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.”
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
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.
Liza Fernandez, Joshua Bitton, Guillermo Cienfuegos, Victor Anthony, Lesley Fera, Montae Russell and Marisol Miranda
What happens when you mix a Pulitzer Prize winning script, a company of phenomenal actors and a skilled director together in one room? You get magic. From the moment the first lines of Stephen Adly Guirgis’ funny and powerful Between Riverside and Crazy were spoken at Wednesday night’s first rehearsal, all knew they were in for a wild and joyous ride.
In Gurigis’ profane and tender tale, ex-cop and recent widower Walter “Pops” Washington and his newly paroled son Junior have spent a lifetime living between Riverside and crazy. But now, the NYPD is demanding his signature to close an outstanding lawsuit, the landlord wants him out, the liquor store is closed—and the church won’t leave him alone. When the struggle to keep one of New York City’s last great rent-stabilized apartments collides with old wounds, sketchy new houseguests, and a final ultimatum, it seems that the old days may be dead and gone.
Directed by award-winning Guillermo Cienfuegos, the cast includes Victor Anthony, Joshua Bitton, Lesley Fera, Liza Fernandez, Matthew Hancock, Marisol Miranda, and Montae Russell.
At the first meet-and-greet, the company was joined by Fountain staff, Board members and donors. The group enjoyed a brief welcoming reception and then gathered on the Fountain stage for the reading of the script. Director Cienfuegos commented that he was struck by the support of the Fountain Theatre Family. Never, he said, had he witnessed such a show of community at a first rehearsal, with such a large number of dedicated people so eagerly present. “This is wonderful,” he grinned. “Because the play, in addition to being about racism and class and police work, is really about family.”
Maya Lynne Robinson and Karen Malina White, Runaway Home, 2017.
The Beverly Hills/Hollywood NAACP Branch this week announced its nominees for the 28th Annual NAACP Theatre Awards. The nominating committee is one year behind in its honoring process, only now selecting theatre productions opening January 2017 through December 2017.
The Fountain Theatre’s acclaimed 2017 Los Angeles Premiere of Runaway Home by Jeremy Kamps has earned three NAACP Theatre Award nominations:
Best Choreography – Janet Roston
Best Director – Shirley Jo Finney
Best Supporting Actress – Karen Malina White
The mission of the Theatre Awards is to entertain, educate, and inspire the community and create diversity in the arts and entertainment industry. The branch also celebrates a four-day theatre festival, which provides a platform for theatre-makers to share their craft with an audience of their peers, the community and other individuals who celebrate live theatre in Los Angeles.
The 28th Annual NAACP Theatre Awards will be held on Monday, June 17, 2019, 6:00 p.m. at the Biltmore Hotel in Los Angeles. More information
Psychologist Carl Jung introduced the word “synchronicity”, coining it to describe a “meaningful coincidence,” when unrelated events seem to happen for a reason. Synchronicity is something you feel. When, for no outward reason, the stars align and the right people come together at the right time and the result is something meaningful and long lasting.
Simone Missick, last seen at the Fountain in Citizen: An American Lyric, co-starred on the Netflix TV series Luke Cage as Misty Knight. She just signed the lead role in the new CBS legal drama pilot Courthouse.
Diarra Kilpatrick is the creator and star of American Koko, an ABC digital original series, earning her an Emmy nomination for Outstanding Actress in a Comedy/Drama Series, Short Form. She created, wrote, and starred in the comedy pilot The Climb for Amazon, and is set to star in a new comedy for Showtime opposite Keenen Ivory Wayans.
Maya Lynne Robinson, recently on stage at the Fountain in Runaway Home, is now a series regular on ABC’s Roseanne spinoff The Connors, playing the role of Geena Williams-Conner.
We asked these three dynamic actresses to share their thoughts on In the Red and BrownWater, and how theatre can form bonds that last a lifetime.
In the Red and Brown Water, Fountain Theatre, 2012.
What was it about In The Red and Brown Water that created such close ties?
MLR: For me, it stemmed from the fact that I was 3 months new in town and didn’t have a foundation/tribe yet. In the Red and Brown Water was the first project I was cast in once I moved to LA. I met these wonderfully creative and down-to-earth people and when you find those type of people, you shouldn’t let them go.
SM: I think what started at the table, with our director, Shirley Jo Finney, had a huge impact in creating a family amongst the cast and crew. To be able to discuss the play, the characters, inside and out and know that you were working with artists who took the work as seriously as you, made us all feel like we were experiencing something different and special. We knew we could trust one another onstage, and that trust helped us to build bonds as artists and as friends. But there is also a level of divine placement when it came to that production. Each of us were appointed to be there for those six plus months, for only God knows the reason, and to then be a part of each others lives. We’ve been there for each other through marriages, babies, cross country moves, and amazing work opportunities. It is just one of those special blessings, that so many of us gelled, and we found sisters and brothers, aunties and cousins in one another.
DK: I do believe [director] Shirley Jo Finney brought together a great group of not only artists but people. It was a joy playing with them and I’m grateful that we’ve s formed such loving, supportive bonds. We made a family and even though that’s common in the theater, this is a particularly special group of artists. Every one of us has continued to grow as artists and as people, I mean to the person. And I’m so, so proud of us.
What’s your favorite memory from that production?
MLR: Singing warm ups and prayer together before the show. There was something about our vibration that made me happy to do the show with these people every day for almost six months.
SM: There are sooooo many. Some of them stay in the vault. But one of them is Maya Lynne stomping her feet to get some of our other (not as rhythmically gifted brothers) on beat. She earned a nickname from that.
With whom from the cast have you most stayed in touch?
SM: All of us are on a text message chain that we connect through. This past Valentine’s Day, we all sent silly pictures to say we loved each other. I had the fortune to work with Shirley Jo four more times after that production, and she is such a special influence in my career and in my life. Our stage manager, Shawna and I have worked together again. I love that girl. Diarra and Maya Lynne are people that I talk to more often. We are all around the same age, experiencing some of the same career “firsts”, and we are always shooting each other a text of congratulations and cheering one another on. But the Red Brown family got together for a Christmas brunch, and FaceTimed with Stephen Marshall who moved to NY, so he wouldn’t be left out. We just love each other!
MLR: Whether we speak daily or once a year, we all pick up right where we left off. We have text message chains during holidays and big events. We try to have a reunion whenever possible. Half of us got together for a reunion earlier this year.
What is it about theatre — and the Fountain Theatre in particular — that creates a feeling of family?
MLR: There is a sense of family at the Fountain Theatre. From the exterior and interior style all the way to the intimacy of the spaces, the Fountain Theatre fosters closeness, authenticity and talent.
SM: Live theatre is an experience like no other. It is the artist’s equivalent to trapeze work, but the net is your fellow cast members. You are sailing through the air, with the audience there witnessing you doing emotional gymnastics, and every moment is alive and terrifying and electrifying. The intimacy of the Fountain leaves no room for hiding. You have to be vulnerable and authentic at every turn. That experience is one that creates a bond with your acting partners, because you are all there being honest and alive together.
DK:In The Red and Brown Water was a beautiful experience. I remember being in church and was particularly prayerful about opening myself up to new opportunities and challenges and ways to express myself. After service, Erinn Anova came up to me and said she was helping to cast a play at the Fountain and wanted to make sure she brought me in for it. She had seen me in something else and thought I’d be right for the lead. I so badly had wanted to work at The Fountain and with Shirley Jo. So, every step of the Red/Brown journey felt as synchronistic as that. Like it was meant to be. Like magic.
SM: I’ve managed to keep my Red Brown family close through it all. It truly was an experience of a lifetime that I will always cherish.
What is hip hop? A genre of music? A style of clothes? A way of life? Take a look.
In this West Coast Premiere of HYPE MAN by Idris Goodwin, a hip-hop trio is on the verge of making it big on national TV when a police shooting of a Black teen shakes the band to its core, forcing them to confront questions of race, gender, privilege and when to use their art as an act of social protest. When the Hype Man takes matters into his own hands, the ensuing beef exposes the long-buried rifts of race and privilege that divide them. Will it tear them apart or can they find a way to still breathe together?
Written by Idris Goodwin. Directed by Deena Selenow. Starring Chad Addison, Matthew Hancock, Clarissa Thibeaux. Starts Feb 23.