Fountain Board member Miles Benickes and Zoey Rosenzweig at Mueller Read-A-Thon.
by Stephen Sachs
First, she said no. She would not do it. When her grandfather asked her again in the Fountain Theatre lobby, she awkwardly took a step back in retreat, shy and embarrassed.
“No,” she said, in a blushing 14-year old half-grin.
She would not join her grandfather, Miles Benickes, on stage to read a ten-minute section of the Mueller Report in front of a gathered audience of LA professionals and unseen viewers watching online via a simultaneous live stream on Facebook, Twitter and YouTube. No way.
Then Zoey Rosenzweig changed her mind. I was thrilled and surprised when she strode out onto our Fountain stage with Miles and diligently read through the Mueller legalese with her grandfather. She may not have understood much of the gobbledygook she was reading. Who did? That didn’t matter. Something vital for the future of our nation was happening. Zoey Rosenzweig was getting involved.
Thursday’s 15-hour Mueller Report Read-A-Thon at the Fountain Theatre held dozens of unforgettable moments like this for me. The marathon event was emotionally overwhelming. The Fountain hummed with ecstatic energy all day and all night. A parade of politicians, actors, writers, and community leaders read from the podium as if declaring from a public square, each person high-charged by their call to duty.
I thought of the day as an Open House. The Fountain Theatre opening its doors – all day and all night — to democracy. At an Open House, all visitors are welcome. At an Open House, anyone who wishes may visit. An Open House is a gathering that’s open to anyone who wants to come by, any time.
An atmosphere of community was everywhere. In the lobby, in the audience, out front on the sidewalk, in our upstairs café. Theatre provides community. Los Angeles is one of the most diverse cities in this country, and our LA theatre network is large and widespread. But on Thursday our Mueller Report Read-A-Thon proved that, like the motto of our nation, Los Angeles and the LA Theatre Community is “out of many, one.”
For our nation to survive, engaging young people in the arts and politics of this country is essential. I studied closely as our twenty-four-year-old Fountain intern, Melina Young, sat in the front row watching respected LA theatre critic Sylvie Drake read from our stage. A proud grin spreading across Melina’s face. Sylvie Drake is Melina’s grandmother. Now Melina seeks a career in the theatre. Her grandmother, by example, reminding her how the arts and social action can intersect.
An endless stream of memorable instants that day/night flood through me now, two days later. Images of celebrities, LA Theatre icons, government officials. But it was Zoey Rosenzweig, perhaps, who remains the most indelible. A fourteen-year-old girl reading this urgent government document from the podium while her grandfather somberly leans over her shoulder like a rabbi guiding her through the Torah.
Moments like this are the reason we hosted the reading of the Mueller Report in the first place. It gives me hope. We need Zoey Rosenzweig and Melina Young and millions more like them.
Our nation, and our art form, depend on them.
Stephen Sachs is the Co-Founder and Co-Artistic Director of the Fountain Theatre.
Our California Premiere of Hannah and the Dread Gazebo is an opportunity for the Fountain Theatre and East West Players to bring their community of artists, staff, Board members and patrons together for the first time. That commonality of purpose was on display last night with the large turnout from both organizations at the meet & greet/first rehearsal.
Held at the East West warehouse rehearsal space in South Los Angeles, the evening began with a brief mixer including food and drinks. Fountain Co-Artistic Director Stephen Sachs welcomed the group with some opening remarks. Through the magic of technology, playwright Jiehae Park joined the gathering via FaceTime to provide her thoughts and encouragement. Director Jennifer Chang then shared her production vision with the room, noting that the play moves at the speed of thought. Designers Rebecca Bonebrake, Howard Ho, Ruoxuan Li, and Michael Allen Angel offered their insights. Professional illusionist Dominik Krzanowski will design special magic elements for the production.
After a quick break, the cast read the script aloud for the first time. And the real magic began.
In the play, Hannah is two weeks away from becoming a neurologist when she gets a strange package in the mail from her grandmother in South Korea, who may or may not have just ended her own life. A surreal, funny and heartbreaking adventure leads Hannah on a journey back to her homeland and the forbidden Demilitarized Zone that divides South and North Korea. A startling comedy about a daughter, a mother, a grandmother and the mystery that connects them.
2019 LA County Arts Interns Summit at the Dorothy Chandler Pavilion.
by Melina Young
Terrified in fact. There, I said it.
But really, who isn’t?
It may come as a shock to absolutely no one that to be a recent college graduate is legitimately terrifying. I can almost hear Britney Spears’s dulcet (if a bit nasal) tones reminding me that, “I’m not a girl / Not yet a woman.” She knows something I don’t… or rather she knows something that I do know but that I am trying desperately to avoid admitting.
“I’m Not a Girl, Not Yet a Woman.” Britney Spears (2002)
The Los Angeles County Arts Commission’s 2019 Arts Summit asked me to look Britney square in her wide set, brown eyes dusted with early 2000s glitter and acknowledge that we are the same—not girls; and not yet fully-grown.
It’s true. I will proclaim it loudly in my best Britney Spears impression (which, to my dismay, is not that good). Britney and I have something else in common—something that she demonstrates in her 2002 smash hit—we’re both artists.
I have to take a moment here to thank LACAC for organizing day jam-packed with illuminating events and with equally (if not more) illuminating fellow interns.
2019 county arts interns touring downtown Los Angeles.
I’ll continue my momentary digression by commenting on what a relief it was to look at the 2019 class of 203 LACAC arts interns sitting around me and see that the room was not overwhelmingly white and male. This was markedly different from my experience in college and was a refreshing reminder of what it actually looks like to be an Angelino.
Back to Britney.
To be clear, my goal is not to be a pop star, but it is no less ambitious. My goal is to have a fulfilling and sustaining career in theatre. That’s no easy trick.
Here’s what my whole Britney device was leading me toward: Is it possible to give good, actionable advice to someone in my situation? I don’t have an answer to my question. And I’m not sure that I’ve encountered someone who does. I hope that doesn’t sound ungrateful, because I AM GRATEFUL.
Melina Young at the Fountain Theatre.
Overwhelmingly grateful. And at the same time, I’m still terrified. I don’t think anything that anyone could say or do would change that. Unless what they do is hand me a contract and what they say is: “Hi, I’ll be your agent for life and I can magically promise you job security, longevity, financial stability, and artistic fulfillment.”
That does happen, but only for the lucky few.
Here’s what’s heartening. Despite the fact that the odds are against us, Arts Summit represented the coming together of two hundred and three arts interns (out of four thousand applicants I might add) who are pursuing the arts in bold defiance of those odds.
We believe in ourselves; and what’s more, we believe in one another.
I think that’s what we might call hope and courage. Fear that’s said its prayers. Sure, it’s hard to be a recent college grad that wants to be an artist. But I’ll take it because I get to be hopeful and courageous and I’m in fabulous company. That’s exciting.
To my delight, I think I encountered good, actionable advice in my LACAC peer group. (I won’t name names to protect the innocent.) Here it is:
Sometimes making art feels like screaming into the void. That’s frustrating; but scream anyway, and use that frustration to scream louder.
So I’m screaming. I hope it’s loud enough that you heard it.
Melina Young is our 2019 summer intern at the Fountain Theatre. Our thanks to the Los Angeles County Board of Supervisors and the LA County Arts Commission for its Arts Internship Program.
We’ve been told what it is, what it isn’t. What’s in it, what’s not. But how many have actually read it for themselves? Even some members of Congress haven’t read it.
Robert Mueller told us the report speaks for itself. But who can give voice to the report? Our Los Angeles theatre community, that’s who.
The Fountain Theatre will host a single, 15-hour Mueller Report Read-A-Thon, offering citizens of Los Angeles the opportunity to hear the Mueller Report read aloud, on Thursday, July 18 from 9 a.m. to midnight.
On Tuesday, it was announced that former special counsel Robert Mueller will testify before Congress on July 17, the day before the Fountain Read-A-Thon.
Earlier this month, a reading was hosted by NY theater companies, and a marathon reading is scheduled for July at the Arena Stage in Washington D.C. This week, an all-star celebrity reading of a new play, adapted from the Mueller Report by Pulitzer Prize and Tony Award-winning playwright Robert Schenkkan, was streamed live on social media.
“The Fountain has a long history of using theater as a trigger for political and social action,” says Fountain Theatre co-artistic director Stephen Sachs. “My larger purpose for the Read-a-thon is not to disseminate details about the report — although that is important. The greater goal is to give the public and our Los Angeles theatre community the opportunity to engage, to take some kind of expressive action. I see it as similar to a protest march. But all of us are marching from our stages.”
Readers at the Fountain will include over 90 readers representing the diversity of Los Angeles, including actors, artistic leaders, community leaders and business people. Confirmed to read so far: Councilmember Mitch O’Farrell; actors Alfred Molina, Jeff Perry, Richard Schiff, Rob Nagle, Frances Fisher, Harry Groener, Karen Kondazian, Bill Brochtrup and Jenny O’Hara; artistic directors Daniel Henning (Blank Theatre) and John Flynn (Rogue Machine); playwright Justin Tanner; and theater journalist Steven Leigh Morris. A complete list of readers is available at www.fountaintheatre.com/event/mueller, where anyone interested in participating can also sign up for a 10-minute reading slot. The Fountain Theatre Read-A-Thon will be streamed live on the Fountain’s Facebook and Twitter pages. The Fountain Theatre Café will be open throughout the event.
Los Angeles Theatres supporting the Read-A-Thon include: 24th Street Theatre, Blank Theatre Company, Boston Court Pasadena, Celebration Theatre, Company of Angels, Cornerstone Theater Company, Echo Theatre Company, Hero Theatre Company, The Inkwell Theatre, Latino Theatre Company, The Los Angeles LGBT Center, Lower Depth Theatre Ensemble, The Matrix Theatre Company, Moving Arts, New American Theatre, Open Fist, Playwrights Arena, Road Theatre Company, Rogue Machine, Skylight Theatre, Stacie Chaiken and What’s the Story?, The Victory Theatre Center, Vs. Theatre Company, Whitefire Theatre, Will Geer’s Theatricum Botanicum
The Odyssey Theatre Ensemble in West L.A. will hold a separate marathon reading, breaking it up into two 8-hour sessions on Monday, July 22 and Tuesday, July 23, each from 1 p.m. to 9 p.m.
According to Odyssey Theatre artistic director Ron Sossi, “Political projects like Chicago Conspiracy Trial, Tracers, McCarthy and Rapmaster Ronnie have always been a large part of the Odyssey’s 50-year history. Sadly politically-oriented work has been missing from American stages of late. This live reading of the Mueller Report at two different L.A. theaters is a refreshing and exciting reminder of the heady days of ‘60s/’70s activism, and, hopefully, a sign that the local theater scene is becoming re-engaged.”
The Odyssey event, curated by Not Man Apart artistic director John Farmanesh-Bocca, will include 20-minute readings by long-standing company members, friends and celebrities including Councilmember Paul Koretz; film and stage actors Alfred Molina, Frances Fisher, Brenda Strong, Norbert Weisser, Michael Nouri, Ray Abruzzo, Darrell Larson and Gregg Henry; Richard Montoya of Culture Clash; spoken word artist Steve Connell; Cornerstone Theater Company members Shishirand Bahni Kurup; Padua Playwrights founding artistic director Murray Mednick; plus many more. A complete list of readers will be available at www.odysseytheatre.com.
Admission to both Read-A-thons is free and open to the public. Audience members may come and go throughout each event.
Creation myths and family histories meld in a wildly theatrical, startling new comedy that explores what it means to walk the edge between cultures. The Fountain Theatre, in association with East West Players and with generous support form the S. Mark Taper Foundation, presents the California premiere of Hannah and the Dread Gazebo by Jiehae Park. Los Angeles Drama Critic’s Circle Award-winner Jennifer Chang (Vietgone) directs for an Aug. 17 opening at the Fountain Theatre in East Hollywood, near Koreatown, where performances continue through Sept. 22.
Set in NYC and Korea in the winter of 2011, just before the death of Kim Jong Il, Hannah and the Dread Gazebo takes Hannah’s Korean American family on a surreal, funny and heartbreaking adventure back to their roots in South and North Korea and the forbidden Demilitarized Zone that divides them.
“The play is a funny-tragic look at what it means to be caught in between,” says Park. “The characters are striving to reconcile the contradictions of their immigrant lives: North/South, past/future, coming/going.”
Thirty-something Hannah, played by Monica Hong (Ivanov at the Mint Theater in NYC, Please Stand By at Actor’s Playpen in LA), is two weeks away from becoming a board-certified neurologist when she receives a FedEx box from her grandmother with two things inside: a 100% bona-fide-heart’s-desire-level wish — and a suicide note. Hannah’s father (Hahn Cho, recently seen on TV in For the People, Magnum P.I., Swedish Dicks) and mother (Elaine Kao — upcoming feature film Paper Tigers, recurring on Netflix’s No Good Nick) have already moved back to South Korea to be near Grandma at the Sunrise Dewdrop Apartment City for Senior Living, which sits right on the edge of the DMZ. Meanwhile, Hannah’s slacker brother, Dang (Gavin Lee, whose credits include Blood, written and directed by Robert Allan Ackerman, and a recurring role on Fox’s The Orville) bonds over music with a student activist played by Wonjung Kim (Korea Musical Award for Best Actress, Ovation nominee for The Last Empress in L.A). In this strange and wonderful play that is a mix of unexpected whimsy, delightful comedy, profound despair and more than a little bit of magic, actress Jully Lee (Ladies at Boston Court, tokyo fish story at South Coast Rep) appears in many forms.
Helping make that magic happen is the Magic Castle’s Dominik Krzanowski, who will create original illusions for the production.
Hannah and the Dread Gazebo premiered at the 2017 Oregon Shakespeare Festival in Ashland, where the Mail Tribune called it “blisteringly original, acerbically funny, powerfully dramatic and deeply thought provoking… If you’re keen to have your mind expanded by an evening of theater that is not going to be comparable to anything you’ll see anytime soon, Hannah and the Dread Gazebo is a good place to start.”
Last week, the American Theatre Critics Association announced that Hannah has been selected as one of three finalists for its prestigious Francesca Primus Prize, sponsored by ATCA and the Francesca Ronnie Primus Foundation.
“I saw the world premiere in Ashland and was completely charmed by the play,” says Fountain Theatre co-artistic director Stephen Sachs. “I was enchanted by its whimsical, dreamlike surprises, and truly moved by its poignant revelation of a grandmother, mother and daughter relationship. Once the lights came up and the performance was over, I knew I wanted to present it at the Fountain.”
Sachs continues, “The Fountain is committed to diversity and inclusion, which makes this first-time partnership with East West Players very meaningful. It’s an invigorating sharing of resources, artists and audiences benefiting both companies and the communities we serve.”
“We are honored to partner with the Fountain on this production,” agrees East West Players artistic director Snehal Desai. “EWP first did a reading of the play in 2013, also directed by Jennifer Chang. The Fountain is a theater whose work and mission I have always admired; this seemed like the perfect project for our two companies to collaborate on, with its mix of humor, theatricality and timeliness.”
The creative team for Hannah and the Dread Gazebo also includes scenic and video designer Yee Eun Nam, lighting designer Rebecca Bonebrake, sound designer/composer Howard Ho, costume designer Ruoxuan Li and props designer Michael Allen Angel. The production stage manager is Bryan P. Clements.
Playwright Jiehae Park
Jiehae Park’s plays include peerless (Yale Rep premiere, upcoming in NY at Primary Stages), Hannah and the Dread Gazebo (Oregon Shakespeare Festival), Here We Are Here (Sundance Theater-Makers residency, Berkeley Rep’s Ground Floor, Princess Grace Works-in-Progress @ Baryshnikov Arts Center), The Aves (McCarter Spotlight Series) and contributions to Wondrous Strange (Humana/Actor’s Theatre of Louisville). Her work has been developed through the Soho Rep Writer-Director Lab, The Public’s Emerging Writers Group, p73, Playwrights Horizons, NYTW, Atlantic, Old Globe, Dramatists Guild Fellowship, Ojai, BAPF, CTG Writers Workshop, Banff Playwrights Lab, ACT New Strands, and Ma-Yi Writers Lab. Awards: Leah Ryan, Princess Grace, Weissberger, ANPF Women’s Invitational; two years on the Kilroys List. Commissions: Playwrights Horizons, Yale Rep, Geffen, OSF, Williamstown, MTC/Sloan. Residencies: MacDowell, Yaddo, Hedgebrook, McCarter/Sallie B. Goodman. She is a NYTW Usual Suspect, Lincoln Center New Writer in Residence, former Hodder Fellow, and current New Dramatists. As a performer recently: Ripe Time/Naomi Iizuka’s adaptation of Haruki Murakami’s Sleep (BAM Next Wave, Yale Rep); Celine Song’s Endlings (A.R.T.). She was a staff writer on season one of Marvel’s Runaways and currently teaches Playwriting at Princeton University. BA, Amherst; MFA, UCSD.
Jennifer Chang won the 2019 LADCC award for excellence in direction for her work on the Los Angeles premiere of Qui Nguyen’s Vietgone. She was a 2018 Drama League New York directing fellow and was the assistant director for the Broadway world premiere of Bernhardt/Hamlet by Theresa Rebeck starring Janet McTeer. Ms Chang’s multi-disciplinary work has been honored with Ovation, LA Weekly and the Stage Scene LA awards, among others. She is a founding member of Chalk Repertory Theatre where she served as artistic producing director and produced, directed and acted in numerous plays over the course of eight seasons. Upcoming directing credits include Where the Mountain Meets the Moon at South Coast Repertory and The Time of Your Life at Antaeus Theatre Company. Select directing credits include Death & Cockroaches by Eric Reyes Loo (Chalk Rep at Circle X/ Atwater Village Theatre); 53% Of by Stephanie Del Rosso and Birds of North America by Anna Moench for the Wagner New Play Festival; Animals Out of Paper at East West Players (Los Angeles Times “Critics Pick”); Edith Can Shoot Things and Hit Them for Artists at Play (GLAAD Media Award and Ovation-nominated); and Residence Elsewhere, commemorating the 75th anniversary of Executive Order 9066 at the Japanese American National Museum. She is very active in the development of new plays with the Geffen Playhouse, Chance Theater, Circle X Theatre Company, EST/LA, Playwrights Arena and East West Players.
The Fountain Theatre is one of the most successful intimate theaters in Los Angeles, providing a creative home for multi-ethnic theater and dance artists. The Fountain has won hundreds of awards, and Fountain projects have been seen across the U.S. and internationally. Recent highlights include all-star readings of Ms. Smith Goes to Washington and All the President’s Men at Los Angeles City Hall and the inclusion of the Fountain’s Citizen: An American Lyric in the Music Center’s Our L.A. Voices festival at Grand Park. The Fountain’s 2018 productions of The Chosen and Arrival & Departure each enjoyed months-long sold out runs and was named a Los Angeles Times “Critic’s Choice.” The company’s West Coast premiere of Martyna Majok’s Pulitzer Prize-winning play Cost of Living, was named to the Los Angeles Times’ “Best of 2018” list. Its current production, Daniel’s Husband, was named a Los Angeles Times “Critic’s Choice” and is enjoying an extended, sold-out run.
As the nation’s premier Asian American theater organization, East West Players produces artistic work and educational programs that foster dialogue exploring Asian Pacific Islander (API) experiences. Founded in 1965, at a time when APIs faced limited or no opportunities to see their experiences reflected outside of stereotypical and demeaning caricatures in the American landscape, EWP not only ensures that API stories are told, but works to increase access, inclusion, and representation in the economy.
Take a look as actor/teacher Theo Perkins visits Hollywood High School to interview students for the Fountain Theatre’s new educational outreach program, Walking the Beat. Our innovative program will bring together ten students from six high schools with five LAPD officers, using theatre as a tool to create understanding and empathy.
In partnership with Elizabeth Youth Theater Ensemble,Hollywood Police Activities League, and the Los Angeles City College Theatre Academy, The Fountain Theatre will introduce Walking the Beat, a summer theater arts based program for inner city high school youth and police officers in the Hollywood area. This pioneering arts education program, originated by New Jersey’s Elizabeth Youth Theater Ensemble in 2016, and now expanding into Hollywood with The Fountain Theatre, will provide transformative experiences for police officers and underserved youth in Hollywood. Utilizing performing arts as a vehicle for youth empowerment and community building, Walking the Beat has transformed lives with a results-based arts education methodology and curriculum. This 10 week program builds confidence, character, communication skills, and community. Walking the Beat inspires — in students and officers alike — an appreciation for their common humanity, and a commitment to community and social justice.
For many folks throughout Los Angeles, June means the end of school, the pageantry of graduation ceremonies and the long awaited start of summer. For the more than 600,000 LGBT citizens in the Los Angeles metropolitan area, June is LA Pride Month, when the city bursts into rainbow colors and Angelenos everywhere celebrate equality and inclusion with festivals, parades and special events saluting the LGBTQ+ community.
The Fountain Theatre embraces Pride Month with a busy June that highlights several LGBTQ+ events, including the acclaimed run of a hit play about gay marriage, a discussion and book signing by a lesbian author, a workshop production of a new play by a gay playwright centered on a transgender character, and an evening of short dramatic works by women, trans and queer performing artists in the LA community.
LA Pride Events at the Fountain Theatre
Daniel’s Husband – The acclaimed Southern California Premiere of Michael McKeever’s funny and poignant new play on gay marriage is a bonafide smash hit, earning rave reviews everywhere and sold-out houses nightly. Extended to July 28. More
Body Beautiful – A workshop production of Leigh Curran’s new play on love, aging and gender confusion. June 5-6, 12-13 @ 8pm. More
Thayer, a 72-year-old, gay psychotherapist and his ex-wife and great friend, Emma, decide to move back in together to take care of each other through their old age. Emma is still secretly in love with Thayer but does her best to hide it until Thayer and one of his patients – a Mexican-American transman, fall in love throwing sexual orientation, gender identity and true love into question for all concerned. It’s funny, deep, thought provoking and humanizes the struggle between hatred and acceptance in very original and memorable ways.
What is a workshop production? It is the next step in a new play’s developmental process. Although still a work-in-process, the actors will be off-book with the play fully memorized. Using simple props and costumes, the play is performed on the set of our current production of Daniel’s Husband.
Body Beautiful is directed by John Achorn, with Alex Alpharaoh, Leigh Curran, Geoffrey Rivas, Marcelo Tubert.
Tim Cummings, Bill Brochtrup and Jenny O’Hara in Daniel;s Husband.
The Fountain Theatre’s acclaimed Southern California Premiere of Daniel’s Husband by Michael McKeever will extend to July 28. Hailed as Critic’s Choice in the LA Times and highlighted as Ovation Award Recommended, the comedy/drama about a gay couple wrestling with the issue of marriage has earned rave reviews and sold-out houses from the night it first opened May 4.
There is the rule of law, and there are the laws of the heart. Which do we follow and when? Daniel and Mitchell are the perfect couple. What isn’t so perfect is that Daniel desperately longs to be married, but Mitchell doesn’t believe in it. Michael McKeever’s funny, passionate and poignant play takes an unflinching look at how we choose to tie the knot — or not.
Daniel’s Husband is directed by Simon Levy, starring Bill Brochtrup, Tim Cummings, Jose Fernando, Ed Martin, and Jenny O’Hara.
“CRITIC’S CHOICE…ABSORBING… THE ACTORS ARE WONDERFUL… [A] CROWD PLEASER” — Los Angeles Times
“A PERFECT 10…WITTY, REALISTIC, HEART-RENDERING” — Broadway World
“GO SEE‘DANIEL’S HUSBAND’… THESE ARE SOME OF THE FINEST ACTORS IN L.A.” —KCRW 89.9 FM
“AS CLOSE TO PERFECT AS ONE MIGHT ENVISION…. WRENCHING, REAL, FLAWLESSLY STAGED, STIRRINGLY PERFORMED” — Cultural Weekly
“OUTSTANDING… PERFECTLY SCRIPTED. ACTED AND DIRECTED” — Culver City News
“A REMARKABLE SCRIPT… TRUE LIFE, TRUE FRIENDSHIP AND TRUE DESPAIR” —Discover Hollywood
“SUPERIOR… AN EXCITING PIECE OF QUALITY THEATRE” — Hollywood Revealed
“WOW!… [A] LAUGH-OUT-LOUD-THEN-GET-OUT-YOUR-HANKIES STUNNER… NOT-TO-BE-MISSED” — Stage Scene LA
“EXQUISITELY WRITTEN, SUPERBLY DIRECTED AND EXCELLENTLY PERFORMED” —Will Call for Theatre
“TREMENDOUSLY ENTERTAINING AND WELL-WRITTEN… A TERRIFIC SHOW” — Los Angeles Post
“RELEVANT AND AFFECTING” — Stage Raw
“ABOUT LOVE… the ABSOLUTE BEAUTY of McKeever’s story rings true” — On Stage Los Angeles
“INSISTENTLY MOVING… CRISP AND TIMELY” — People’s World
“A FINE PLAY WITH SOMETHING TO SAY… EXCELLENTLY PERFORMED” — San Diego Gay & Lesbian News
“TWO THUMBS UP” — Carol’s Reviews
“RESONATED LONG AFTER THE FINAL MOMENTS” — Showmag
“RELEVANT AND UNIVERSAL” — Stage and Cinema
“A VERY FINE PRODUCTION” — Talkin’ Broadway
“GUARANTEED TO LEAVE YOU MOVED AND EMOTIONALLY EXHAUSTED” — Ticket Holders LA
“BREATHTAKING… A TRULY EXCEPTIONAL CAST… TIMELY AND PROVOCATIVE” — Billy Masters.