Category Archives: African American

Award-winning Philly playwright Josh Wilder is now finding brotherly love in L.A.

by France-Luce Benson

Josh Wilder might be the most down to earth wunderkind I’ve ever met. Barely in his 30s, he is the winner of numerous awards including the Jerome Many Voices Fellowship, the Lorraine Hansberry Award, and Holland New Voices – among others. But the Philly native truly represents “brotherly love” – spending his time guiding and nurturing young writers, and developing his green thumb. Wilder is currently based here in Los Angeles, and graciously agreed to appear on this week’s Saturday Matinee. In this interview I learned that although he is an Angeleno at the moment, his Philly roots are firmly intact.

FLB: Philadelphia is a recurring character in many of your plays. What about the city inspires you?

Everything! The murals; the culture; the accent; you can walk anywhere and find a story. Philly is a city of rowhomes with thin walls, so ear-hustling was the everyday. THE LOVE. We really are “The City of Brotherly Love”. Most importantly, it’s the attitude. Philly is an attitude, and everybody you know from Philly got one! PHILLY ALL DAY, BABY!

FLB: I understand you’re based in Los Angeles now. How long have you been here and what has the transition from east to west coast been like for you?

I’ve been here since April. The transition has been very smooth. I love that I can escape to the beach and just think. There’s something about the ocean…

FLB: What do you miss most about Philly?

The food. I want a mushroom cheesesteak with friend onions from Max’s so bad…. Water ice and soft pretzels; the Reading Terminal; block parties in the summertime. Sitting on the porch with my brother.

FLB: I read that you started as an actor? Does that inform your writing process? Do you have any desire to return to acting?

Yes, my favorite playwrights are actors. My writing process is actor focused—being in the room with actors is the ultimate experience. Better than the actual run of the show. There’s so much magic in the room that I never want to leave my side of the table. I don’t have a strong desire to return to acting— I really love being in my lane.

FLB: What was the very first play you ever wrote?

My very first play I wrote and produced was called Michael’s Testimony. I was in my senior year at the Creative and Performing Arts High School. I’ll never forget how the audience left the theater that night. 

FLB: In addition to the Pandemic, we (Black and Brown folx) are in the midst of an uprising while simultaneously continuing to see our people suffer at the hands of police brutality. How have you been processing all of this? Do you feel that it has fueled/informed/or radicalized your work in any way?

ALL I CAN SAY IS THAT I LOVE BEING BLACK. I WAS BORN BLACK, I’MA DIE BLACK, AND I’MA CONTINUE BEING BLACK NO MATTER HOW HARD THESE EVIL-ASS PEOPLE TRY AND THAT’S ON THAT. MY GOD AND MY ANCESTORS GOT ME. MY PRESIDENT WILL ALWAYS BE BARACK OBAMA.

FLB: Lol! Agreed!!

FLB: What’s been keeping you sane?

My teaching. As soon as COVID-19 shut the country down—everything changed for me. I was let go from a teaching position in Atlanta just as I was getting the hang of Zoom. Once that happened, I packed up my apartment, got in my car, drove to LA and I set up shop by starting a Playwrights Workshop in April. So far I’ve connected with over 40+ playwrights around the country and the world! I’ve never worked with so many Black and POC playwrights in my whole teaching career—90% women. These women keep me sane– they’re gonna be the ones to watch when the theater reopens. I also became a Plant Daddy J

FLB: What gives you hope? Knowing that the sun is shining, and the sky is blue.

France-Luce Benson is a playwright, the Community Engagement Coordinator at the Fountain Theatre, and host of the livestream program Saturday Matinees.

Groundbreaking livestream ‘The Ballad of Emmett Till’ is artistic and financial success for Fountain Theatre

By Terri Roberts

Friday, August 28th, marked the 65th anniversary of the vicious murder of an innocent 14-year-old black youth named Emmett Till. His cold-blooded, colder-hearted killing, and the events surrounding and following his funeral, became the kick-starter events of the burgeoning Civil Rights Movement in 1955. The Fountain Theatre recognized that landmark anniversary in two ways: with the reunion of the original director and cast of our award-winning 2010 production of The Ballad of Emmett Till, by poetic playwright Ifa Bayeza, and by navigating this new COVID-19 world of virtual theatre by presenting the show in a unique, forward-thinking beyond-the-Zoom-Room format.

Three hundred and forty-eight people bought $20 tickets for the livestream premiere of this re-imagined digital model of theatre. The five actors – Bernard K. Addison, Rico Anderson, Lorenz Arnell, Adenrele Ojo, and Karen Malina White – performed from their own individual, safely distanced locations, and coordinated with director Shirley Jo Finney and each other via Zoom on their computer screens. But gone was the normally pedestrian cyberscape of living room stages with bookcase backdrops. This fresh digital production of Emmett Till was dramatically enhanced with the use of props, costumes, music, sound, visual effects and cinematic techniques. The resulting hybrid of stage and digital filmmaking made for an exciting and invigorating step forward into the new frontier of virtual theatre.

If you were not able to catch the premiere, you needn’t worry. The livestream premiere was video recorded. The Ballad of Emmett Till is available for a pay-per-view rental of $20 at www.fountaintheatre.com until December 1st.

“What a stunning presentation!” wrote playwright Bayeza after Friday’s premiere. “The commitment and creative investment so enlivened the digital performance, introducing whole new dimensions and possibilities.Shirley Jo, the way you angled the car scenes, Emmett’s dancing in the water, the integration of sound and environments–all were exquisite surprises. The ensemble was marvelous again. Karen’s magical shifts of character are so seamless, you don’t even notice it’s the same actor! All in all, simply superb!”

Other viewers agreed:

“Shirley Jo Finney exceeded the medium and brought new meaning to each of the characters. Bravo! Bravo!” – Steven Williams

“Thank you for such an AMAZING virtual presentation! It was PHENOMENAL!!!! BRAVO!!!” – Cynthia Kitt

“Wonderful work in this crazy world!” – Taylor Bryce.

“Powerful production!” – Shawn Kennedy

“I was initially a bit cautious about watching on my computer but the direction drew me right in. I loved the use of photos and other visuals to create a sense of place. And the acting was superb. Very moving.” – Lois Fishman

“It was very powerful and beautifully done. The cast was amazing. Please convey my appreciation to all of them as well as to Shirley Jo Finney for the beautiful direction.” – Diana Buckhantz

“I’m so proud of what we created,” said Fountain Theatre artistic director Stephen Sachs. “I’m thrilled that the Fountain is leading the way in developing new ways to tell stories and keep the connection with our community alive.” The pay-per-view event is a budgetary victory as well. Online ticket sales and generous contributions from longtime Fountain donors Susan Stockel and Barbara Herman ensured that Emmett Till was fully funded by its first airing.  

The success of Emmett Till hashttps://www.fountaintheatre.com/fountain-digital/the-ballad-of-emmett-till-2020 demonstrated that this form of digital theatre is both viable and profitable, and can help the Fountain keep its doors metaphorically open while we are still in pandemic mode. And while we will certainly continue to present free digital content via the bi-monthly installments of Saturday Matinees and Theatre Talk, as well as other programming and readings as they present themselves, you can also expect to see more livestream/digital pay-per-view productions to come.

Is there something special you would like to see in this new format? A past Fountain production with a small cast you think should be rebooted? We’d love to know what you’d love to see. Email me at terri@fountaintheatre.com and share your thoughts.

Until then, The Ballad of Emmett Till is waiting for you.

The tragic life of Emmett Till demonstrates need for national change, 65 years after his death

by Terri Roberts

On August 28, 1955, 14-year-old Emmett Till was abducted from the home of his great uncle, Mose “Preacher” Wright, in the still-dark hours of a Mississippi morning. The two abductors were white; one of them carried a flashlight and a gun. Together, they forced the black teenager into the back of a pick-up truck and drove off. Three days later, Emmett’s naked, bloated body was recovered from the Tallahatchie River. He had been savagely beaten, shot in the head, and his face mutilated beyond recognition. A heavy, metal cotton gin fan had also been tied around his neck – with barbed wire.  

The boy’s body was so disfigured that Mose Wright could only identify him by the distinctive ring he was wearing. It was silver, square-shaped, and had belonged to Emmett’s deceased father. It was engraved with the initials L.T.: Louis Till.

This Friday, August 28, marks the 65th anniversary of the murder of Emmett Till. His death, and its aftermath, are largely credited with sparking the Civil Rights Movement. Rosa Parks had Emmett Till on her mind when she refused to surrender her seat to a white passenger. She thought about going to the back of the bus. But then she thought about Emmett Till and couldn’t do it.  

To honor him, and in recognition of all the challenges for racial equality that have followed from then till now, the original cast and director of the Fountain Theatre’s widely acclaimed, multiple award-winning 2010 production of The Ballad of Emmett Till by Ifa Bayeza will reunite for a live-streamed reading of the play. This highly produced presentation, which includes music, sound, and visual imagery, will take place at 4 p.m. PT / 7 p.m. ET and be available this year for on-demand viewing at www.fountaintheatre.com/fountain-digital/the-ballad-of-emmett-till-2020. Pay-per-view tickets are $20.00. Shirley Jo Finney again directs Bernard K. AddisonRico EAndersonLorenz ArnellAdenrele Ojo and Karen Malina White, all reprising their original roles in Bayeza’s powerfully theatrical intermingling of history, mystery and legend, punctuated with music and poetry.

And on Thursday, August 27, Fountain Theatre artistic director Stephen Sachs will chat with playwright Bayeza during his bi-monthly installment of Theatre Talk at 4 p.m. PT / 7 p.m. ET. That conversation will air live on Zoom, Facebook, Twitter, YouTube and the Fountain website at http://www.fountaintheatre.com.

Emmett’s mother, Mamie, had warned her son before he left their Chicago home that the Mississippi Delta was a whole different world than he was used to when it came to race relations. Segregation was a stricter practice down in the Delta. She worried that her fun-loving son, who was known for telling jokes and pulling pranks, and who used whistling to help control a stutter, could easily find himself in trouble in the unforgiving Jim Crowe south without realizing it.

She was right.

When Mamie was told of the terrible news, she insisted that the body of her only child – who she fondly called Bobo – be returned to Chicago. According to a January 11, 2003 article in The Washington Post following her death on January 6th, Mamie collapsed at the train station when she saw what was left of her son and cried out, “Lord, take my soul.”

Mamie became determined that her son would be seen, exactly as death left him. He would not disappear, like driftwood floating down the Tallahatchie River, to be remembered only by friends and family and then, finally, to be forgotten altogether. No, she wanted his killers, and indeed the whole world, to see what racial hatred, ignorance and bigotry was doing everyday, without regret, to black people everywhere, and what it had done to one particularly cherished life. A young black life that mattered.

“Let the people see what they did to my boy,” Mamie Till famously said. And they have, for 65 years. Today, a simple Google search easily pulls up a plethora of photos, articles, and books about the life and death of Emmett Till, including historian Elliot J. Gorn’s 2018 book, Let the People See, and Timothy B. Tyson’s 2017 book, The Blood of Emmett Till.

Till’s brutal death was already making headlines, and Mamie invited even more media to cover the funeral and the viewings, including the well-known black publication, Jet magazine (which created The Emmett Till Project to commemorate the 60-year anniversary of his death and the trail that followed.) She insisted on an open casket – albeit, one with a glass top because the stench from the decaying body in the Illinois summer sun was overwhelming. She invited the public to attend. And they did, by the thousands. The viewing of Emmett Till’s body went on for four days.

The photo of Mamie Till Mobley mourning over her son’s open coffin was a catalyst for the civil rights movement.

From the same TWP article: “Thousands lined the streets outside the Chicago funeral home. Thousands more walked past the open casket. They wept. They wailed. They seethed.

Photographers snapped close-ups of a boy’s body so disfigured that the human eye instinctively turns away. Those hideous pictures galvanized a nation.

All but two of Bobo’s teeth were missing. His ear was gone, an eye detached, his face and body horribly swollen after 72 hours in the Tallahatchie River.

His crime? This young black boy from Chicago spending the summer with relatives didn’t really understand Jim Crow. To impress friends, it is alleged that he talked fresh or whistled at a married white woman in Money, Miss.

That’s all it took to end a life.

A couple of weeks later, a trial was held for 24-year old Roy Bryant and his half-brother, 36-year-old John William “J.W.” Milam, in a segregated courthouse in Sumner, Mississippi. Bryant was the husband of Carolyn Byrant, the woman who had accused Till of “ugly remarks” and vague improprieties. The Bryant’s also owned the small store that Till and his friends had stopped at to buy some bubble gum. (The site of Bryant’s Grocery and Meat Market is now memorialized with a Mississippi Freedom Trail Marker.)

Mose Wright chose to appear at the trial. This short-statured black man stood tall that day in court when he pointed to his nephew’s accused white killers, Bryant and Milam, and positively identified them. Then, after less than an hour of deliberation, the all-white jury declared the men “not guilty.” The state, the jury claimed, had failed to prove the identity of the body. A separate kidnapping charge was also filed against the pair, but they never were indicted.

Both men eventually died of cancer: Milam in 1980 and Bryant in 1994. In 2017, Carolyn Bryant confessed to The Blood of Emmett Till author Timothy B. Tyson that the 14-year-old-boy from Chicago had never accosted her, or touched her, in any way. “Nothing that boy did could ever justify what happened to him,” she said.

In the more than five decades that have passed since August 28, 1955, thousands of other black men, women and children have needlessly died as the result of racial violence and divisiveness. They breathe no more, but the Civil Rights Movement continues. We march for the fallen, and we say their names: Eric Garner. Michael Brown. Trayvon Martin. Tamir Rice. Philando Castile. Ahmaud Arbery. Breonna Taylor. George Floyd. And so many more.

They are remembered. As is Emmett Till.

Dennis A. Allen II to share powerful monologues on Fountain online series ‘Saturday Matinees’

by France-Luce Benson

I first met Dennis A. Allen II back in 2016 when we met to talk about our experiences as Playwrights in Residence at Djerassi’s Resident Artist program. Although I was familiar with his work long before then, particularly his contribution to HANDS UP, a collection of monologues by seven black playwrights in response to the police shootings of Mike Brown, John Crawford the III, among others. His work is raw, gorgeously poetic, and brutally honest. In the past five months, Dennis and I have participated in a weekly virtual gathering of other like minded Black theatre artists, and I have gotten to know the depth of his sensitivity, and the expanse of his enlightenment. He is a truly special artist and man, and I am so thrilled hell be joining us for the return of Saturday Matinees, this Saturday – Aug 22 5pm PST.

Earlier this week, I chatted with Dennis about the work he plans to share with us, his process, and how he’s been processing the events of the last few months:

FLB: What will you be presenting on Saturday?

D.A.A.: I’d like to present three monologues from three different plays of mine. Manhood, The Wretched Begin to Rise and When We Wake Up Dead. Manhood explores the perils or toxic masculinity, The Wretched Begin to Rise is a play set in 1834 Five Points New York and interrogates identity and race relations, and When We Wake Up Dead examines mental health and the effects of untreated trauma within an African American family.  

FLB: I believe you started as an actor, right? How did you find way to writing and directing?

D.A.A.: Writing was actually the first passion. My mother has shared that I wrote a short story about a leprechaun when I was four years old. I don’t remember writing it but I’m sure it was inspired by the Disney movie Darby O’Gill and the Little People, a VHS that was in heavy rotation on my television at the time. Anyway, I always loved writing, I used to perform poetry at open mic nights my undergrad days at Hampton University and for a while had dreams of being a hip hop artist. I won’t bore you with reading my journey to acting and theatre but once I did get into acting I knew that eventually I’d want to write plays. My thinking was I’d be better at creating characters for the stage if I was intimate with the actor’s process. I took a directing class in undergrad and really enjoyed it. My preference is writing, I think because it’s the craft I’ve dedicated the most hours to, so it’s the one I’m most confident executing. For me. acting, writing and directing are just three different styles of storytelling and I love being able to create a good story. 

FLB: How has the last 3 months changed your creative process? (or has it)

D.A.A.: The last three months has not changed my creative process but it has provided me time to ruminate on what stories I think are imperative for me to create.  Capitalism is a helluva drug and there have been times where I’ve focused more on the strategy of making money at the craft than the craft itself. And it’s been those times that I’ve had the least amount of joy ( if any) in my creative process. This “pause” has allowed me to tap back into why I do this; why I love this. 

FLB: What has been keeping you sane?

D.A.A.: Exercise; I’ve been reading specifically Black female sci-fi and fantasy writers this summer (Octavia Butler, Justina Ireland, Tomi Adeyemi, Nnedi Okorafor); and every Friday night for the last five months I’ve participated in a Zoom meet up with friends I consider my creative family- which has provided us all with a catharsis- we laugh, cry, pontificate, talk shit, love on each other and laugh some more. 

FLB: What has been giving you hope?

D.A.A.: With everything going on I am hyper conscious of how privileged I am. My wife is loving and supportive, both of my parents are alive and currently healthy, I have a roof over my head and am blessed to have classes to teach as an adjunct professor; so it’s easy for me to have hope because of my privilege. As bad as it is out in these streets my immediate life ain’t too bad. That said, being able to teach and work with the younger generation has been a constant source of hope because these kids have an emotional intelligence, are politically informed and active, and have an unapologetic exploration around identity that is light years ahead of anything my generation had access to. 

France-Luce Benson is a playwright and the Community Engagement Coordinator at the Fountain Theatre.

Livestream reading of The Ballad of Emmett Till on August 28, Anniversary of Historic Murder

The original director and cast of the Fountain Theatre’s 2010, multiple award-winning production of The Ballad of Emmett Till by Ifa Bayeza will reunite for a live-streamed reading of the play on FridayAug. 28, which marks the 65th anniversary of Till’s murder. The reading will take place at 4.p.m. PT. / 7 p.m. ET and be available for viewing at www.fountaintheatre.com/fountain-digital/the-ballad-of-emmett-till-2020. Tickets are $20.00.

More than a typical Zoom reading, The Ballad of Emmett Till will be a highly produced presentation with music, sound and visual imagery.

In August, 1955, 14-year-old Emmett Till was visiting relatives in Money, Mississippi when he was accused of whistling at Carolyn Bryant, a white woman who was a cashier at a grocery store. Four days later, Bryant’s husband Roy and his half-brother J.W. Milam kidnapped Till, beat him and shot him in the head. The men were tried for murder, but an all-white, male jury acquitted them. Till’s murder and open casket funeral galvanized the emerging Civil Rights movement. Bryant recanted her story in 2017, admitting that the court testimony she gave more than six decades prior was false and stating “Nothing that boy did could ever justify what happened to him.”

“As America is now being challenged to face its racist history, I can think of no project more worthy,” says Fountain artistic director Stephen Sachs. “In addition to being the 65th anniversary of the murder, Aug. 28 also marks the 57th Anniversary of the historic March on Washington in 1963, and a 2020 march on Washington is being planned this year, on that date, as well.”

Part history, part mystery and part ghost story, Bayeza’s lyrical integration of past, present, fact and legend turns Emmett’s story into a soaring work of music, poetic language and riveting theatricality. The Fountain’s 2010 West Coast premiere was twice extended and won a combined total of 14 Los Angeles Drama Critics Circle, Ovation, Backstage and NAACP awards for production, direction, playwriting and ensemble.  Bernard K. AddisonRico EAndersonLorenz ArnellAdenrele Ojo and Karen Malina White will reprise their roles for the online reading, with Shirley Jo Finney again at the helm.

France-Luce Benson’s Showtime Blues explores Black love built by shared trauma and triumphs

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Playwright France-Luce Benson

This Saturday, June 27, at 5:00 pm The Fountain Theatre is proud to present a reading of France-Luce Benson’s one-act play Showtime Blues, originally presented at the Ensemble Studio Theatre in New York in 2017. Showtime Blues will be presented online as The Fountain’s final Saturday Matinee program for June and will feature Cecil Blutcher, Suzette Azariah Gunn and Matt Kirkwood. Saturday Matinees will take a break in July, returning with France-Luce in August.

France-Luce produces and hosts Saturday Matinees and has generously presented several readings of her own work for our patrons enjoyment, including our May 20th reading of  Detained,  her powerful piece commissioned by the ACLU that featured the Tony-nominated actress, Kathleen Chalfant.

We wanted to take the opportunity to discuss Showtime Blues with France-Luce as it is a powerful piece of theatre in perfect pitch with the current moment and is part of a body of work in which France-Luce explores her identity as a Black American of Haitian descent, and examines broad socio-political concepts from the perspective of intimate human relationships.

Q: When did you write Showtime Blues? Did it arise out of one particular experience or in response to a lifetime of experiences?

FLB: I wrote it in 2016. That year, Alton Sterling and Philando Castille were killed by police. Prior to that…Sandra Bland, Eric Garner, Trayvon Martin, Micheal Brown…the list goes on and on. I was hurting, and angry, and terrified for my community. I have three brothers, a nephew, dozens of cousins — I couldn’t imagine how anyone could ever view them as a threat. Like all the black men in my life – they are loving, gentle, hard working, family men – they care about their communities, they are human and deserve so much better than what this country gives them. We all do. All of this was stirring in my head and heart. I didn’t know what the play would end up being, but I knew I needed to explore it, work through it, and I wanted to celebrate Black love in a way that transcended romance. I wanted to celebrate the love we as Black people have for one another, based on our shared trauma and triumphs.

Q: I’m curious about the secondary theme in the play which explores the way folks judge one another on appearances and stereotypes.

FLB: As a first generation American, I’m interested in the way we (black and brown people) “Other” each other; and I always believe that as individuals we need to hold ourselves accountable. Both Ameira and Demetrius are quick to judge, and maybe they’re justified. She’s getting hit on by some dude on the train, and he’s being dismissed by someone who can’t even be bothered to look at him – literally. They have both been conditioned by a sexist, racist society. The incident that they experience together exposes their vulnerability. That vulnerability is what interests me most. It is that vulnerability that many of us, black and white, often fail to see in each other. And certainly law enforcement officers – they see black and brown bodies void of vulnerability – void of humanity.

Q: It seems that this moment provides a unique window for artists of color to be heard and seen.  What would you like your white friends and colleagues to understand about your experience as a black female artist in America?

FLB: I’d like them to truly understand how far reaching, how expansive, how insidious white supremacy is. My voice and stories matter as much as anyone else. The lack of opportunity artists of color experience is a result of  systemic institutionalized racism. White people need to understand this country’s history, and then maybe they’ll begin to understand my experience. I’ve been writing a trilogy about the Haitian Revolution, and I’ve often been told that my cultural experience is not relevant to Americans. But I challenge anyone reading this to study the Haitian Revolution and tell me it’s not part of America’s history. The problem is, Americans have been in denial about a lot of her history; I would like my white friends and colleagues to investigate the ways they have been in denial.

Q: As a Black American. What makes you hopeful?

FLB: This new generation of activists makes me hopeful; the current uprising, the fact that white people seem more willing to listen and take real action.

The Cast

Cecil Blutcher: Regional Theater: Pipeline (Actor’s Theatre of Louisville); Petrol Station (The Kennedy Center). NYC: The Hot Wing King (Signature Theatre); Tempo (Ensemble Studio Theatre); Showtime Blues (Ensemble Studio Theatre). Film: Premature (Dir. Rashad Ernesto Green); Skin (Dir. Guy Nattiv); Sketch (Dir. Mariama Diallo). Television: The Good Fight (CBS All-Access); Random Acts of Flyness (HBO). Training: M.F.A. (Penn State). Website: CecilBlutcherCreates.com

Suzette Azariah Gunn is an actress, writer, director from New York. She has a degree in acting from Howard University and Oxford University. She has recurred, starred and guest starred on television and been in film and Theater across the US. Most recently 21 Bridges film and Nya in Pipeline at Cleveland Playhouse. Honors- Los Angeles Film Award Best Ensemble, Golden Door International Film Festival Nominated Best Lead Actress, NBC Diversity Showcase,  Named Up and Coming Actress to watch, Best Supporting Actress Planet Connections,.- For more info suzettegunn.com

Matt Kirkwood has been an actor and director in Los Angeles theatre for the last 30+ years. He was last seen in The Fountain’s production of HUMAN INTEREST STORY, and in the live stream reading of DETAINED.

Zoom Link

France-Luce Benson joins Fountain Theatre staff as Community Engagement Coordinator

France-Luce Benson

France-Luce Benson

The Fountain Theatre is pleased to announce that playwright/teaching artist France-Luce Benson has joined the staff as Community Engagement Coordinator. Her duties will include overseeing the Fountain’s educational outreach programs and expanding the theatre’s interaction with audiences and local communities.

“As an artist committed to equanimity in representation and creating art that affects change, it is an honor to be a part of The Fountain Theatre, a company that is truly walking the walk, ” says Benson. “The many theatrical giants who The Fountain has produced over the years have not only influenced my work as a playwright, but they are representative of Los Angeles’ diverse cultural landscape. I am confident that my own cultural background will contribute to the important work The Fountain is doing to promote and inspire social justice.”

France-Luce Benson was named “Someone to Watch ” in 2019 by American Theatre magazine. As a playwright, she is a recipient of a Miranda Foundation grant (DETAINED), Alfred P. Sloan Foundation New Play Commission (DEVIL’S SALT), and a Princess Grace Award runner up (BOAT PEOPLE).   Additional honors include: Zoetrope Grand Prize (CAROLINE’S WEDDING); Dramatists Guild Fellow 2016-17, Sam French OOB Festival Winner, NNPN Award for Best Play, and  three time Kilroy List Honorable Mention.  Residencies include  Djerassi, the Camargo Foundation in France, and Instituto Sacatar in Bahia, Brazil. Her plays have had productions, workshops, and readings at Crossroads Theatre New Jersey, City Theatre of Miami, The Playwrights Center, Oregon Shakespeare Festival, City Theatre of Miami, Loyola Marymount University, Global Black Voices in London, and in New York The Lark, The Billy Holiday Theatre, and the Ensemble Studio Theatre where she is a company member. She’s been published by Samuel French and Routledge Press. She earned an MFA in Dramatic Writing from Carnegie Mellon University and a BA in Theatre from Florida International University. Teaching appointments include UCLA Extension, St. Johns University, Columbia University, Girl Be Heard, and P.S. Arts/Inside Out in L.A. She is a proud member of The Dramatists Guild, Inc.

France-Luce teaches Story Analysis for Film and Television at UCLA Extension School. As a Dramatist Guild Fund teaching artist, she launched the Traveling Masters Program for NY Public Schools and was a guest lecturer at Columbia University, where she facilitated a playwriting intensive designed for the International Student Fellows of Columbia’s esteemed Human Rights Advocacy Program.

“We’re excited to welcome France-Luce to our Fountain Family,” says Artistic Director Stephen Sachs. “She brings expertise, passion and insight to our community programming as the Fountain broadens its services into the future.”

VIDEO: ‘Riverside’ actor Montae Russell hails The Fountain Theatre as “a top-notch organization.”

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Smash Hit LA Premiere ‘Between Riverside and Crazy’ extends to January 26 at Fountain Theatre

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Montae Russell, Joshua Bitton, Lesley Fera, Marisol Miranda, Matthew Hancock.

The Fountain Theatre’s acclaimed Los Angeles Premiere of the Pulitzer Prize winning play Between Riverside and Crazy by Stephen Adly Guirgis will extend its sold-out run to January 26, 2020. The original cast will remain intact.

The performance schedule continues to be Friday 8pm, Saturday 2pm & 8pm, Sunday 2pm and Monday 8pm (Pay What You Want). More info/Get Tickets 

Over a dozen rave reviews:

THE PULITZER-WINNING PLAY YOU MUST SEE IN L.A.” — Los Angeles Times

REWARD[S] US WITH THE RAREST OF GIFTS: the pleasure of a raffish grace where you least expect to find it.”— Cultural Weekly

SUPERBLY ACTED… The Fountain Theatre has done itself proud again.” — Hollywood Progressive

SPLASH SELECTION… a superbly directed, acted, and produced must-see show.” — LA Splash

HUMOR AND WORDPLAY AND FANTASTIC MUSIC POWERFUL PERFORMANCES” — Larchmont Buzz

“A thoughtful exploration of family, forgiveness, and deciding what is important when life has not gone the way you imagined… led by a TOUR DE FORCE from Russell, who brings the enigmatic Pops to life with impressive complexity.” — On Stage and Screen

NEEDS TO BE SEEN… sometimes hilarious, sometimes agonizing… a seamless, breathtaking ensemble” — People’s World

OUTSTANDING… laugh lines abound… deals with profound issues of the human condition.” — Beverly Cohn, Santa Monica Mirror

WOW!SENSATIONAL… Contemporary play-writing at its most original and Los Angeles theater at its finest.” —Stage Scene LA

SCINTILLATING… an exciting, engrossing piece of theatre with a cast of seasoned pros.”  Theatre Notes

BRILLIANT DIRECTION… [A] SUPERB CAST“—Theatre Spoken Here

HILARIOUSLY OUTRAGEOUS and delightfully off-kilter dialogue… one of out city’s best ensemble casts” — Ticket Holders LA

FEARLESS… a brutally honest understanding of human emotions fully on display by a talented cast of seven.” — Culver City News

Fountain Theatre welcomes Margaret E. Phillips, PhD, to its Board of Directors


margaret-phillips

Margaret Phillips, PhD

The Fountain Theatre is proud to announce that esteemed teacher, researcher, and consultant Margaret E. Phillips, PhD, has joined its Board of Directors. Her special interests are in cultural influences on organization behavior, management development in multicultural contexts, and organization diagnosis and design for sustainability.

“During my long career as an international business professor, a cross-cultural management researcher, and an organization design consultant, I have spent much of my time exploring challenging topics that incite conversation and ignite social change,” Phillips explains. “Much like the Fountain does every day using the medium of theatre. That is likely why the invitation to join the Fountain’s Board of Directors was so intriguing to me, especially coming at the time of my retirement from academia.”

Her work has been published in books and academic journals and included in compendiums of key contributions to the fields of cross-cultural management and international human resources management. Her book, Crossing Cultures: Insights from Master Teachers is a resource for teachers and trainers with proven methods for developing coping strategies and problem-solving skills in the cross-cultural arena. She co-authored the comprehensive chapter on “Conceptualizing Culture” for the Handbook for International Management Research and “Contextual Influences on Culture Research: Shifting Assumptions for New Workplace Realities” in the International Journal of Cross Cultural Management.

She has served on the governing boards of several organizations, for-profit and not-for-profit, with culturally diverse stakeholders.

“I have been a committed supporter of the Los Angeles theatre community for over 50 years,” she states. “Yet have only recently become a fan of the Fountain after experiencing the performance of Citizen: An American Lyric at Center Theatre Group’s first Block Party, and engaged with the theater after experiencing the powerful Walking the Beat this past summer. Subsequent performances and interactions with the Fountain family have allowed me to see that the values conveyed from the stage are lived in this company. This, and of course the charm and passion of the board colleagues themselves, have enticed me to join with you all as the Fountain moves toward its 30th year and beyond. I am proud and delighted to be along on this journey.”

Maggi Phillips enjoys opening night of Between Riverside and Crazy, 2019.

Dr. Phillips has been a member of the Western Academy of Management, the Academy of Management, the Academy of International Business, the International Organization Network, and the European Group for Organization Studies. She has conducted teaching exchanges and faculty workshops for several of these organizations in multiple international settings, and has made presentations and convened symposia for all, including Designing Culturally Sustainable Organizations for the 2012 EGOS meeting in Helsinki.

Dr. Phillips received her PhD in Management from the Anderson School at UCLA, an MS in Administration from the Merage School at UC Irvine, and a BA in Psychology from UCLA’s College of Letters and Science.

Dr. Phillips’ husband, Professor Mario Gerla, PhD, a pioneer in computer networks who had supervised more than 100 Ph.D. graduates during his long career, passed away in February after a prolonged battle with pancreatic cancer. Dr. Phillips has two daughters, Marisa and Cristina.