The Fountain Theatre is pleased to add Sherrick O’Quinn to its staff as Theatre Education Manager. In the newly-created position, Mr. O’Quinn is responsible for cultivating and strengthening all strategic community educational partnerships for The Fountain Theatre, enhancing its profile as an arts education leader in Los Angeles. Most important, he will oversee the theatre’s various arts education programs under the banner, Fountain for Youth. The programs include Walking the Beat and Fountain Voices.
Sherrick O’Quinn is an actor, educator, minister, and artist originally from Louisville, KY. He began his career in Louisville, KY working on stage and in film, TV, commercials and voiceover prior to moving to Los Angeles to complete his MFA in Acting degree at the University of Southern California. He formerly ran the GO College program which empowered and prepared at-risk high school students for college-going and career readiness prior to pursuing acting full-time. He spends his time acting, creating, coaching and working as a teaching artist. Sherrick is blessed to be part of Fountain Theatre’s mission to support and amplify diverse voices and create tangible change. His aim is to find intersections in art, work, and his daily life to be a change agent that encourages others to step into their voice, purpose, and light.
The Fountain Theatre is now casting the Los Angeles Premiere of Steven Levenson’s funny and poignant play, IF I FORGET, directed by Jason Alexander (TV’s Seinfeld). Steven Levenson is the author of TICK, TICK… BOOM!, DEAR EVAN HANSEN, and FOSSE/VERDON. IF I FORGET will be performed on the Fountain Theatre’s Outdoor Stage in East Hollywood.
Storyline: Los Angeles Premiere. A funny and powerful tale of a family and a culture at odds with itself. In the final months before 9/11, liberal Jewish studies professor Michael Fischer reunites with his two sisters to celebrate their father’s 75th birthday. Each committed to their own version of family history, they clash over everything from Michael’s controversial book, to whether they should sell the family business. Secrets and long-held resentments bubble to the surface as the three negotiate – with biting humor and razor-sharp insight – just what they’re willing to sacrifice for a chance at a new beginning.
Producer/Theatre Company: The Fountain Theatre Artistic Director: Stephen Sachs Director: Jason Alexander Writer: Steven Levenson Casting Director: Simon Levy, Jose Fernando Lead Producers: Simon Levy, James Bennett Auditions: April 18-19, 2022 Rehearsals: June 13 – July 19, 2022 Previews: July 20 – 22, 2022 Opens/Closes: July 23, 2022 – September 10, 2022
LOU FISCHER 65 to 75 years old, male. (to play 75) Smart, sensitive, caring. He is capable of deep feeling but can be distant as is typical of men of his generation. Holds disturbing secrets from the war. A Jewish WWII veteran, proud of his family and Jewish heritage. Suffers a debilitating stroke during the course of the play. A man of quiet dignity. An untapped well.
MICHAEL FISCHER 45 to 50 years old, male. Lou’s son. A Jewish Studies professor who happens to be an atheist. A cynical, avowed liberal whose intellect and passions coupled with his ego and neurosis often cloud his better judgment and his better angels. Proud, defiant, stubborn and yet fearful and ultimately a bit lost. He struggles to make his heart as potent as his mind. A brilliant, if tortured, soul.
HOLLY FISCHER 45 to 52 years old, female. Lou’s oldest daughter and Michael’s older sister. (should read slightly older than him). Her dress and manner reflect a lifestyle that connotes a degree of financial success and social influence. She thinks highly of herself and freely speaks her mind, oftentimes at the expense of others. Though brash and biting, she means well and genuinely cares for her family. She is driven, fierce – but the bark is far worse than the bite.
SHARON FISCHER 38 to 40 years old, female. Lou’s youngest daughter. Sweet to the point of almost seeming simple. A natural giver, reflected in being a kindergarten teacher and Lou’s primary caregiver. She is also a bit high strung and desperate to have a family of her own at this later stage of her life. She harbors unspoken resentment toward her siblings for making her the de facto nanny and nurse. Though fragile and brittle, she spends much of the play struggling to assert herself and fight for the things she wants and believes in.
ELLEN MANNING 40 to 43 years old, female. Michael’s wife. Not Jewish. Kind, calm, and the voice of reason when tensions arise between Michael and his siblings. She is supportive of her husband’s career and beliefs though keenly aware and nervous of their offensiveness. She determinedly suppresses her fear and anxiety about her daughter’s mental illness. She is a woman very much on the edge and holding on with all the grace she can muster.
HOWARD KILBERG 50 to 55 years old, male. Holly’s husband. Jewish. A corporate lawyer. Successful and affable but a bit of a dolt. He is socially awkward, never sure of where he stands in anyone’s esteem. He is mild-mannered, even kindly but uncomfortable in his skin. And he harbors a secret that he greatly fears will ruin his life if revealed.
JOEY OREN 16 to 20 years old, male. (to play 16) Holly’s son. A smart and socially awkward teen. Has some behavioral issues; not violent, just acts out to get attention. He acts indifferent toward his family but can’t help revealing genuine concern during trying times. Takes refuge in gaming. An awkward kid, probably somewhere on the spectrum.
Please submit electronically via Breakdown Express/Actors Access or email firstname.lastname@example.org. First round of auditions will be self-tape of Sides, which will be made available by the casting coordinator. Then there will be an in-person audition at the theatre. Then a callback.
Among the many lessons learned in 2020, the most crucial may be our urgent need to have open and honest conversations about race in America. As the grisly video of George Floyd’s murder surfaced, it became painfully clear that we could not afford to look away. Protesters spilled into the streets of cities across the country with a powerful message: If we are silent about injustice, we are complicit.
Angie Kariotis, Program Facilitator and Curriculum Director for Walking the Beat Los Angeles, has devoted her work to fostering these difficult conversations. Kariotis, along with Fountain Theatre Board member Theo Perkins, created Walking the Beat as a tool for community building for high school students. The nine-week multi-media workshop combines performance, creative writing, film, and research to initiate positive interactions between youth and police.
The Arts Education program began in New Jersey in partnership with Elizabeth Youth Theatre Ensemble, and in 2019 the Fountain Theatre launched Walking the Beat Hollywood. This year, the Fountain expanded the program, making it possible for students and police officers outside Hollywood to participate. On August 25, the Fountain will screen Walking the Beat Los Angeles’ culminating multi-media presentation, BLACKOUT 2021.
I had the pleasure of talking to Kariotis about the evolution, impact, and future of this vital program.
–What kind of impact did the events of 2020 have on the students, based on your work with them this past month?
If we are scared as a nation, we will forget all the lessons hard learned. You can see it happening already. No one is talking about all the changes we want to keep. What do we want to keep? Instead of rushing to “normal” (which wasn’t!), 2020 necessitated an activation. We’re activated. One thing the students are is ready.
–Was it difficult getting the officers and students to open up?
No, it wasn’t difficult for anyone to open up, by themselves and with each other. People, and I believe most people, want to do just that. But they need permission and they don’t want to be alone doing it.
–How has the program evolved since its inception, particularly in the last year?
We got research-heavy this year. We turned this workshop into a popular education. We practiced critique and analysis. We studied. We grew into our work as research-based performance artists. We aimed to challenge public policy formally. We are working to move our practice into the theater that is public policy.
–How have your own background and experiences prepared you to do this?
I am studying design thinking and collaborative group processes. This framework is about divergent thinking, collaboration, experimentation, and honoring failure. Creativity — and not just the art-making transactional kind — is a necessary skill. We need people who are able to identify problems before they become problems.
–Who should see BLACKOUT 2021? Why?
Anyone who wants to know how to have hard conversations with others. People interested in learning how to get people to the table. How to talk about things no one knows how to talk about. Right now we all want to talk about a lot, but we don’t know how.
–What is your vision for the future of Walking the Beat and beyond?
For Walking the Beat, my vision is doing policy brief work, where we move beyond survivance and reconnect with the Earth. I wonder how our workshop can tackle the larger theme of power and how that affects our relationship with the planet. We talk about public safety. Do we have planetary safety? What does that mean? How is the way we treat each other impacting climate? This is the ethos moving me into this space and beyond.
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It is this passion and progressive vision that have inspired the ensemble of students and officers to create work that is bold, brave, and charged with the urgency of this moment in our country. In addition to serving as Program Facilitator and Curriculum Director of Walking the Beat, Kariotis offers community workshops for parents on How to Raise Anti-Racist Kids, works at Brookdale Community College as Director of Diversity and Inclusion/CCOG, and has published a chapter in Musing the Margins, an anthology examining the influence of culture and identity on the craft of fiction.
BLACKOUT 2021 will premiere on the Fountain Theatre’s outdoor stage this Wednesday, August 25, at 7pm. It will also be available to view on Fountain Stream in the fall.
France-Luce Benson is an award-winning playwright and the Community Engagement Coordinator at the Fountain Theatre.
“This bill is recognition from the State of California that intimate theater companies matter,” says Sachs. “I applaud Senator Rubio for her tireless advocacy in crafting this bill, and thank her for taking action to support the needs of small nonprofit theaters across the state.”
The “Save the Performing Arts Act of 2021,” authored by Senator Rubio and co-authored by State Senator Benjamin Allen (D – Santa Monica)and State Senator Anthony J. Portantino (D – La Canada Flintridge), provides $50 million in much-needed immediate financial aid to small performing arts organizations with annual budgets under $2 million (including the Fountain.) The bill also includes $500,000 to set up payroll services support, which will be overseen by theCalifornia Arts Council. The public is invited, and encouraged, to attend this celebratory event. Please note: mask-wearing and social distancing will be in effect.
SB 805 is the first bill in the nation that will create a critical funding infrastructure to help assist Small Nonprofit Performing Arts Companies (SNPAC) with average adjusted gross revenues equal to, or less than $1.4 million, to be adjusted every five years based on the California Consumer Price Index. SB 805 will direct the California Arts Council to establish the California Nonprofit Performing Arts Paymaster, which will provide low-cost payroll and paymaster services to SNPACs. This legislation will establish the Performing Arts Equitable Payroll Fund to ensure that SNPACs can pay all workers minimum wage, particularly workers in marginalized communities. Small nonprofit theaters are incubators for playwrights, actors, designers, directors and other artists. They have historically provided networking opportunities and mentorship for Black, Indigenous and People of Color artists to facilitate connections necessary for career advancement by providing performance experience that helps to open doors to larger, less accessible companies. Furthermore, SNPACs contribute to the economic growth, social well-being and cultural vitality of the local communities they serve.
Other confirmed attendees include:
–Danny Glover, Co-Founder of The Robey Theatre Company; upcoming recipient of the 2022 Jean Hersholt Humanitarian Award (an Honorary Oscar); BET Award, Cable ACE Award, NAACP Image Award and Asian Pacific Screen Awards winner, and Emmy Award-nominated actor. SB 805 Coalition Member.
–Josefina López, Founding Artistic Director, CASA 0101. Theater, Emmy Award, Sundance Film Festival and Humanitas Prize Award-Winning Writer. SB 805 Coalition Member.
–Ben Guillory(Co-Founder, CEO and Producing Artistic Director, The Robey Theatre Company, SB 805 Coalition Member.The Robey Theatre Company is a member of the Senate Bill 805 Coalition.
–Snehal Desai, Producing Artistic Director of the award-winning East West Players, the nation’s premiere Asian-American theater company and one of the longest-running theaters of color in the United States.
–Simon Levy, Producing Director of the Fountain Theatre
–SB 805 Coalition Members, which include: Leagues: Alliance of Desert Theatres, Arts for LA, Californians for the Arts/California Arts Advocates, San José Arts Advocates, Theatre Bay Area, Theatrical Producers League Los Angeles; Theaters: 24th Street Theatre, Actors Co-op Theatre Company, Altarena Playhouse, Breath of Fire Latina Theater Ensemble, CASA 0101 Theater, Celebration Theatre, Chance Theater, Coin & Ghost, Collaborative Artist Bloc, Company of Angels, Dezart Performs, Downey Arts Collective, El Teatro Campesino, Flat Tire Theatre Company, Fountain Theatre, IAMA Theatre Company, Infinite Jest Theatre Company, The Inkwell Theater, Inland Valley Repertory Theater, Interact Theatre Company, Invertigo Dance Theatre, Latino Theater Company, Macha Theatre Company/Films, Moving Arts, New American Theatre, Novato Theater Company, Numi Opera, Open Fist Theatre Company, Ophelia’s Jump Productions, Playwrights’ Arena, Rogue Machine Theatre, Rogues Artists Ensemble, Sacred Fools Theater Company at the Broadwater, Santa Cruz Actors’ Theatre, Sierra Madre Playhouse, Skylight Theatre Company, SkyPilot Theatre Company, The Robey Theatre Company, The Road Theater Company, The Victory Theatre Center, Theatre of NOTE, Theatre Unleashed, Teatro Máscara Mágica, Teatro Visión, Theatre West, Town Hall Theatre; Independent Artists: Producer Michaela Bulkley, Performer Devon DeGroot, Actor Robert Fancy, Actress Cristal Gonzalez, Performer Julia Sanford and Performer Christopher Sepulveda.
Philanthropists who dedicate their giving to arts organizations like the Fountain Theatre are a special breed. They are people who understand the value of the arts, love live theatre, and believe in its ability to open hearts and elevate our understanding of the world. Barbara Herman and Susan Stockel, Executive Producers of An Octoroon, are two such philanthropists. They are extraordinary people who are dedicated to giving back, and it is the Fountain’s great good fortune that they choose to support our work.
Barbara Herman is an enthusiastic member of LA’s philanthropic community. She has many passions. Like her mother before her, Barbara is passionate about supporting ground-breaking medical research. Having been a member of The Cedars-Sinai Women’s Guild for over 50 years, Barbara is proud of her many accomplishments. She is, however, particularly proud to have helped launch The Cedars-Sinai’s Neurology Project, created to support innovative research and education for the understanding and treatment of complex neurological disorders. The Women’s Guild is honoring Barbara this September at their annual gala. Barbara is also passionate about the arts, and she is a pillar of support to both the Fountain Theatre and The Broad Stage, on whose board she serves.
“I have always loved going to the theatre. One of my most treasured memories is going to the theatre with my parents when I was a little girl. Several years ago, I was thrilled to discover the Fountain, a little gem of a theatre in Los Angeles. One of my favorite things to do is gather a group of friends and take them to the Fountain. We have so much fun! We have dinner at Marouch and then go to the Fountain to enjoy whatever is on the stage. It’s always memorable.”
“To me, the Fountain Theatre offers one of the best cultural experiences in Los Angeles. There are just so many reasons. The first, of course, is the excellence of the productions. Everything is done beautifully. Total artistry. The directing, acting, and sets are consistently excellent. I’ve never seen a show that I didn’t either love or like. Now that’s quite a track record! But what’s equally remarkable is the consistent sensitivity and timeliness of the plays presented. Every play the Fountain mounts is relevant and thought-provoking. My friends and I love to discuss the plays after the show, whether we do it on the sidewalk or up in the cafe.”
“But for me, the Fountain is more than a theatre. It is a community. Everyone — from Joe in the parking lot to Simon, Stephen, Barbara and James— greets me by name and makes me feel welcome. It’s a very personal place, not an institution. And that warmth, that personal connection is very unique, and refreshing. Everything at the Fountain seems to come from the heart.”
Barbara’s philanthropy is guided by a simple principle that she learned from her parents: “I’m a firm believer in leaving the world a better place than I found it. If I see a need, I try to fill it. If I see a problem, I try to fix it. And I always encourage people to join me.”
A passionate theatre lover, Susan Stockel becomes filled with excitement when she speaks about theatre — especially when she is describing a play that has truly touched her. Susan’s love for theatre finds her frequently traveling to New York, London and beyond to experience the magic. A wonderful supporter of the Fountain, Susan has executive produced several plays with us, including Cost of Living and Citizen: An American Lyric. Her family foundation funds a variety of organizations: some grants aid low income families who have children with special needs, other grants aid organizations that are working in innovative ways to slow global warming and help indigenous people protect their lands from deforestation and illegal mining. The foundation also supports children’s theatre programs that introduce theatre to youngsters who have never seen live theatre.
“The magic happens when the children take out their notebooks and read a scene that they have prepared and rehearsed!” Susan beams with pride when she remembers this, and talks about how she first learned to give back from her parents.
“I learned about how important it was to share what I had with others who were in need by watching my father. He was a first-generation American — one of six children, and the only one to finish college. He had to work to help his family and went to night high school. Thankfully, in those days, New York had tuition-free city college that opened up learning to an entire generation of students. He worked days in a clothing factory. My father always provided for his siblings when they needed help, and would pull out his checkbook and loan money to friends with never a due date on the loans. And, of course, he took care of his mother when he lost his father the month before his graduation from dental school. My husband and I also believed in continuing that tradition. We worked as a team when deciding what donations to make, and taught our values to our children. In my husband’s honor, I established a family foundation, and I feel great joy working on the foundation’s projects with my children and grandchildren, knowing that the work will continue, and the family will always be there for each other and for others.”
Susan’s love of theatre began when she was a young girl, and she has a keen eye for great theatre.
“When I was a little girl I loved to perform. I loved telling stories, and I still do! I am a passionate lover of the spoken word. The Fountain Theatre was introduced to me many years ago. An intimate space on a tight budget — the Fountain was an unexpected surprise. Excellent plays, always well-cast and directed, with a loyal diverse audience from all over the city, who brave the traffic to attend!”
“I chose to produce An Octoroon because I saw the play when it was first produced in Brooklyn at Theatre for a New Audience. I loved it. An Octoroon is a unique play. It is funny, sad, clever, quirky and wonderful. Just like any piece of great historical fiction, An Octoroon peels back the layers of civilization to reveal the cruelty and hypocrisy often hidden beneath the facade. An Octoroon shows us powerful men behaving ‘civilly,’ but cruelly. They are willing to do anything to further their own self-interest. Narcissism is revealed as a cruel but powerful driver of history. I am particularly drawn to the depiction of Zoe, our heroine. Despite being beautiful and admirable in every way, she becomes an outcast because she is an Octoroon. I love the story and I knew the Fountain would do a tremendous job with this play, so was happy to join the team.”
“Thank you all for your interest and support of the Fountain, Our Magic Place! May we grow and thrive.”
Barbara Goodhill is the Director of Development for the Fountain Theatre.
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.
The Fountain Theatre announces Fountain Voices, an innovative arts education initiative that utilizes the power of theater to promote compassion and acceptance of others. The program launched at Hollywood High School in Fall 2020 and is now expanding to the Compton Unified School District, where it will commence March 8 at Clarence A. Dickinson K-8.
Integrating playwriting, critical thinking and performance, Fountain Voices guides students in the creation of original plays about issues that matter to them, helping them gain a better understanding of themselves and each other, and shedding light on the issues they see impacting their own communities.
“The students themselves choose the topics they want to write about,” says playwright France-Luce Benson,who serves as the Fountain’s community engagement director. “The Hollywood High kids wrote plays about depression, what it means to be queer and cope with homophobia, racial identity and homelessness among young people, among other things.”
Although the first phase, at Hollywood High, was implemented virtually due to Covid restrictions, that did not hinder the students’ ability to form deep, long lasting connections. According to teacher Ali Nezu, “Fountain Voices provided a safe and engaging environment in the midst of distance learning, as well as an authentic artistic experience that combined social emotional learning with English language arts development.”
The nine-week program kicks off with a virtual viewing of Benson’s play, Detained. Originally commissioned by Judy Rabinowitz of the ACLU, Detained is based on interviews with long time U.S. residents held in immigration detention and/or deported, their family members, advocates, attorneys and representatives of ICE. Their collective voices weave a compelling and complicated tapestry that emphasizes the impact immigration detention has on families.
Following the performance, students discuss the process of creating plays based on interviews, as well as the significance of sharing stories as a way to build community. Students are encouraged to think about what communities they belong to, what their stories are, and how they want their stories to be told. Social justice issues raised by the play are explored and used as a launching pad for students to think critically about the issues that impact their own communities. Students are then given the opportunity to engage (virtually) with each other through acting games and exercises designed to teach vital communication skills. As they learn about one another, students are also introduced to the key elements of playwriting. A major component of the curriculum is the interviews that students conduct with members of their own communities. Once those are completed, students collaborate with one another to craft short plays and monologues about the communities they live in and the ones they aspire to create.
Sixth, seventh and eighth graders will be the first to participate at Clarence A. Dickinson, with additional Compton Unified schools adopting the program, provided by the Fountain Theatre at no cost to the district, in the near future. “We are bringing Fountain Voices to our students because I believe that our students need the arts now more than ever,” stated Clarence A. Dickinson principal Rebecca Harris. “This will support our students’ literacy skills in a unique and engaging way.”
Concludes Benson, “Every voice deserves to be heard. Profound change can happen when we listen, and our collective voices can inspire compelling stories.”
Fountain Voices is made possible, in part, by support from Mary Jo and David Volk, the Vladimir and Araxia Buckhantz Foundation and Sharyl Overholser.
Leslie R: I was able to meet 6 of the most incredible people I could ever imagine… They made me love something, they reminded me that a family is not DNA. That’s what the program was to me, a family, a community. I learned to love, and through it, I was able to find a little piece of myself.
Delfin G: I was a really shy and reserved student before but being here helped me be more open and sharing that script really did something for me… Hearing those other stories and accounts by my peers was really eye-opening.
Ashley C: The Fountain voices program is a loving and safe space where there is never a right or wrong approach. It feels more like family than just a group and going from strangers to what I consider friends and family in a span of months is amazing.
Madison M: I not only loved the camaraderie of those who were involved in the program, but I cherished the community we built together… Writing is painful, therapeutic, cathartic, beautiful, and fulfilling all at the same time.