Category Archives: African American

Larry Powell’s “The Gaze,” aired on Fountain Stream in 2020, earns 2 Daytime Emmy Award nominations

Writer/creator Larry Powell’s digital series The Gaze…No Homo has received two Daytime Emmy Award nominations, including Outstanding Lead Actress in a Daytime Fiction Program for Sharon Lawrence. Joey Scoma has been nominated for Outstanding Multi-Camera Editing for a Drama or Daytime Fiction Program.

The Fountain Theatre digital platform, Fountain Stream, partnered with Powell and Angelica Robinson of Tell Me a Story Productions in 2020 to present this bold and funny 12-part series. It later aired on Facebook Watch and YouTube.

The National Academy of Television Arts & Sciences announced the nominees for the 48th Annual Daytime Emmy Awards Children’s & Animation and Lifestyle categories. The remainder of the year’s Daytime Emmys will be celebrated in two live-streamed events on July 17 (children’s and animated programming) and July 18.

For the full list of nominees, click here.

Fountain Theatre honors Juneteenth with free celebration and other events

The Fountain Theatre commemorates the emancipation of enslaved women and men in Texas on June 19, 1865 — the last state to abolish slavery in the U.S. following the Emancipation Proclamation in 1863 — with a special event at the Fountain’s new Covid-safe outdoor venue in East Hollywood. The Fountain’s Juneteenth Celebration will take place on Saturday, June 19 beginning at 7:30 p.m. Admission is free and open to the public.

The Fountain event will feature dancing with D.J. Earry Hall as well as special guests. Food and handcrafted items will be available for purchase from Black vendors and artisans, including Mama Aunties Vegan GoodiesGloria Shelby-Dyer (SoBeltClothing.com and Affirmation Mirrors); Nappilynaturals/Sharon WilliamsB.T. Williams Handmade Jewelry; and Brilliance Ltd.

The celebration will immediately follow a 5 p.m. matinee performance of the Obie award-winning play An Octoroon by Branden Jacobs-Jenkins, a Los Angeles premiere production that is inaugurating the Fountain’s new outdoor stage (separate, ticketed admission).

Counting down to the June 19 event, the Fountain will also host a virtual Juneteenth panel discussion, moderated by playwright, performer and founder/artistic director of Minneapolis-based Carlyle Brown & Company Carlyle Brown and featuring panelists Miami Herald journalist Bea L. Hines; performance artist, educator and linguist Vanya Allen; and playwright/screenwriter Keith Josef Adkins, on Monday June 14 at 1 p.m. PT. The discussion will be available live on Zoom, and will also be live-streamed on the Fountain’s social media platforms, where it will remain available to view on demand throughout the week.

On Tuesday, June 15, the Fountain will post a spoken word video created in honor of Juneteenth by Loyola Marymount University’s Theatre in Color. The LMU video will also remain available to view on demand throughout the week.

Juneteenth, also known as Freedom Day, Jubilee Day, Liberation Day and Emancipation Day, has been celebrated by African Americans on June 19 every year since the late 1800s.

Earlier this year, the Fountain received approval from the City of Los Angeles to install the outdoor stage for the purpose of safely presenting live performances and other events during the pandemic. Construction is now complete, with the opening of An Octoroon slated for June 18.

An Octoroon is Jacobs-Jenkins’s gasp-inducing deconstruction of a moustache-twirling melodrama by 19th century playwright Dion Boucicault that twists a funhouse world of larger-than-life stereotypes into blistering social commentary.

For more information about the Juneteenth events, An Octoroon and the Fountain Theatre, call 323-663-1525 or go to www.fountaintheatre.com.

Intimate. Excellent. Leading the way.

by Logan Myles Stacer

For 31 years, the Fountain Theatre has proudly maintained its identity as Intimate and Excellent. With the opening this month of An Octoroon, we are doubling down on our commitment to leading the way.

June 18th marks a turning point, not just for the Fountain Theatre but for Los Angeles theatre writ large. The opening of Branden Jacob-Jenkins An Octoroon brings with it a re-centering of the role that theatre can play in helping communities to heal.

The Fountain holds the distinction of being the first intimate theatre in Los Angeles granted permission by Actors’ Equity, the union that governs stage actors and stage managers, to re-open in the wake of falling COVID-19 infections. The timing of that approval also allows us to acknowledge Juneteenth in a more expansive way, by building out programming that continues the conversation on the themes of both An Octoroon and that important day.

Logan Myles Stacer

Juneteenth is a national holiday that commemorates June 19th, 1965 – the day that the news of emancipation finally made it to the state of Texas, officially marking the end of chattel slavery in the United States. While President Lincoln’s Emancipation Proclamation was issued on January 1st, 1863, it still took two and a half years for that news to travel to Texas. There are many different theories as to why this happened, but the fact remains that the Texas economy was able to benefit from slave labor for more than two years after the rest of the country abandoned it. Appropriately, in 1980, Texas became the first state to recognize Juneteenth as a state holiday. Today, 47 states and the District of Columbia also accept Juneteenth as a state or ceremonial holiday.

Black independence, Black commerce, and Black solidarity will be on display at the Fountain Theatre throughout the week of Juneteenth. On Monday, June 14th, at 12pm, we will host a virtual panel discussion moderated by Carlyle Brown, noted playwright/performer/artistic director of the Minneapolis-based Carlyle Brown & Company. On Tuesday, June 15th, we’ll be sharing a poem performed by LMU’s Theatre in Color. And during our actual Juneteenth celebration, we’ll be hosting Black-owned businesses such as MamaAunties Vegan Goodies, Nappily Naturals, B.T. Williams’ handmade jewelry, and more, at the theatre. There will also be art from the New Black City art exhibit on display.

We encourage you to join us in experiencing An Octoroon and our additional Juneteenth programming as we celebrate the grand re-opening of the Fountain Theatre and our beautiful new Outoor Stage. Previews for An Octoroon begin June 11; opening night is June 18. Performances are Fridays-Mondays at 7pm through Sept. 19. Tickets range from $25-$45; Pay-What-You-Want seating is available every Monday night in addition to regular seating (subject to availability.) Tickets are on sale now via the Fountain box office at (323) 663-1525, or on our website at www.fountaintheatre.com.

Logan Myles Stacer is the Assistant Community Engagement Coordinator at the Fountain Theatre.

Countdown to Fountain Theatre’s Juneteenth event starts today

Join us as we count down to commemorate Juneteenth, the holiday celebrating the end of slavery in the United States. On Saturday, June 19th — the date known as Juneteenth — come to the Fountain to enjoy a DJ, dancing, food, handcrafted products by Black artisans, and other events to be announced. The performance of An Octoroon will have a 5pm curtain time that afternoon, to allow folks to experience the play and the gathering immediately following.

We are also planning a thought-provoking series of online events on our Fountain Stream platform throughout the run of An Octoroon, bringing together some very cool and fascinating people. More on that soon.

Juneteenth has been celebrated by African-Americans since the late 1800s. But in recent years, and particularly following nationwide protests over police brutality and the deaths of George Floyd, Breonna Taylor, Ahmaud Arbery, and other Black Americans, there is a renewed interest in the day that celebrates freedom.

The celebration continues to resonate in new ways, given the sweeping changes and widespread protests across the U.S. over the last year and following a guilty verdict in the killing of Mr. Floyd.

Each day leading up to Juneteenth, we will share interesting facts, highlight Black artists, swap personal stories, and celebrate the spirit of freedom while recognizing that much still must be done in this nation to ensure every that citizen is treated equally.

Let the Countdown begin!

Meet the cast of An Octoroon

by Terri Roberts

The Memorial Day holiday may have been a three-day weekend for most, but at the Fountain Theatre the cast and crew of our Los Angeles premiere of An Octoroon were digging in to rehearse the show and prepare for the long week ahead of loading in set, lights, video, and sound, all leading up to the all-important tech weekend.

It seems like we only just started, yet our fabulous cast has not only been hard at work for a few weeks now, but they recently donned costumes, hair and makeup for a publicity photo shoot.

Meet the wonderful actors from An Octoroon here:

And check out the photo shoot for An Octoroon here:

Tickets for Branden Jacobs-Jenkins’ Obie Award-winning Best American Play, An Octoroon, are on sale now. The show runs June 18 through Sept. 19, with performances on Fridays, Saturdays, Sundays and Mondays at 7 p.m., with the following exceptions: Saturday, June 19, the performance is set for 5 p.m. and will be followed by a special Juneteenth event. More on that coming soon! And the weekends of July 30 – Aug. 2 and Aug. 27 – Aug. 30 will be dark for An Octoroon so that our acclaimed dance series, Forever Flamenco, can shake up the stage! More on that to come as well.

Tickets for An Octoroon range from $25–$45; Pay-What-You-Want seating is available every Monday night in addition to regular seating (subject to availability). The Fountain Theatre is located at 5060 Fountain Avenue (at Normandie) in Los Angeles. For reservations and information, call (323) 663-1525 or go to www.fountaintheatre.com.

Terri Roberts is a freelance writer and the Coordinator of Fountain Friends, the Fountain Theatre’s volunteer program. She also manages the Fountain Theatre Café and outdoor concessions.

Casting complete for the Fountain’s L.A. premiere production of An Octoroon

Casting is complete and rehearsals begin this week for the Los Angeles premiere of a radical, incendiary and subversively funny Obie award-winning play by MacArthur Foundation “Genius Grant” recipient Branden Jacobs-Jenkins. Performances of An Octoroon will inaugurate the new outdoor stage at The Fountain Theatre on June 18. Performances will continue through Sept. 19, with four public previews set for June 11, June 12, June 13 and June 16, and a special press preview on June 17.

Judith Moreland directs Jacobs-Jenkins’s outrageous deconstruction of a moustache-twirling melodrama by 19th century playwright Dion Boucicault. Matthew Hancock (LADCC, Stage Raw and Ovation award-winner for Hit the Wall at the L.A. LGBT Center, previously seen at the Fountain in Between Riverside and Crazy, Hype Man, The Brothers Size, I and You) stars as a modern-day Black playwright struggling to find his voice among a chorus of people telling him what he should and should not be writing. He decides to adapt his favorite play, Boucicault’s The Octoroon, an 1859 melodrama about illicit interracial love.

The Black playwright quickly realizes that getting White, male actors of today to play evil slave owners will not be easy… so, he decides to play the White male roles himself — in whiteface. What ensues is an upside down, topsy-turvy world where race and morality are challenged, mocked and savagely intensified. A highly stylized, theatrical, melodramatic reality is created to tell the story of an octoroon woman (a person who is one-eighth Black) and her quest for identity and love.

The cast includes Rob Nagle (Human Interest Story at the Fountain, The Judas Kiss at Boston Court) as Boucicault; Hazel Lozano (America Adjacent at the Skylight, Othello at Griot Theatre) as the production assistant; Mara Klein (The Judas Kiss at Boston Court, Sucker Punch at Coeurage) as the octoroon, Zoe; and Vanessa Claire Stewart (Louis & Keely: Live at the Sahara at the Geffen, Finks at Rogue Machine) as Dora, a rich Southern belle in love with the plantation owner (who is also played by Hancock). Meanwhile, Leea Ayers (BLKS at Steppenwolf, Incendiary at the Goodman Theatre), Kacie Rogers (NAACP award-winner for No Place to be Somebody at Robey Theatre Company and An Accident at Griot Theatre Company; The Heal at Getty Villa) and Pam Trotter (And Her Hair Went With Her at the Fountain, national tour of The Color Purple) portray three startlingly modern slave women.

An Octoroon brutally satirizes racial stereotypes in a funny and profoundly tragic whirlwind of images and dialogue that forces audiences to look at, laugh at, and be shattered by America’s racist history.

“The more you experience this play, the more it turns into something else,” says Moreland. “It’s an extraordinary piece of theater — hilarious, but also shocking, profound, moving… and designed to provoke and offend. We have a terrific group of actors who are completely game and up for the challenge. It’s a celebration of how theater can both move you and change lives.”

The John D. and Catherine T. MacArthur Foundation Fellows Program, commonly but unofficially known as the “Genius Grant,” awards no strings attached cash prizes to individuals who demonstrate “extraordinary originality and dedication in their creative pursuits and a marked capacity for self-direction.” The website described Jacobs-Jenkins as “a playwright [who draws] from a range of contemporary and historical theatrical genres to engage frankly with complicated issues around identity, family, class and race. Many of Jacobs-Jenkins’s plays use a historical lens to satirize and comment on modern culture, particularly the ways in which race and class are negotiated in both private and public settings. Although the provocation of his audience is purposeful, Jacobs-Jenkins’s creation of unsettling, shocking, often confrontational moments is not gratuitous; these elements are of a piece with the world he has established on stage and in the service of the story he is telling.”

The Fountain Theatre creative team includes scenic designer Frederica Nascimento, lighting designer Derrick McDaniel, sound designer Marc Antonio Pritchett, video designer Nicholas E. Santiago, costume designer Naila Aladdin Sanders; prop master Michael Allen Angel; choreographer Annie Yee; fight director Jen Albert; and dramaturg Dr. Daphnie Sicré. The production stage manager is Emily Lehrer, assistant stage manager is Deena Tovar, and production manager for the Fountain’s outdoor stage is Shawna Voragen. Stephen Sachs and Simon Levy co-produce for the Fountain Theatre, and the associate producer is James Bennett. Barbara Herman and Susan Stockel are executive producers.

The Fountain’s outdoor stage is made possible, in part, by the generous support of Karen Kondazian, Barbara Herman, the Vladimir and Araxia Buckhantz Foundation, Rabbi Anne Brener, Carrie Chassin and Jochen Haber, Miles and Joni Benickes, and the Phillips-Gerla Family.

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.

An Octoroon runs June 18 through Sept.19, with performances on Fridays, Saturdays, Sundays and Mondays at 7 p.m., except Saturday, June 19, which will be at 5 p.m. and will be followed by a special Juneteenth event, and July 30 through Aug. 2 and Aug. 27 through Aug. 30 which will be dark. Four preview performances will take place on June 11, June 12, June 13 and June 16 at 7 p.m. There will be one press preview on Thursday, June 17 at 7 p.m. Tickets range from $25–$45; Pay-What-You-Want seating is available every Monday night in addition to regular seating (subject to availability). The Fountain Theatre is located at 5060 Fountain Avenue (at Normandie) in Los Angeles.For reservations and information, call (323) 663-1525 or go to www.FountainTheatre.com.

L.A. premiere of ‘An Octoroon’ by Branden Jacobs-Jenkins will launch outdoor stage at Fountain Theatre

Playwright Branden Jacobs-Jenkins

The Los Angeles premiere of An Octoroon by Branden Jacobs-Jenkins will inaugurate the new outdoor stage at the Fountain Theatre later this spring. Judith Moreland will direct.

Winner of the Obie Award for Best American Play, Jacobs-Jenkins’ landmark play has earned ecstatic reviews nationwide. The New York Times hailed it as “this decade’s most eloquent theatrical statement on race in America today.” The Guardian declared it “brilliant” and “extraordinary.”

An Octoroon is a radical, incendiary and subversively funny riff on Dion Boucicault’s once-popular 1859 mustache-twirling melodrama set on a Louisiana plantation. A spectacular collision of the antebellum South and 21st-century cultural politics, An Octoroon twists a funhouse world of larger-than-life stereotypes into blistering social commentary to create a gasp-inducing satire.

“I’m proud the Fountain will introduce this bold play to Los Angeles audiences on our new outdoor stage,” states Fountain artistic director Stephen Sachs. “It could not be timelier. The moment has come for our nation to confront its own racist history. Branden uses satire to get to the dark core of American slavery and the racial stereotypes that continue to plague this country today.” 

Earlier this year, the Fountain received approval from the City of Los Angeles to install the outdoor stage for the purpose of safely presenting live performances and other events during the pandemic. Construction is set to begin this month, with the opening of An Octoroon slated for June.

Before that can happen, a number of tasks remain on the Fountain’s to-do list to inaugurate the outdoor venue. The first step is to repave the parking lot, where the stage will be installed. Lighting, sound, and video equipment will be loaded in. New chairs will be positioned according to COVID guidelines to accommodate 84 viewers. The entire site will meet all safety requirements for artists and audience members.

“Everything now depends on the COVID numbers,” says Sachs. “Once they drop to a level where the County Department of Public Health allows a gathering outdoors of one hundred people, with safety guidelines in place, we’re good to go.”

The new outdoor performance area is made possible, in part, by the generous support of Karen Kondazian, the Vladimir and Araxia Buckhantz FoundationRabbi Anne BrenerCarrie Chassin and Jochen HaberMiles and Joni Benickes, and the Phillips-Gerla Family.

For more information about the Fountain Theatre, go to www.fountaintheatre.com

Conversations with Black Artists, Part III

by Terri Roberts

In this final segment of our Conversations with Black Artists series, we talk with director Shirley Jo Finney, and actors Gilbert Glenn Brown and Theo Perkins. We are grateful to all of the wonderful performers and creatives who have been so generous with their time and shared their thoughts about issues around race and their relationships with the Fountain Theatre. We hope you have enjoyed getting to know them a little better, as well.

Shirley Jo Finney

Director: From the Mississippi Delta, Central Avenue, Yellowman, The Ballad of Emmett Till, Heart Song, In the Red and Brown Water, The Brothers Size, Citizen: An American Lyric

1. When/how did you first come to the Fountain Theatre?

My first directing job at the Fountain was in1997, with From the Mississippi Delta by Endesha Ida Mae Holland.

2. How has your experience been working here?

I find the Fountain Theater supports their artists.

3. What Fountain shows that you’ve worked on hold particular meaning for you, and why?

All of them. Each of the shows are socially relevant and have impacted my artistic awareness as well as my expansion as a human being. It is the creative journey with the actors that hold the most meaning for me and not a particular show.

4. Last summer’s civil unrest brought an increased focus on racism, both in general and within the theatre world. We also saw the emergence of the BIPOC movement. How have these issues impacted you and your work in the theatre? 

Not so much.

For me, the emergence of BIPOC is a continuation of the Civil Rights Movement of the 60’s and 70’s. That movement changed laws and stopped a war. The cultural and black arts movement of that time laid the foundation for the raised fist we are experiencing now. I am a child of that time and my foundation as a creative was shaped by that time. It is the work I am called to do. Each generation is defined by their time. 

5. Why is Black History Month important

It brings a microscopic lens of awareness to a culture that historically has been erased. There would not be a need for a month if it were an intricate part our education system.

6. What’s next for you? Any upcoming projects?

I hope many more active and healthy years!

I have adapted creatively during “the time of Covid.” It has opened up a whole new world of Zoom lectures discussing my journey and body of work as a director. I also am relishing the world of Zoom productions using the “mashing” of stage and digital to create story.

Gilbert Glenn Brown

Actor: Direct From Death Row: The Scottsboro Boys, In the Red and Brown Water, The Brothers Size, The Painted Rocks at Revolver Creek

1. When/how did you first come to the Fountain Theatre?

My very first audition and show with Fountain Theatre was early on when I first arrived to Los Angeles from NY and that was Scottsboro Boys.

2. How has your experience been working here?

My experience at the Fountain in one word… community. Truly the closest experience I’ve had in LA to a NY theatre experience. I feel that a sense of community in theatre is necessary. I enjoy being part of it, and the Fountain is able to foster that to an incredible degree,

The commitment to presenting productions that not only entertain, but transform, educate, and energize is so key. It breaks down walls, opens eyes and allows dialogue. The Fountain does that extremely well. I consider the Fountain my LA theatre home.

3. What Fountain shows that you’ve worked on hold particular meaning for you, and why?

I have to say that every single show I’ve had the honor of being a part of at the Fountain has been transformational for me. Every opportunity I’ve had to step onto that stage and look out into that small, yet giant, space, has changed me and allowed me to grow as an artist and as a human being. As an artist, that’s what you want – because if it moves you in that way, it will no doubt move the audience as well.

I have had the opportunity, at the Fountain, to be directed by some of the best: the incredible Shirley Jo Finney, the wonderful Simon Levy and the late, legendary Ben Bradley.

4. Last summer’s civil unrest brought an increased focus on racism, both in general and within the theatre world. We also saw the emergence of the BIPOC movement. How have these issues impacted you and your work in the theatre? 

Honestly, it has reinforced my conviction to continue doing exceptional, meaningful work as an artist. The projects I gravitate toward speak to the conditions of the world and ask the important questions, then set the stage for dialogue to occur.

There is a space for entertainment, for laughter, for fun – all that and more are a part of life and living. They exist even in classic tragedies, as they do in everyday issues and everyday life – but the responsibility of looking at all sides, of presenting the pleasure and the pain, falls on the artist. The unrest has always been there. The causes for that unrest have always been there. It’s just that now, due to social media/technology, that unrest is being broadcast and streamed 24/7 in real time and in living color. That doesn’t make it any easier, but it does make it more apparent.

Look at George Floyd, or the Capitol riots! Watching those events happen, live, presents the opportunity to either step up and be an active participant, or just sit back and watch. And that is something the Fountain stands on: Yes, of course, sit back. Please watch what’s happening. Go ahead and be uncomfortable by what you see on stage. Let it sink in, and let it transform you in some way. Let that experience provoke discussion, challenge your way of thinking or the way you see the world. That is the amazing opportunity that theatre presents.

5. Why is Black History Month important?

Black History? Well, I’ve been educated and enlightened to see that it’s not just “Black” History or just a month. It’s really World History. It’s really American History. The truth is that much that exists now wouldn’t exist at all without Black input, and, for that matter, without the input of many other cultures, races, religions, etc. America is an amalgamation of all that’s been added to the mix. There really shouldn’t be a limit to the reality of the impact that any culture has had on life in America. If we were to really embrace that truth, that inclusivity, what would, or could, America be?

6. What’s next for you? Any upcoming projects?

Right now I’m working on the CW/DC show Stargirl. I will be seen as Martin Luther King Jr. opposite Jennifer Hudson in the Aretha Franklin biopic Respect, due out this August. And I’m always creating, writing and being part of projects that address what I see is missing from the world.

Theo Perkins

Actor: In the Red and Brown Water, The Brothers Size, Raise Your Voice – Vote!

1. When/how did you first come to the Fountain Theatre?

Shortly after graduating from UCLA, I received an audition for In the Red and Brown Water. This was my first introduction to the Fountain Theatre.

2. How has your experience been working here?

Transformative. The intimacy of the space really expanded my approach to performance in amazing ways. I’m proud to say the Fountain Theatre is my theater home.

3. What Fountain shows that you’ve worked on hold particular meaning for you, and why?

This is tough one. Each production is close to me to this day. I’d say, In the Red and Brown Water. Not only did it introduce me to Tarell McCraney’s work, but I also gained a tribe of amazing humans, all of whom I still talk to today.

4. Last summer’s civil unrest brought an increased focus on racism, both in general and within the theatre world. We also saw the emergence of the BIPOC movement. How have these issues impacted you and your work in the theatre?  

Well, I believe it served as a reminder of how important it is to have diverse voices in our theaters. Not only in terms of playwrights, but in all departments. The events of this summer shined a light on the years of inequity within our community. And it has pushed us all to do and to be better.

5. Why is Black History Month important?

It’s an intentional acknowledgment of the undeniable contributions African-Americans have made in this country. It’s a reminder that our history should be honored. And studied. And used to inspire younger generations.

6. What’s next for you? Any upcoming projects?

During the quarantine, I wrote and produced a film project that will come out this Spring. Look out for it! Also excited to re-launch Elizabeth Youth Theatre Ensemble’s social justice program, Walking the Beat, both in New Jersey and in Los Angeles at the Fountain Theatre. Both productions will actually be virtual.

Conversations with Black Artists, Part II

By Terri Roberts

Here, in the second part of our series of conversations with Black artists who have frequently worked with the Fountain Theatre, we talk with actor and director’s assistant Erinn Anova, as well as actors Karen Malina White and Victoria Platt. More conversations to come. Stay tuned!

Erinn Anova

Actor: Central Avenue, Direct From Death Row: The Scottsboro Boys, Cyrano. Assistant to the Director: The Ballad of Emmett Till, In the Red and Brown Water

1. When/how did you first come to the Fountain Theatre?

I first came to the Fountain as the understudy for “Angel” in Central Avenue. Shirley Jo Finney had just directed me in Blues for an Alabama Sky in Northern California, and I’d recently moved to LA. She knew I was a huge jazz fan, and suggested I audition for the new play she was directing: Central Avenue. That play was so good! It went on for six months, so even as an understudy I had plenty of shows.

2. How has your experience been working here?

Great! I gained amazing friendships, and I’ve learned so much! I’ve had the opportunity to work with world-class playwrights, actors and designers. When I moved to New York, the Fountain was one of the few LA theatres that people have actually heard of. Overall, the Fountain feels like home – the quirks, the magic, the consistency. I just love it.

3. What Fountain shows that you’ve worked on hold particular meaning for you, and why? 

They have all been great, but I’m going to have to go with two, for very different reasons.

First, Cyrano. It was such a gift for me, as a hearing person, to be immersed in the deaf community. In this whole new world, I learned about deafness and its power, about language and somatics, and about life. It changed me.

As far as acting goes the whole cast was amazing, but sharing scenes with Troy Kotsur (Cyrano) was something-other-else. It’s what I imagine working with another genius, Charlie Chaplin, would be like, and I’m not exaggerating. I also have to shout out Stephen Sachs for casting me – a dark brown, short-haired black woman (someone not always so “visible” in Hollywood) as the love interest, Roxy. The fact that there was never even a conversation about it was even sweeter. 

Finally – very few people know this, but now’s as good a time as ever to share – a few years after Cyrano closed, and after some mysterious symptoms appeared, I was diagnosed with both hearing loss and an auditory processing disorder. It made so much of my life make sense, and now I wear hearing aids in both ears. That was a very scary time, and folks have no idea how badly regulated the hearing aid business is (that’s another story.) But because of Cyrano, I had people to reach out to. Maleni Chaitoo, one of the deaf actors, helped me tremendously with her knowledge and resources to navigate that journey, and I will always be grateful for her warm welcome into the hard of hearing/deaf community. Cyrano was a blessing.

Next, In the Red and Brown Water. For that show there was no “official” casting person – it was me! I was assisting Shirley Jo, and I believe James Bennett or Stephen gave me a general rundown of how to work the casting websites, and I was off and running. Of course, Shirley Jo gave me parameters of what to look for, but I am very proud of the amazing actors that I personally picked to come in for auditions. There were a few I even fought for: Diarra Kilpatrick, Maya Lynne Robinson, Stephen Marshall, Gilbert Glenn Brown, Justin Chu Cary and Simone Missick. Along with Iona Morris, Theo Perkins, Peggy Blow, and Dorian Baucum, this was one of the most phenomenal casts I’ve ever seen. They, along with Shirley Jo’s brilliant and elevating direction, made Tarell Alvin McCraney’s play fly. And they all turned out to be wonderful people, too! It’s been a joy to see everyone continue to shine bright in theatre, television, and film, and it’s even more of a blessing to be a part of the IRBW “family.”

One more: Direct From Death Row: Scottsboro Boys. This show has special meaning for me because Ben Bradley cast me in it. Rest in peace, Ben. Also, Mark Stein, who wrote it, and my brother, Harley White, Jr., who wrote the music, were nominated for the Pulitzer Prize.  They lost out to some musical called Hamilton.

4. Last summer’s civil unrest brought an increased focus on racism, both in general and within the theatre world. We also saw the emergence of the BIPOC movement. How have these issues impacted you and your work in the theatre?  

My work has been impacted by the fact that that these conversations about racism are just now happening in the theatre world. At some point I stopped investing time and interest in pursuing work in “mainstream” theatres. As my grandmother would say, “Go where you’re wanted, honey.” I started in theatre very young (age 12) and in my naivete, I think I mistook the magic and camaraderie of theatre as a place where kindness and respect for humanity were built in. Often they are not. Some of my worst racial experiences have happened at theatres.  No place is perfect, but I appreciate that the Fountain has always been interested in producing plays, supporting playwrights, and hiring actors from various cultures, with different abilities, and with numerous points of view — including BIPOC. It’s unique.

5. Why is Black History Month important?

It’s American history.

6. What’s next for you? Any upcoming projects?

I’m currently producing a documentary based on a study done by the University of California. It’s about racial disparities in marijuana arrests and the cannabis industry, and it’s called When The Smoke Clears. I’ve ot two national commercials that should start airing this spring. And I found a fantastic illustrator, so my children’s book, Pretty Bun, will finally be published this summer!   

Karen Malina White

Actor: The Ballad of Emmett Till, Citizen: An American Lyric, Runaway Home

1. When/how did you first come to the Fountain Theatre?

I had auditioned for The Ballad of Emmet Till when it was being produced by The Goodman Theatre in Chicago. I was beat out by the one and only Deidrie Henry (Yellowman, Coming Home at the Fountain.) But a friend called me out of the blue to invite me to a reading of it at the Fountain. I was so excited! I hadn’t heard of the Fountain at that time but rushed and hoped I could get inside to hear the reading. I so loved the play and felt an enormous attachment to it. When I got there I saw both the playwright, Ifa Bayeza, and Oz Scott, who directed the Goodman production. I loved the new configuration with five actors playing all the parts, which was not the case in the Chicago production. Oz introduced me to Ben Bradley. Time moved on and that same friend, John McDonald. reached out to say that Ben Bradley was scrambling to find me to audition. So grateful and honored to have been a part of that life changing and bonding production.

2. How has your experience been working here?

Working at the Fountain is wonderful. It’s home now, and Stephen, Simon and Debra, the designers , (technical director) Scott Tuomey, and you, Terri, make every experience a joy!

3. What Fountain shows that you’ve worked on hold particular meaning for you, and why?

The Ballad of Emmett Till, because it was my first and because of the tragic circumstances surrounding it as well as the eternal friendships that came out of that experience. Finally working with Shirley Jo Finney, too.

4. Last summer’s civil unrest brought an increased focus on racism, both in general and within the theatre world. We also saw the emergence of the BIPOC movement. How have these issues impacted you and your work in the theatre?  

I’m a company member of Antaeus, and we have been having some amazing conversations and taking major actions to be inclusive and reflect the most accurate picture of the best of America. It’s now a conscious decision to have our productions reflect inclusiveness and racial equity. We are looking forward to the work.

5. Why is Black History Month important?

Because it’s American History. African American History. So much of us know about the history of the dominant culture but not enough of other cultures. We have to remedy that.

6. What’s next for you? Any upcoming projects?

I have been fortunate enough to be working on The Proud Family reboot with Disney Plus Channel. Coming soon to the streaming service.

Victoria Platt           

Actor: Cyrano, Building the Wall, Natural Shocks (staged reading)

1. When/how did you first come to the Fountain Theatre?

I can’t recall the very first production I saw. It was waaay back. But it was late ‘90s that I started coming to see productions there. Victory, In the Red and Brown Water, Emmet Till, The Brothers Size to name a few. The first production I was in was Cyrano.

2. How has your experience been working here?

It’s always wonderful. Simon Levy and Stephen Sachs hold this work with great care and respect. Every production I see at the Fountain is inspiring, thought provoking, and well produced. Hard to find all those elements simultaneously.

3. What Fountain shows that you’ve worked on hold particular meaning for you, and why?

Everything I’ve done at the Fountain has been important. That’s what they do there – important, meaningful work. Natural Shocks brought gun violence and violence against women to the stage. I love that Stephen chose to give the play four voices instead of the one it was written as. Cyrano was an incredible experience because I was reunited with Troy Kotsur (we performed together in Pippin at the Mark Taper Forum) and it was a co-production with Deaf West (as was Pippin.) I learned ASL for Pippin and kept it up, so the opportunity to use ASL on the stage again, to bring theatre to hearing and deaf audience members, and to work again with Troy was a trifecta of awesomeness for me. Building the Wall though was probably the most poignant for me because of the content. Seeing how it all played out in the real world was a testament to the prophetic words of Robert Schenkkan. It was an honor to tell that story at that time. After each show I spoke with audience members who were not just impacted by the work but were compelled to action. That is one of the blessings of all the productions at the Fountain. They not only educate, and enlighten but inspire. Good theatre is supposed to do that.

4. Last summer’s civil unrest brought an increased focus on racism, both in general and within the theatre world. We also saw the emergence of the BIPOC movement. How have these issues impacted you and your work in the theatre?  

The issues that have emerged for some recently, have always been present within the BIBOC (Black Indigenous Bodies of Culture) community. I’m grateful to George Floyd and the countless others who shed their blood to shine a light on the injustices BIBOC have been experiencing for centuries. I’ve encountered more people willing to have real conversations about race, socio-economics and frankly all the ‘isms. And finally, the hard conversations are being had. I was accepted into Communal Consultations – a program created and run by My Grandmother’s Hands author Resmaa Menakem, which will deal with healing ancestral and racialized trauma. This training will allow me more insight into how I can use my work as an artist to bring more awareness and healing to people of all bodies.

5. Why is Black History Month important?

Unfortunately, Black History month is important because there is still grave inequality and oppression. People in Black bodies are still being murdered for no reason except being Black, and with no consequences. Black History Month is one of the necessary actions that highlight how people in Black bodies have contributed to the fabric of this nation; not just the fringe of it. In too many arenas, Black History Month is used as a performative practice, but sometimes even performative practices make their way past the ego and into the soul.

6. What’s next for you? Any upcoming projects?

For the past year I’ve been blessed to have recurring guest star work on NCIS, Good Trouble and Days of Our Lives. I’ve also been working as a motion capture (mocap) performer on a video game by 2K productions, which has yet to be named but due for release later this year. I can also be seen in A Cold Hard Truth, a film by Charles Murray (Luke Cage, Sons of Anarchy), now streaming on multiple platforms, and A Hard Problem, a film I also co-starred in, will release this March.

Terri Roberts is a freelance writer and the Coordinator of Fountain Friends, the Fountain Theatre’s volunteer program. She also manages the Fountain Theatre Café.

Conversations with Black Artists, Part I

By Terri Roberts

Over the past three decades, the Fountain Theatre has worked with a vast array of wildly talented Black actors, directors, designers and more. Many of them have worked with us on multiple productions over the years.

We reached out to several of these wonderful artists and asked them a variety questions on a wide range of topics.

Today we feature costume designer Naila Aladdin Sanders, and actors Matthew Hancock and Bernard K. Addison. More conversations to come. Stay tuned!

Naila Aladdin Sanders

Costume Designer: Direct From Death Row: The Scottsboro Boys, The Ballad of Emmett Till, A House Not Meant to Stand, Cyrano, The Blue Iris, In the Red and Brown Water, On the Spectrum, The Normal Heart, The Brothers Size, Reborning, Citizen: An American Lyric, The Painted Rocks at Revolver Creek, Runaway Home

1. When/how did you first come to the Fountain Theatre?

I had been working at Los Angeles City College for some years and doing freelance design jobs around town. I knew about the Fountain because I heard that Stephen Sachs was an alumni, and my husband, Henry, was a good friend of the original owner of the Fountain’s building, Jerry Holland. When the Fountain asked me to do the costume design for Direct From Death Row: The Scottsboro Boys (2002) I felt at home there and knew it was a safe creative space for me.

2. How has your experience been working here?

Every time I am asked to design a play at the Fountain I know that it will bring to light some new aspect of the human condition, and I continue to be excited about the collaboration used to bring those worlds to life.

3. What Fountain shows that you’ve worked on hold particular meaning for you, and why?

The Ballad of Emmett Till will always be the play that stands out for me, for many reasons. Ben Bradley was one of the most gracious directors that I have ever worked with. When I designed with him, we always had a lot of private conversations about what he wanted to see or what I was trying to do. He was always so appreciative of the contributions that designers made, and was careful that our vision was melding with his.

The play began, as all do, at a table read with the cast and production crew. Our first rehearsal date was January 3rd. As we gathered on that day, we learned that Ben had been killed in his home on New Year’s Day.

Enter Shirley Jo Finney, the healing presence who would call on the ancestors to put our broken cast back together, with prayers and affirmations and Auntie love. I don’t know of another person that could have made that happen the way she did. I developed a connection with that cast that I never had with any other. The play ran for several months, and many times as I would drive past the theatre on my way home from another long rehearsal on another show, and I would see the light on in the café. I knew my cast was up there. I would go upstairs and see them all together, as if it were opening weekend.

4. Last summer’s civil unrest brought an increased focus on racism, both in general and within the theatre world. We also saw the emergence of the BIPOC movement. How have these issues impacted you and your work in the theatre? 

Last summer’s civil unrest was a culmination of the Black voices that have been crying out for decades, asking for justice, for inclusion, to at least be seen as human. George Floyd was killed by a police officer, and for eight minutes the rest of the world was shown just how little Black lives matter to some people, including those that are charged with protecting that life. Growing up in Los Angeles in the 50’s and 60’s was difficult for me as one of four children in a divorced household. I can bear witness to many of the consequences of the marginalization of black people. I hope that the protests do not let up until we are on a concrete path to real change.

5. Why is Black History Month important?

An awareness of the contributions of Black people in our country is important to us every day, not just in February. Unfortunately, since those contributions have been removed from most textbooks and not included in most school curriculums as another way to denigrate the importance of Black people in our country, the only way we will know our history is to teach it to each other.

6. What’s next for you? Any upcoming projects?

There are no theatre design projects in the works right now. I am working on several art projects and have been in talks with galleries for inclusion in their virtual shows. And I have been working on my quarantine garden.

Matthew Hancock

Actor: The Brothers Size, I and You, Hype Man, Between Riverside and Crazy

1. When/how did you first come to the Fountain Theatre?

I first came to the Fountain Theatre in 2014 to play the part of Oshoosi Size in the West Coast Premiere of The Brothers Size. Although, I did receive some sage advice from actor Jason George in 2013, who said, “Do a show at the Fountain.”

2. How has your experience been working here?

My experience working at the Fountain has always been extremely pleasant yet familiar.  I’ve always remarked that the Fountain has always felt like home. One of the beauties of working in intimate theatre is the strong bonds that are formed with the people. I have always felt supported and nurtured there.

3. What Fountain shows that you’ve worked on hold particular meaning for you, and why?

I have had the pleasure of being in four very different shows at the Fountain. All of them are jewels that I cherish for different reasons. Each of the characters that I’ve played on the Fountain stage have taught me something about myself, influenced a new thinking, or expanded my view. 

4. Last summer’s civil unrest brought an increased focus on racism, both in general and within the theatre world. We also saw the emergence of the BIPOC movement. How have these issues impacted you and your work in the theatre? 

Being an artist who is at the intersection of race and queer issues, much of what I try to do in my work is put my thumb on the pulse of these matters. In both The Brothers Size and Hype Man, the issue of civil rights is so much in the body of those plays. The work goes in hand-in-hand with what is going on outside the theatre doors. Holding up the mirror so that we can see ourselves and make some changes. From the micro to the macro. 

5. Why is Black History Month important?

Black History is important because it is American History. It’s world history. What this pandemic has reinforced is that we live interdependent of one another. We all require the same things. The contributions of Black Americans have been vast. The world enjoys the fruits of these labors. So the world should pay homage. 

6. What’s next for you? Any upcoming projects?

You can catch me in the final season of Kidding on Showtime, and the revenge thriller Always and Forever on Amazon. Coming up next is the film Distancing Socially.

Bernard K. Addison

Actor: Joe Turner’s Come and Gone, The Ballad of Emmett Till, Citizen: An American Lyric

1. When/how did you first come to the Fountain Theatre?

I was told about the Fountain Theatre somewhere around graduate school. As we were talking about where to go – New York or LA or Chicago – I remember my teacher saying, “Well, if you go to LA, there are a handful of theatres you should get involved with: one is Antaeus and the other is the Fountain Theatre.” So that stayed in my mind until I finally made the move to LA. My first audition at the Fountain was for Central Avenue. I booked it, but I had to drop out because I didn’t know if I could actually commit to the time frame. But then I got an audition for Joe Turner’s Come and Gone, and that really started my relationship with the Fountain.

2. How has your experience been working here?

When I finally started working with the late Ben Bradley on Joe Turner…, it was a needed time in my life. I needed to find a place where my aesthetic for acting and theatre could be really, truly appreciated, nurtured and encouraged. And that’s what I found when I did Joe Turner…. I prepared, I worked my butt off, I came in with an agenda every time for each rehearsal, and Ben recognized that. He was very personal with me, like “How do you think about this scene? What do you think needs to happen here?” He was actually treating me as a co-collaborator, and I really appreciated that. It was great to be not just a person who goes from A to B, but a collaborator. And each piece I have done since, I have had that sense. From Ben to Shirley Jo Finney, I don’t feel like I am just an actor, but I actually have a way of collaborating. The flow of ideas in the rehearsal room has always gone both ways. And that’s been very encouraging.

3. What Fountain shows that you’ve worked on hold particular meaning for you, and why?

Well, Joe Turner…, of course, was by one of the great playwrights, August Wilson, and was one of his great plays. I was playing one of the most dynamic characters in the canon, and doing that with a crackerjack team of actors, in a beautifully realized rendition of the play directed by Ben Bradley, and making it jump off the stage in that small space was beautiful. That particular production, with those actors, I hold dear to my heart.

Then there’s The Ballad of Emmett Till. We were lauded in so many ways with end-of-the-year award recognition, and lots of people came to see it. Lots of people still tell me that they saw it and remember and think about it. And that was forged from the untimely tragedy of the loss of Ben to the superhuman superhero strength of Shirley Jo to come in and take this cast and turn it around and really make the show live and sing. I actually spoke to all the cast members today. That’s how close we are. We are a lifelong family.

And then, of course, there is Citizen, which speaks to our time now, and has stirred up a lot of conversation. That show really became a precursor to what we are living now, and what the American theatre is living now, as are all the other systemic places where racist doctrine is within the structure of these institutions. And so to have a play like that begin that conversation of what micro-aggression looks like, and the many different permeations of it, to have it start on the Fountain Theatre stage and then be part of the Center Theatre Group Block Party stage, and then actually doing it outside in the Music Center’s Grand Park…oh, my three plays have been such a joy!

4. Last summer’s civil unrest brought an increased focus on racism, both in general and within the theatre world. We also saw the emergence of the BIPOC movement. How have these issues impacted you and your work in the theatre? 

I have been part of conversations with other theatre companies and other theatre practitioners about what this means and what we need, as BIPOC artists, to be able to actually address long-standing, long-held systems in the American theatre that are just traditional. They are not necessarily part of the “Now,” and are not necessarily part of the cultural storytelling that needs to happen. Or that should happen. Especially since these old institutions – the regional theatre movement of the 60’s – are beginning to fade and lose their luster. They were born of an important movement of their time, and now this is a different time. And so being able to look at questions like, Where does theatre go? How does theatre serve all communities? How do we use art to actually begin to dismantle centuries-old pre-conceived ideas and traditions? has been very important for me.

I have also had to come to grips with my understanding of what me being involved in the theatre has done to me and my belief system. How much of it has been impacted by white supremacist thought? How do I unravel that for myself? That’s been a challenging journey for me. And I am so humbled and in awe of the new voices coming up, that I just want to make sure that I’m there to support them in where they want the theatre to go.

5. Why is Black History Month important?

I don’t know. I don’t believe in Black History Month. I think history is history is history. The joke is always that they gave Black History Month the shortest month of the year. Well, that’s your thinking. That’s not my thinking. I like to say that this is a more detailed look at American history, because you can’t have American history without Black people in it. And if we choose to use Black History Month to bring those Black people and those Black stories to the forefront, that’s great! But I don’t think American history can happen without Black people. I don’t think Black History Month can happen without Indigenous people. I think the myth of American exceptionalism has eliminated, or tamped down, these other stories. Now we have to move to a different paradigm. What is Black History Month? I don’t know. I know what American history is, and that it has all shades and all colors. And if we’re really going to begin to unravel these systemic racist institutions, we have to start thinking about the fact that this whole idea of Black History Month is also part of that system. So I think we have to go, Okay, let’s just blow that aside and let’s see where we need to fill in the gaps of our understanding of the importance of Black people in America.

6. What’s next for you? Any upcoming projects?

I’m teaching. I’m working with my students. I will be doing a big Spotlight Awards master class; I do that every now and then with the Music Center. I have a couple of kids who are in the finals of the August Wilson Monologue Competition here in LA, and that always brings me pleasure. So I guess my focus now is just these young voices coming up; I want to help them find it. Hopefully, my voice is not over yet on the stage, and I hope that once we are out of Pandemic Land that you may hear my voice again.

Terri Roberts is a freelance writer and the Coordinator of Fountain Friends, the Fountain Theatre’s volunteer program. She also manages the Fountain Theatre Café.