Category Archives: artist

‘Hannah’ playwright Jiehae Park and director Jennifer Chang making magic together

Jiehae Park 2

Jiehae Park

by Carolina Xique

It’s an exciting time to be an artist. In the last few years, the arts industry has been experiencing a high production value in diverse storytelling aimed toward better representation of people of color, and more specifically, Asian and Asian American representation. With groundbreaking films such as Crazy Rich Asians, Netflix’s Always be My Maybe, The Farewell, as well as the successful theatrical production of Cambodian Rock Band, people everywhere are becoming more exposed to the nuances of the Asian/Asian-American experience.

With a cast that is made up of Koreans and Korean Americans, Jiehae Park’s Hannah and the Dread Gazebo takes a family on a funny, heartbreaking adventure to reconnect with their roots in South and North Korea, and also into the forbidden Demilitarized Zone that divides them. Hannah premiered at the Oregon Shakespeare Festival in 2017, and is now set to open at the Fountain Theatre in association with East West Players, directed by Jiehae’s longtime collaborator, Jennifer Chang. So we thought we’d grab the chance to talk with them about their own adventure with this play.

Carolina Xique: First, let me say that I’m thrilled to hear about this new piece and that it’s making its way into Los Angeles.

Jiehae, as playwright, can you talk about how the idea for this play came to you? Is it personal to your own experience or indicative of the holistic Korean American experience? And Jennifer, as the director, what drew you to take on this piece?

Jiehae Park: I didn’t know I was writing a play. I was primarily a performer at the time (Jen and I both went to UCSD for acting). There were quite a few big questions I was trying to figure out—and I think the unusual shape of the play reflects that. I would sit down and write down stories that came to me in that moment, not realizing it was all going to add up to something bigger.

Jennifer Chang 2

Jennifer Chang

Jennifer Chang: I am a huge fan of Jiehae’s and have been following her career with personal interest for some time as we share an alma mater: we both went through the MFA Acting program at UCSD and have both diversified our careers.  She is a significant talent and I am so thrilled to have this opportunity to collaborate with her on Hannah and the Dread Gazebo. The musicality of the language and the inherent theatricality that emerges from her ability to weave a multiplicity of thought and theme are all very exciting and honestly a dream to be able to dive into.  Also, I love being able to support the telling of Asian American stories in their universality and three-dimensionality.

What kind of research did both of you dive into when writing Hannah?

JP: I didn’t research much initially, but I did do quite a bit before finishing the play (that’s been a recurring pattern in my writing process these last few years). The research didn’t directly go into the play but provided a richer historical and cultural context that helped me complete it.

A follow-up to that, in terms of your other plays and writing process, was anything different for Hannah and the Dread Gazebo?

JP: Broadly, I seem to have two general types of plays—super-quick, freight-train-speed linear ones; or messier, slower-baking plays where the structure is far less predictable. Hannah is definitely in the latter category.

Jennifer, what in your directing process is helping you with Hannah and the Dread Gazebo?

JC: Regarding research, the usual dramaturgical work of researching was involved: Korea, the DMZ, politics of North and South and Kim Jong Il. I wanted to lean into the magic-realism of the play, and early on knew that I wanted to consult with an illusionist, and also started doing some research into magic (I’m currently reading Spellbound by David Kwong). It’s been so great to have a cast that is Korean American.  There are some points of commonality amongst Asian Americans, but being able to tap into specific details, nuances, and experiences that the cast has so generously shared with the company and has contributed to the making of the show has been invaluable.  It’s illuminating to discover the tiny nuances of how gestures and thinking and sounds differ for Koreans in, and those from, Korea.  I love new plays and really view myself as a locksmith in my approach to collaboration.  I want to know what the play wants to be, the playwright’s intentions, what’s resonating with the cast and how they approach the work, and how best to facilitate the conversation and “the ride” so to speak, with the audience.  Having worked on Vietgone by Qui Nguyen has really helped.  These plays are vastly different but they both have scenes that shift at a cinematic pace in widely varying tones that need to be woven together in the same play.

East West Players is a theatre company known for its work lifting up Asian-American stories. How do you feel about bringing the LA premiere of Hannah in collaboration with EWP and the Fountain Theatre?

JP: Honored. I had a reading of my very first play—which had been my college thesis—at EWP over a decade ago…in the time since I figured out I wasn’t a playwright, went to grad school for something else, then re-figured out that I was.  And Stephen Sachs at the Fountain reached out about the play very soon after the OSF premiere—I’ve long admired the scripts he brings to LA area audiences. Additionally, Jen directed an early reading of the play at EWP years ago, and I acted in a show with Jully Lee (the Shapeshifter) that Howard Ho (Sound Design/Composer) music directed when I was right out of school. I’m bummed to not have been able to be out there for rehearsals, but happy that it feels all in the family.

JC: It’s an honor to be able to helm a project with the support of two highly respected institutions in Los Angeles.  I think it’s really smart theatre making to cross-pollinate and support the universality of human experiences and good work regardless of color.  A collaboration like this signals that this isn’t just work by people of color, but that it’s good work worth supporting, period.

What do you want audiences to take with them when they leave the Fountain Theatre after seeing Hannah and the Dread Gazebo?

JC: Garlic in their pockets.

Carolina Xique, is a theatre artist and arts nonprofit administrator. She is a member of the Los Angeles Female Playwright Initiative

What the Constitution Means to intern Melina Young

Heidi-Schreck

Heidi Schreck, the writer and star of “What the Constitution Means to Me.”

by Melina Drake Young

As a kid I was vehemently unpatriotic. A weird stance for a kid to take. I was indifferent to fireworks and staunchly against country music, which is all I understood patriotism to be. That changed when I was in high school.

I take after Heidi Shreck. I was not only a theatre nerd in high school, but also a nerd nerd.

Like Shreck, I too developed a (somewhat obnoxious) penchant for the study of United States history and government. (I owe that in no small part to Mr. Roberts and Mr. Edwards of Immaculate Heart High School who shaped and encouraged the civically minded and curious woman that I am today. Behind every know-it-all is a gifted and endlessly patient teacher—or in my case a few.)

But I digress.

Some of us have had the good fortune to learn what the Constitution means to Heidi Shreck whose play, What the Constitution Means to Me, is based on her successful career competing against other high schoolers in Constitutional debates for scholarship money. As a woman in America, I know that this nation’s laws don’t often work in my favor. Heidi Shreck reminds Broadway audiences that preventing violence against women and protecting our equal rights are barely—and insufficiently—touched on in United States law. What’s more, that failure of justice is much more lethal for women of color and trans women than it is for white, cis women like Shreck and me. Concepts like patriotism and an American love of freedom are hard to stomach when one considers the prejudice that festers within our borders: from a prison system that has modernized slavery to tender age shelters and the vilification of undocumented entry into this country. Freedom stands in sharp contrast to the systemic criminalization of black and brown existence in the United States.

Patriotism is not the marginalization of and lack of legal protections available to non-white, non-cis, non-straight, non-male lives in the United States. These facts are equal parts shameful and frightening. That’s a taste of what the Constitution means to Shreck.

Another similarity between Shreck and me is that my appreciation of the Constitution extends beyond its legal bounds.

Constitution

The Constitution means being sixteen and falling in love with United States history and government instead of a boy. It means being serenaded by the Bill of Rights and beguiled by the separation of powers. It means knowing my rights and understanding them. It means civic literacy.

It means being seventeen and dressing up on the Fourth of July in overalls, an American-flag bikini and matching headband, with a copy of the Constitution in my back pocket. It means reading Thomas Paine’s Common Sense in my Nona’s backyard under the sweltering July sun.

It means being eighteen and weeping after the legalization of gay marriage and acknowledging for the first time in my life that I was proud to be an American.

It means being nineteen and getting to finally participate in the triumph of Democracy that is a fair and free election. It means voting for a candidate that resembled me more closely than a major party, presidential candidate ever had. And it means watching her lose. That defeat showed me that this country was more hateful than I had believed it to be.

But I refuse to become jaded.

Mueller Reading 17.5

Melina Drake Young and her grandmother, Sylvie Drake, at the Mueller Report Read-A-Thon.

To me, the Constitution means being twenty-two and sitting in the front row of the Fountain Theatre as my grandmother reads from the stage at the Fountain’s  Mueller Report Read-A-Thon as an act of patriotic resistance. I watch my Nona, a native of Egypt—one of those countries that her President has shamefully referred to as a “shithole”—marry her love of theatre with her love of a country that has been hers for 70 years come August 10th. As I look toward the 70th anniversary of my grandmother’s escape from the violence of her native land, I acknowledge that this country—her refuge—resembles the land from which she fled more closely with each passing day. And I am saddened. My Nona, however, gives me hope. She is a tri-lingual refugee who raised two kids and maintained an impressive theatrical and literary career (in her third language) 7,470 miles away from the land that raised and then betrayed her. She is undoubtedly a great American.

So I guess, I was wrong.

Despite my childish convictions and everything else, I am an American Patriot. Just like my Nona.

Melina Young is the summer intern at the Fountain Theatre. We thank the Los Angeles County Department of Arts and Culture for the support of its Arts Internship Program. 

VIDEO: Cops and students share stories in Fountain Theatre’s new outreach program ‘Walking the Beat’

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Award winning fine art photographer Sarah Hadley adds style to set design of ‘Daniel’s Husband’

Sarah_Hadley

Fine art photographer Sarah Hadley

Rave reviews for our acclaimed current production of Daniel’s Husband have included hails for the beautiful living room set, designed by DeAnne Millais. The LA Times swooned over the “stylish panache of scenic designer DeAnne Millais’ Architectural Digest-ready spread.” A key element to the scenic design are the framed photographs adorning the walls. These were provided by award winning fine art photographer Sarah Hadley.

To fulfill director Simon Levy’s wish to have the set filled with beautiful high-end elements, scenic designer Millais remembered being struck by Sarah‘s ethereal photography recently seen at LA’s Brewery Art Walk. DeAnne thought it would be the perfect complement to the play and its scenic environment.

Sarah Hadley was named one of the “jeunes talents” by Paris’ Le Monde at the Fotofever Art Fair in 2015. In recent years, Hadley has been invited to exhibit at Fotofever in Paris, France, the Porto Photo Fest in Porto, Portugal, the Lishui Photo Festival in China; the Worldwide Photography Biennial in Buenos Aires, and the Ballarat Festival in Australia. She has had solo exhibitions at the Griffin Museum of Photography in Boston, the Loyola Museum of Art in Chicago, Afterimage Gallery in Dallas, and Fabrik Gallery in Los Angeles. Hadley’s work is held in many public and private collections around the world, and has been shown in many museums and galleries including the Florida Museum of Photographic Arts in Tampa, FL, the Robin Rice Gallery in NY and Building Bridges Gallery in Santa Monica.

Hadley’s work has also been featured in publications and online blogs including ELLE Italia, B+W Magazine (UK), PDN, L’Oeil de la Photographie, ArtTribune, Shots Magazine, Don’t Take Pictures, and Lenscratch.com. She has received grants from the California Center for Cultural Innovation, the Illinois Arts Council, and several fellowships from the Ragdale Foundation.

Sarah was flattered to be asked to provide her photographic artwork for the production.  “I am excited to see the play,” she beams.

You can explore Sarah Hadley’s work on her website. And view it live on the set of Daniel’s Husband, now playing to June 23.

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VIDEO: Actor Tim Cummings comes home to the Fountain Theatre for ‘Daniel’s Husband’

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Video: Actor Ed Martin’s return to the Fountain Theatre in new play ‘Daniel’s Husband’ is “perfect”

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Zen and the Art of Theatre

tea ceremonyby Stephen Sachs

In Japanese tea ceremonies, the term Ichi-go ichi-e describes the concept of treasuring the unrepeatable nature of a moment. Translated as “for this time only” or “one opportunity, one encounter,”  the phrase reminds us to cherish any gathering that we may take part in, citing the fact that any moment in life cannot be repeated; even when the same group of people get together in the same place again, a particular gathering will never be replicated, and thus each moment is always a once-in-a-lifetime experience. Treasure every encounter, for it will never recur again.

Such is also the ephemeral nature of theatre. 

Each performance is alive, in that instant, never to be repeated.  Like a tea ceremony and life itself, theatre is experienced in ‘each moment, only once’ and the value of each stage performance is that it happens only once in a lifetime. There is no other opportunity. Only this time.

The duality of the “one moment” reality of theatre is that it comes after endless repetition. Actors labor through weeks of rehearsal, reworking scenes dozens of times, with countless hours drilling the same lines over and over. In rehearsal, the director’s mantra is “Do it again. ” Basketball great Larry Bird said that in high school he would shoot 500 free throws every morning before his first class. Actors, like athletes, rehearse the same scene repeatedly so the mechanics of the lines and the blocking become second nature. They no longer have to think about what they’re saying and doing, so they can be “in the moment.” Repetition brings freedom. Release.  As Prince once sang, “There’s joy in repetition, there’s joy in repetition.”

In film-making, it is the norm to perform a task dozens of times before you get it right. Some movie directors are notorious for shooting multiple takes. Stanley Kubrick was famous for it. He reportedly made Tom Cruise walk through a door 90 times while filming Eyes Wide Shut, and had Shelley Duvall repeat a scene 127 times for The Shining. On the set of David Fincher’s Gone Girl, each scene averaged approximately 50 takes. One scene in the first Spider Man movie with Tobey McGuire took 156 takes to get right.

In the theatre, however, there is no such thing as “getting it right.” Not ever.  That film concept is foreign to theatre people because the essential essence of live performance is that it is never right, never the same, never perfect. Even in the long run of a play or musical over hundreds, even thousands of performances. Not only is each performance unique, so is each scene, each line within each scene, each moment within each line. A word, a phrase will never be uttered that same way again. A light cue, a swell of sound, the flurry of dazzling costumes, affects each audience member differently night to night. Each moment is unrepeatable and special in its own right.

The routine of theatre — the drilling of lines, the daily rehearsals, the nightly performances — are essential to its devotional life.  Devotional life is deepened by repetition. A true practice is a repeated activity with no expectation of result. It’s the doing of it that matters. We do it over and over again, but it’s really not so much because we think we are going to get it perfect, or even exactly right. We do it for experiencing truth in the moment. A daily meditation practice, for example. If your purpose for meditating is “to become enlightened,” you will never achieve it. If that is your destination, you’ll be lost. There is no destination. There is only the present moment.  It’s only when seeing the present moment that enlightenment may come.  The origin for the word “routine” comes from route, or “way, path, course.” Therefore, routine, practice, rehearsal is a journey. 

For my twenty-nine years at the Fountain Theatre, the “one opportunity, one encounter” concept of ichigo ichie is proven true over and over again with our audiences. After seeing a play in our theatre, our patrons spill out onto Fountain Avenue changed, not the same people they were going in. An alchemy happens. In that moment. That can not be repeated. For tomorrow night’s audience, it will be something else. 

I have learned to embrace the truth of “one moment” as a way to understand and celebrate the impermanence of life and the art form I practice. My other art-love is jazz, and a line from a famous jazz ballad from 1949 called “Again” lays bare the same message. There is nothing Zen about the lyrics or their origins, of course, but the words remind me that life, love and theatre are all ecstasies of the moment, each instant unique and unrepeatable.  

Again, this couldn’t happen again
This is that once in a lifetime
This is the thrill divine

What’s more, this never happened before …
We’ll have this moment forever
But never, never again.

Stephen Sachs is the Co-Artistic Director of the Fountain Theatre.

VIDEO: For playwright Idris Goodwin, hip hop play ‘Hype Man’ is about friendship

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Meet the young cast of the West Coast Premiere of ‘Hype Man’ at Fountain Theatre

hype man- fb event photo

Matthew Hancock, Clarissa Thibeaux, Chad Addison in rehearsal for “Hype Man”

Three young actors. Different personal backgrounds. A trio of distinct professional credits in stage, TV and film. Somehow, under guidance from director Deena Selenow, they must instantly create a close bond to portray a rocketing hip hop band on the brink of national attention in the Fountain Theatre West Coast Premiere of Hype Man by Idris Goodwin, opening February 23.   

Meet the talented cast of this funny, powerful and thought-provoking new “break beat play” the Boston Globe describes using “hip hop culture as a crucible where issues of racial identity, gender inequity, ambition, and friendship collide.”

Chad-Addison-1

Chad Addison

Originally from outside Boston, Chad Addison  has been in LA for 13 years. He’s excited to be working in his first play with The Fountain Theatre and to be able to dive into such a poignant piece of art. Music has always been a passion for him, so it’s an honor to combine the two in such a way. He was last seen on stage in the play Connect at Theatre 68. Aside from theater, he’s been pursuing TV/Film. Some notable credits include FOX’s 9-1-1, Most Likely to Die (on Netflix), NCIS: New Orleans, Grimm, Grey’s Anatomy & Bones. He was also a producer/actor on the independent film Paint It Red, which is now streaming on demand. 

Matthew Hancock

Matthew Hancock

Matthew Hancock is excited to be back at the Fountain. Favorite theatre credits include: the Los Angeles premiere of the NAACP and Ovation Award nominated The Brothers Size (Oshoosi), I and You (Anthony), Trans Scripts (Zakia). Matthew has recurred on I’m Dying Up Here (Showtime), Emmy Nominated Giants (Youtube), Five Points (Facebook Watch). In addition,  he has appeared in Snowfall (FX) and Prince of Peoria (Netflix) While not on the stage or in front of the camera, Matthew enjoys musical endeavors as Michael Siren.   He is a LA Drama Critics Circle, Stage Raw award winner and Ovation Nominee for Hit the Wall (Carson).  Matthew holds a BFA from Adelphi University (cum laude). To his incredibly supportive Family, Thank you. Follow Matthew on Instagram: @imatthewhancock.

Clarissa_Thibeaux

Clarissa Thibeaux

Clarissa Thibeaux is an LA based actor/writer/producer working in television, film, theater, and new media. You can catch Thibeaux in Marvel’s Runaways as Xavin on Hulu. Previously, you may have seen Thibeaux in Echo Theatre Company’s production of The Found Dog Ribbon Dance as Trista, or in the horror films Flight 666, and Ice Sharks.  She graduated with her B.A. in Theatre Arts from San Diego State University. Thibeaux currently resides in West Hollywood, CA enjoying every opportunity that comes her way.

 

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VIDEO: Catch the beat of our west coast premiere of ‘Hype Man’ at Fountain Theatre

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