centers on the madcap countdown to the premiere episode going live from Studio 8H at New York’s Rockefeller Center.

All eyes are on the 11:30 p.m. launch, as studio executives and other honchos, most notably an anxious Dave Tebet (Willem Dafoe) telling Lorne Michaels (Gabriel LaBelle) “your crew is in open rebellion,” indicate that the ninety minutes preceding the broadcast looms as a potential disaster of epic proportions.

The very same NBC executive is only inches away from pulling the plug, and the angry voice of Johnny Carson, host of NBC’s “The Tonight Show,” on a phone call to Michaels, is upset that a bunch of nobodies could sabotage his late-night show, even though he would benefit from their failure.

The staging of the chaotic buildup to showtime is likely exaggerated for the purpose of dramatization, and in the compressed period leading up to the show going live, the enterprise becomes a mix of fact, fiction and myth rolled into a big ball of irreverent, wacky moments.

With a rather large cast of characters, from actors and network executives to the production crew and security, even some of the notable cast members get short-shrift, but above all the focus is truly on Michaels trying to corral his counter-culture performers.

Alternately appearing energetic and at times flummoxed, Michaels is performing a juggling act, getting help from his then-wife Rosie Shuster (Rachel Sennott), a contributor to many of the sketches.

Looming over the fast-approaching launch time, Michaels has his challenges in dealing with comedians and inexperienced actors, particularly with an erratic John Belushi (Matt Wood) who avoids signing his contract until right up to the moment that the putative curtain rises.

Bad enough having to wrangle the crew, Michaels and Shuster are not only scrambling for rewrites on the fly, but also have to deal with mechanical failures, power outages, and the set catching fire, while trying to maintain a sense of sanity and calm.

An on-the-set NBC censor struggles with some objectionable material, leading to the acerbic staff writer Michael O’Donoghue (Tommy Dewey) uttering profane contempt that might have easily come from George Carlin (Matthew Rhys) who appears as a host and drops a few F-bombs.

Even a scorecard on the cast members may not prove helpful because, unless you are familiar with the original performers, not everyone is immediately recognizable in filling a certain role.

However, Chevy Chase (Cory Michael Smith) stands out, if for no other reason than famously uttering the “Live from New York, It’s Saturday Night” opening line, even though the actor bears enough to the genuine article along with the delivery of his signature pratfall.

Lamorne Morris does such a great job of being the only Black cast member as Garret Morris that you might wonder if he’s the actual offspring of the actor who later created the fictional character of Dominican baseball player Chico Escuela, speaking only in broken English.

In this large ensemble cast, there are plenty of characters reduced to cameo roles, some of them expanded. J.K. Simmons does a great turn as veteran comedian Milton Berle paying a visit to the set and unable to contain his antipathy to anarchic comedy.

While the character of Andy Kaufman (Nicholas Braun) is immediately recognizable for his unique style, the notable female cast members Jane Curtin (Kim Matula), Gilda Radner (Ella Hunt), and Laraine Newman (Emily Fairn) are regrettably underused.

One thought about “Saturday Night” is what did the filmmakers believe would be the target audience for this film? It would appear tailored to those who remember the early years, rather than a younger generation not even knowing the genesis of the “Blues Brothers” created by Belushi and Dan Aykroyd.

The selling point for “Saturday Night” is the sheer lunacy of a revolutionary turn in television history where the satirical skewering of culture and politics was a novel concept. More than anything, it’s a trip down memory lane and plenty of messy, unruly fun.

Tim Riley writes film and television reviews for Lake County News.

Francine Passa will play "Meditation" (from the opera, "Thais") with orchestra accompaniment. Courtesy photo.

LAKEPORT, Calif. — The Lake County Symphony will present its Fall Concert at 2 p.m. on Sunday, Nov. 24, at Lakeport’s Soper Reese Theatre, with composers from the Romantic Era.

There will be music by Franz Schubert, Gioacchino Rossini, Jules Massenet and Leo Delibes, as well as a violin solo performance by symphony member Francine Passa.

Conductor/Musical Director John Parkinson opens the program with Gioacchino Rossini’s “La Gazza Ladra Overture,” popularly known as “The Thieving Magpie,” an opera that is best known for its use of snare drums in the overture, opening the piece in an energetic and memorable way and evoking the image of the opera's main subject: a devilishly clever, thieving magpie.

Rossini (1792-1868) was an Italian composer who gained fame for his 39 operas. He also wrote many other songs, including chamber music, piano pieces and sacred music.

He was very popular at a young age and set new standards for both comic and serious opera before retiring from full-scale composition while still in his 30s, at the height of his popularity.

Next the symphony will play “Cortege De Bacchus” by Leo Delibes (1836-1891) from his “Sylvia” ballet suite. Delibes is best known for his operas/operettas and ballets and was the first to craft a full-length ballet score. He composed operas and vaudevilles for several years before collaborating with Ludwig (Leon) Minkus on his first ballet composition, “La Source,” achieving public recognition for this in 1866.

His later works “Coppelia” and “Sylvia” were considered key works in the development of modern ballet, in which the music had much greater importance than it had previously. His work was admired by “Swan Lake” composer Pyotr Ilyich Tchaikovsky; others, like American author Carl Van Vechten, saw Delibes’ contribution to ballet music as “revolutionary.”

“Overture in C Minor for String Quintet” by Franz Schubert (1797-1828) is the next selection. Composed in 1811 when he was 14, it was Schubert’s earliest chamber work.

The final selection in the first half of the program is a solo performance by violinist/symphony member Francine Passa, accompanied by the orchestra. She will play the beautiful and familiar “Meditation” from the opera, “Thais,” by Jules Massenet (1842-1912).

A French composer of the Romantic Era, Massenet composed oratorios, ballets, orchestral works, piano pieces, songs and other incidental music, but quickly became best known for his operas, writing more than 30 of them. Massenet had a good sense of the theater and of what would succeed with the Parisian public, and produced a series of successes that made him the leading composer of opera in France in the late 19th and early 20th centuries.

Following intermission, the orchestra plays Schubert’s Symphony No. 8 in B minor "Unfinished," a composition he started in 1822 but left with only two movements — though he lived for another six years.

This symphony is sometimes called the first Romantic symphony due to having many of the characteristics of Romantic era music. These include its orchestration and specific instrumental choices that are predictive of the later Romantic movement.

Music aficionados say Schubert's music neatly bridges the Classical and Romantic periods through its use of “lovely melodies, inventive scoring, and nature imagery, wedded to traditional classical forms while at the same time expanding them.”

Conductor Parkinson finishes the program with another Schubert piece: Overture in the Italian Style No. 2 in C Major, D. 591. In 1817, in response to the Italian craze sweeping Vienna, the 20-yr old Schubert wrote two “Overtures in the Italian Style.”

The second of these, “D. 591” is thought to best capture the essence of Gioacchino Rossini, who was hugely popular at the time.

Franz Schubert died at age 31, but left behind a vast collection of compositions, including more than 600 vocal works, seven complete symphonies, operas, and a large body of piano and chamber music.

While Schubert did not receive much public recognition while he was alive, today he is considered one of the greatest composers in the history of Western Classical music.

His music has appeared in several films, including Walt Disney’s “Fantasia” (1940), Stanley Kubrick’s “Barry Lyndon” (1975), Woody Allen’s “Crimes and Misdemeanors” (1989), and Guy Ritchie’s “Sherlock Holmes: A Game of Shadows” (2011). His music continues to be widely performed.

Tickets for the 2 p.m. Fall Concert are $25 for general seating or $30 for premium seating and may be purchased on the Soper Reese website: https://www.soperreesetheatre.com.

LCSA members receive a $5 discount. Tickets are also available at the Soper Reese box office at 275 S. Main Street on the day of the concert. Please arrive 30 minutes prior to the show when buying tickets at the door.

The 11 a.m. dress rehearsal performance is just $5 for adults and free for those under the age of 18. Due to the popularity of this discounted performance, please arrive early to ensure a seat.



‘THE LINCOLN LAWYER: Season 3’ on NETFLIX

Michael Connelly, the prolific author of crime fiction and detective novels, is arguably at the top ranks of writers whose books are worthy of being adapted as screenplays for television or movies.

His most notable characters are LAPD detective Hieronymus “Harry” Bosch and criminal defense attorney Mickey Haller, the central persons, respectively, for the Amazon series “Bosch” and the Netflix incipient franchise “The Lincoln Lawyer,” now streaming for its third season.

Before Netflix launched “The Lincoln Lawyer” series in 2022, Connelly’s eponymous 2005 novel was first made into the 2011 film of the same title, starring Matthew McConaughey as the Los Angeles defense lawyer who operates out of the back seat of a Lincoln Town Car.

The Ford Motor Company’s Lincoln division produced the 1986 Town Car that was featured in the McConaughey film, whereas the streaming series on Netflix features a classic 1963 four-door Lincoln Convertible as the lawyer’s car of choice when he’s mostly driving for leisure.

The third season picks up where the previous one left off with Mickey Haller (Manuel Garcia-Rulfo) showing up at the West Hollywood jail for Julian LaCosse (Devon Graye), arrested as the suspect in the murder of sex worker Gloria Dayton (Fiona Rene).

Julian has only known Gloria as Giselle Dallinger, who operates under multiple aliases and could not be identified at the County morgue until Haller showed up, noting that she mostly went by Glory Days.

The evidence against Julian, as happens to be the case for many that Haller represents, may be circumstantial but enough threads connect to his culpability with at least a degree of credibility.

On the night of the homicide, Julian is found on a surveillance camera to have arrived and departed from Gloria’s apartment building within the timeframe of the murder and the testimony of a neighbor that a loud argument had ensued gave credence to foul play.

It turns out that Gloria was being serviced by Julian’s website that allowed sex workers to have prospective clients vetted for safety reasons, leading to Julian insisting that he’s not a pimp but acknowledging that he takes twenty percent off the top as commission.

While a few side issues intrude, the ten-episode season is primarily focused on a single compelling case even though a budding odd couple romance blossoms when Haller gets involved with prosecutor Andrea Freeman (Yaya DaCosta), a frequent adversary in the courtroom.

In the second episode, Haller is representing a Hispanic male with shaved head and several face tattoos on an armed robbery charge. After testimony proves to be damning, the defendant viciously assaults Haller.

The prosecutor and Haller approach the bench when requested by the judge, who believes the attack has prejudiced the case in the eyes of the jury. The prosecutor asserts that the assault was staged so Haller could manipulate the court to declare a mistrial.

Detractors of the defense attorney, and there are many who pop up here, including the District Attorney’s investigator and former LAPD detective Neil Bishop (Holt McCallany) holding a grudge for being destroyed as a witness, would perhaps justifiably take the view that Haller is calculating.

Those who work for Haller are faithfully loyal. His second ex-wife Lorna Crane (Becki Newton), a hard-working assistant, is preparing for the bar exam which understandably causes anxiety at work.

Lorna is now married to former motorcycle gang member Cisco (Angus Sampson), who now works for Haller as an intrepid investigator willing to ride his bike all the way to Las Vegas to track down a potential witness.

Office worker Izzy Letts (Jazz Raycole), who previously chauffeured Haller in his Lincoln Navigator, is busy on the side trying to make a go of her own dance studio that’s suddenly threatened by a competitor.

One new member of Haller & Associates is Eddie Rojas (Allyn Moriyon), taking over driving for the boss, after the attorney defended him at trial on a charge of joyriding in an expensive sports car.

On the other side of the ledger, Haller must deal with plenty of unsavory characters. Prison inmate Sly Funaro Sr. (Paul Ben-Victor), a disgraced attorney, and his moron son (Christian Antidormi), are key to Haller connecting with an imprisoned cartel leader (Arturo Del Puerto).

Even sleazier is how shady DEA agent James de Marco (Michael Irby), who has ties to former police officer Neil Bishop, possibly figures into the death of prostitute Glory Days.

For anyone who enjoyed the first two seasons of “The Lincoln Lawyer,” the third season exceeds expectations such that the cliffhanger at the last episode will have you hoping no time is wasted for production to start on the next installment.

Without giving away anything that is shocking about the finale, it would be a disservice to the fan base to not have a new chapter, but given the popularity of the series so far, we should feel confident that Mickey Haller is not hanging up his shingle.

Tim Riley writes film and television reviews for Lake County News.

Community Ofrenda. Photo courtesy of the MAC staff.

MIDDLETOWN, Calif. — The Middletown Art Center, or MAC, welcomes the community to join a vibrant celebration of Día de los Muertos, or Day of the Dead, on the evenings of Nov. 1 and 2 at the MAC rain or shine.

Both nights are free to the public and include a Community Ofrenda, music, dancing, craft-making with food and beverages for purchase.

Adults, teens and families with children are cordially invited to come together in a joyful and respectful commemoration of ancestors, and sharing of traditions.

“Día de los Muertos is a day of celebration because we wait with joy for the return of our loved ones who are no longer physically with us,” explained Middletown area resident Irene Martinez. “We believe that on this day all souls return. We honor them in our homes with an ofrenda, or altar, with cempasuchil – marigold flowers. We cook our loved ones’ favorite foods that they enjoyed here on earth and place them on the ofrenda. The cempasuchil flowers guide them to their ofrenda.”

On Nov. 1 from 5:30 to 9 p.m., the festivities begin at MAC with a Community Ofrenda and a special Día de los Muertos First Friday Drum Circle and Open Mic.

The public is invited to bring offerings, photographs of departed loved ones, and meaningful tokens — flowers, food and other mementos — for a shared community ofrenda.

Attendees are welcome to join the drum circle from 5:30 to 6:30 p.m. and/or express themselves through music, poetry and spoken word, or engage in cultural art-making activities.

Maker vendors and delicious food by Goddess of the Mountain will also be onsite. Middletown’s popular Farmers Market and “trunk or treat” Halloween fun will also be happening this Friday evening. It’s a great night to come out to Middletown.

On Saturday, Nov. 2, from 6 to 10 p.m., the celebration continues with a Día de los Muertos Fiesta.

The evening’s activities include a performance by Middletown High School’s folklórico dancers and DJ Smooth with traditional and contemporary Latinx music. Enjoy music, dancing, face painting, and crafts for children and adults. Traditional Mexican food and beverages will be available for purchase from La-Mixteca and Rosales Market, allowing attendees to savor authentic flavors while partaking in the festivities.

The Día de los Muertos en Middletown celebration offers a unique opportunity for community members to come together, share cultural heritage, and foster connections across generations and backgrounds. Attendees can experience firsthand how honoring the past enriches our present.

The event is supported in part by Lake County Behavioral Health Services through community based mini grant funding, by Lake County Tribal Health, and by Middletown Art Center.

Middletown Art Center is a nonprofit dedicated to engaging the public in art making, art education and art appreciation and providing a platform for diverse voices and perspectives, striving to create an inclusive and accessible space for all.

To learn more and donate to support this or other MAC arts and cultural programs visit middletownartcenter.org.

For inquiries or further information, please contact the Middletown Art Center at 707-355-4465 or email This email address is being protected from spambots. You need JavaScript enabled to view it..

The MAC is located at 21456 State Highway 175 in Middletown.












Upcoming Calendar

20Apr
04.20.2025
Easter Sunday
20Apr
04.20.2025 1:15 pm - 2:00 pm
99th annual Easter Egg Hunt
21Apr
04.21.2025
Easter Monday
24Apr
04.24.2025 11:00 am - 3:00 pm
Earth Day celebration
26Apr
26Apr
04.26.2025 1:00 pm - 3:00 pm
Soper Reese Theatre renovation groundbreaking
26Apr
04.26.2025 7:00 pm - 9:00 pm
Lake County Symphony annual Trivia Challenge
5May
05.05.2025
Cinco de Mayo
11May
05.11.2025
Mother's Day

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