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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.
For more information about Fountain Voices and the Fountain’s commitment to community engagement, go to www.fountaintheatre.com or email Benson at email@example.com.
Testimonials from Hollywood High students
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.
The Fountain Theatre will host “L.A. Theatre Pays Tribute to Ed Krieger,” a virtual memorial for longtime theater photographer Ed Krieger, on Sunday, Jan. 24, 2021 at 2 p.m. PT. Krieger passed away on Dec. 16, 2020.
“The Los Angeles theater community has lost a dear friend,” says Fountain artistic director Stephen Sachs. “For decades, through the lens of his camera, Ed chronicled the production history of local stages throughout Southern California.”
Born in Chicago, Krieger photographed the Southern California theater scene for more than 30 years. His production stills captured the essence of live performance at such venues as the Fountain Theatre, Skylight Theatre, Boston Court, El Portal, Laguna Playhouse, Rubicon Theatre, Downey Civic Light Opera, Ford Amphitheatre, Hollywood Bowl and many more. His images appeared in the Los Angeles Times, New York Times, Variety and the Hollywood Reporter. American Theatre magazine highlighted Krieger in its 2015 feature on nationally recognized theater photographers.
The tribute is scheduled to run 90 minutes and will include a slideshow of Ed’s photos as well as live and pre-recorded testimonials by members of the L.A. theater community.
The Fountain is requesting that organizations who worked with Ed each submit two of their favorite photos.
To register to attend the event and to upload photos and/or testimonials, CLICK HERE
The Fountain Theatre has received approval from the City of Los Angeles to install a temporary outdoor stage for the purpose of presenting live performances and other events during the pandemic.
“Pandemic permitting, we hope to open our first outdoor production by late spring or early summer,” says Fountain artistic director Stephen Sachs. “We’re planning an exciting Los Angeles premiere that dramatizes urgent social issues using the Fountain’s signature bold and theatrical approach.”
Installed in what is now the theater parking lot, the new performance area will be able to accommodate 50 to 84 audience members. It will feature seven rows of chairs, each six feet apart, as well as 12 high-top tables positioned six feet apart for use by patrons from the same “bubble” households. Every aspect of the outdoor performance area will meet COVID-19 safety guidelines.
According to Sachs, “The most painful aspect of the past ten months has been the separation from our patrons and the disconnection from our art form. Until our indoor theater reopens, the outdoor stage will be a thrilling performance venue and a hub for our educational and community engagement programs. The outdoor stage will be the centerpiece as we re-emerge in 2021. It galvanizes our vision moving forward.”
The Fountain Theatre outdoor stage is made possible, in part, by the generous support of Karen Kondazian, the Vladimir and Araxia Buckhantz Foundation, Rabbi Anne Brener, Carrie Chassin and Jochen Haber, Miles and Joni Benickes, and the Phillips-Gerla Family.
Want to join our family of donors and become an integral partner in making this thrilling new venture possible? Email Barbara Goodhill at Barbara@FountainTheatre.com.
The mission of the Fountain Theatre is to create, develop and publicly produce plays that reflect the diversity of Los Angeles, to serve young people through educational outreach programs, and to enhance the lives of the public with community engagement activities. For three decades, the Fountain has earned acclaim and admiration nationwide, been honored with more than 200 awards for artistic excellence and is a leader in the L.A. theater community. The organization is proud to count L.A. City Councilmember Mitch O’Farrell, and Mayor Eric Garcetti as supporters, reflecting the company’s successful history of partnering with City government. In addition to being a Los Angeles Department of Cultural Affairs grant recipient for decades, the Fountain launched a groundbreaking program that brings celebrity actors to L.A. City Hall to perform one-night free public readings in the City Council chambers.
As the Fountain Theatre continues to add public-spirited individuals to its nonprofit arts organization, it welcomes Rabbi Anne Brener to its board of directors. She is a longtime friend and supporter of the Fountain who has enjoyed many plays and special events over the years. She also currently serves on the board of ALEPH: The Alliance for Jewish Renewal.
“The Fountain Theatre begins 2021 with a large, active, dedicated board of directors who are dedicated to guiding the organization to not only survive these difficult times, but rise above them,” says Artistic Director Stephen Sachs. “Rabbi Anne Brener offers wisdom, intelligence and a compassionate heart as we trek forward. Her years of experience in community building and serving others is inspirational.”
Rabbi Anne Brener, Professor of Ritual and Spiritual Development at the Academy for Jewish Religion, California, is the author of Mourning & Mitzvah: Walking the Mourners’ Path, now in its third edition. She is a Psychotherapist, Spiritual Director and Meditation Teacher, whose writing appears in many anthologies and periodicals. Anne co-founded one of California’s first Domestic Violence shelters and the Morei Derekh Jewish Spiritual Direction Training Program. She worked as a Hospice Chaplain and currently serves on the board of ALEPH: The Alliance for Jewish Renewal and Los Angeles’ Fountain Theatre. Her work has been dedicated to the study of ancient Jewish rituals and practices to harvest an understanding of the universal healing wisdom that is embedded within them.
by Stephen Sachs
A life in the theatre is filled with photographs. We who act, direct, write, compose, design, produce or publicize theatre make use of countless of photographs, in a career and a lifetime. Production stills, headshots, publicity photos, prints for posters, snapshots for marketing brochures. We post JPEGS of ourselves in plays and musicals on social media, upload pictures of past performances for grant applications, embed digital images into our portfolios. At the Fountain Theatre, in our archive room, we have catalogued a collection of photographs chronicling the history of our organization going back thirty years. Hundreds, probably thousands, of pictures. Black and white and in color. Most of them taken by one remarkable man: Ed Krieger.
I got heartbreaking word last week that Ed had passed away at home on December 16, 2020. He had been fighting health issues for the past year and a half, but remained in good spirits. Ed was an essential member of our Fountain Family for twenty-five years, and a beloved photographer for the Los Angeles theatre community for decades. And he was my friend.
Born in Chicago, Ed graduated from Gage Park High School on the South Side. He studied biology and theater at Cornell College in Mount Vernon, Iowa. In 1985, he married Heather Blades, a graduate from UC Irvine. They each performed in plays and musicals throughout Southern California, appearing on stage together in 42nd Street and The Pajama Game at Downey Civic Light Opera. They had two children, daughter Courtenay and son Will.
Whenever I gave Ed Krieger a call to shoot photos of a current production at my theatre, I was guaranteed two things. First, I knew I would get high quality stills that captured the theatrical essence and energy of our show, shot in a professional and easy-going manner. Second, I could bank on getting a flurry of theater stories from Ed, usually about the other shows he was shooting (and their companies), his own precarious exploits as a musical actor (auditions he failed, or the ones that he aced), and the blossoming careers of his kids. I loved seeing the joy spread on Ed’s face when he spoke about Courtenay and Will, he was so clearly proud of them.
The photographs of Ed Krieger have played a crucial role in the success of my theatre. For one quarter of a century, Ed pulled up in his van outside our building on Fountain Avenue, lugged his equipment into our theatre, and took millions of pictures of thousands of our theatre artists. Multiply that by fifty, by one hundred, by two hundred other theater companies throughout the Los Angeles area and you get an idea of the immense contribution this man has made to our livelihood, our business, and our art.
I imagine that of the dozens and dozens of Los Angeles theater companies who worked with Ed Krieger over the years, each and every one thought of Ed as their photographer, he was theirs. That is just how you felt about Ed. He was yours. He was like your favorite uncle, the one you loved, the one with the camera, who laughed and joked and told stories while he happily snapped photos of you and your family.
I pray that L.A. Stage Alliance reaches out to Ed’s family at the appropriate time to secure the massive archive of images Ed has captured with his camera, all now stored at his home. In those stacks and stacks of cardboard boxes, in those miles of Kodak film, on those gigabytes of imagery, lies the history of us all. The work we have done, the art we have created, the lives we have changed, the friends we have found, the families we have made, and the city we have chronicled and helped put on the national map. Ed photographed that, for us all.
At the request of the Krieger family, those wishing to honor Ed may make a donation in his name to The Actors Fund.
Stephen Sachs in the Artistic Director of the Fountain Theatre.
by Stephen Sachs
I’ve been thinking about a poem by Mary Oliver. The entire poem is only two lines. That’s all it needs. It goes like this:
“Someone I loved once gave me a box full of darkness. It took me years to understand that this, too, was a gift.”
2020 has been a deep box of darkness. Our task is to learn to view sorrows as gifts. That’s a hard one. The poem encourages us to do something when sorrows come, challenges us not to sit back and do nothing about them. That is what I have learned from this year.
It is hard to receive boxes of darkness. At the bottom of my box, I have found the gift of gratitude. For things big and small. As this dreadful year comes to its close, it has brought me this gift born of darkness: To be without the intimacy of the Fountain Theatre for one year makes me grateful for it even more. I hope you feel the same. While our holiday gatherings may be smaller or grid-boxed on Zoom, our hearts will surely be filled with gratitude.
With vaccinations now underway, our boxes of darkness soon will lighten. I honestly believe that the Fountain Theatre will play an essential role in the healing of our community. As we look ahead to 2021, the Fountain has ambitious plans to move forward, both online and onstage. Creating productions that illuminate what it means to be alive at this time in the world and providing impactful arts education programs for students in underserved schools across Los Angeles. All COVID-safe.
Here’s a snapshot: Our new online platform, Fountain Stream will debut a 2021 season of plays and inter-active community programs. Using innovative video technologies, we will go beyond Zoom, to give you intimate high-quality theatre that makes you think and feel. We have expanded Fountain for Youth, our arts education initiatives, with Fountain Voices, an extraordinary in-school playwriting program designed by France-Luce Benson. Our ground-breaking cops/kids residency, Walking the Beat, will return in a glorious new digital format. And, most ambitious of all, we are hopeful that in the spring of 2021, we will launch our biggest adventure next year: a thrilling Outdoor Stage in our parking lot. Live theatre under the stars! Completely COVID-compliant. Stay tuned.
But for now, the Fountain — like every theater throughout Los Angeles and across the nation — remains closed. I don’t have to tell you things are hard. For the Fountain, our earned income has ground to a halt. The Fountain’s budget has dropped by over 50%. Our building remains non-operational, still standing proud on Fountain Avenue thanks to grants, federal loans, contributions, and the private giving by you, our Fountain Family.
If you have already made a year-end donation to our campaign, I thank you from the bottom of my heart. You are the gift in our darkness box. Your love, friendship and support are the light that shines the way through these uncertain times. If you haven’t yet contributed, please consider doing so. Your generous holiday gift will help make the coming year possible. I am asking you to turn the sorrows of this year into a gift of gratitude. Out of darkness, light!
Stephen Sachs is the Artistic Director of the Fountain Theatre.
By Terri Roberts
It was just last month that the Fountain Theatre announced it had joined forces with playwright Larry Powell, his producing partner Angelica Robinson, and their Tell Me a Story Productions to bring Powell’s exciting 12-part tragicomedy, The Gaze…No Homo to Fountain audiences. Presented via the theatre’s new digital platform, Fountain Stream, this episodic version of Powell’s live stage play has been reinvented for the digital age.
A set of three short-form episodes has premiered each Friday for the past three weeks. Now, The Gaze…No Homo comes full circle as the final set of episodes have been released. All episodes remain available for viewing on the Fountain Stream page until Dec 31.
To recap: The Gaze…No Homo centers around a young actor, Jerome Price (Galen J. Williams), as he tries to navigate his way through the increasingly uncomfortable rehearsal process of No Homo, a new play by emerging Black queer playwright Shaun Korey (Devere Rogers.) Korey is championed by Miranda Cryer (Sharon Lawrence), the straight White interim artistic director of the esteemed Evergreen Theatre Festival (“where the brightest and boldest new American voices are watered with wisdom, fed with fodder and nurtured with nourishment.”) Cryer is also the director of the world premiere of Korey’s new play.
This year, the festival has been consigned to a digital Zoomscape instead of the traditional seats-and-stage live theatre experience thanks to the COVID pandemic. In addition to the neophyte Price, No Homo features far more seasoned actors Kendrell Thompson (Eugene Byrd) and Buddy DuPois (TC Carson), and is stage managed by the experienced team of no-nosense PSM Sherry Grosse (Yvette Cason) and gender-fluid ASM Tee (Jason “Freckle” Greene.) There is much at stake here for everyone, and complicating matters is the growing dissent between Price and Cryer. As their abrasive relationship grows ever-more heated, the fate of the entire production becomes jeopardized.
The Gaze…No Homo was selected as a finalist in the prestigious 2020/2021 Eugene O’Neill National Playwrights Conference. It is the first in Powell’s The Gaze cycle of plays that examines the process of building culturally specific and queer works of color in certain historically white spaces. The Gaze tackles difficult topics like racism and microagressions, and wrestles with the question, “Why strain to be free under a gaze fixed on your imprisonment, when it’s you who is holding the key?”
As we wrap up our exclusive showing of The Gaze…No Homo on the Fountain’s digital stage this month, Powell reflected back on the journey his show has taken over this past tumultuous year, and ponders the future and what he hopes it will bring.
TR: What was it like working with the Fountain Theatre this past month to present this digital reinvention of your play?
LP: If this piece can bring awareness to theatres that have been serving communities across the globe for years and who have had to close their doors due to the pandemic, I am pleased. I feel like we’ve done that at The Fountain, and that makes me proud.
TR. Would you consider another collaboration with the Fountain in the future?
LP: Of course! I would love one of my plays to be on the Fountain stage!
TR: No Homo is the first play in The Gaze cycle of plays. What is your vision for the entire cycle? How many plays are included in The Gaze? Are any of them written yet and what themes do they explore?
LP: Right now, I know there are three plays. They chart Jerome, the protagonist, as he grows older and older. I am going to start working on a new version of the second play next year. This play will focus on how we hold on to new awareness of ourselves in our art and life once we make the initial reclamation of our time and imagination. What challenges do we face? What questions do we have in that space of new consciousness?
TR: Will No Homo be presented on stage again when we return to live performances? Or will it live now as a digital presentation? What about future installments in The Gaze cycle? What form will they take?
LP: Yes. It is important to me that I continue to diversify how an audience can experience my stories. So, in every way a play can be experienced, I will lean into. A stage play, Screenplay, Teleplay, #Digiplay, Audioplay, VR play, Animated Play…. to me, it all starts with “the play.” All different structures, skill sets, and audiences but definitely all sourced in telling a story around a fire in the village.
TR. Has the success of this digital adaptation of The Gaze…No Homo encouraged you to adapt any of your previous works for digital platforms? If so, what ones?
LP: Yes and All.
TR. Was the choice of the cycle name The Gaze a conscious choice, to play on The Gays, or was it a happy coincidence?
LP: The best titles have double, triple meanings. The first play was always called “No Homo” because of the play within the play. Once I started to see the story as a cycle of works, I needed a title that spoke to a larger, more general container. The reason The Gaze sticks is because it still specifies the queer black experience as it pertains to its relationship to an oppressive gaze.
TR: You said in your Theatre Talk interview with Stephen Sachs that 2020 was a “profound year,” and you talked about “collective grief.” How have the events of 2020 shaped you as an artist? How do we, as theatre artists, as citizens, as a country, grieve our many losses this year and use them for a higher purpose?
LP: I have learned it’s important to give those loved ones, and the things we have lost, space. What I mean by that is silence and the stopping of this abusive obsession with “gotta keep going!!” Grief is a love language. We must take the time to learn it and to speak well and often. That means something different for each of us, and that’s important. We become more courageous in grief because it usually takes us to a place of surrender that opens us up to higher visions of our purpose in the world. It can, at least …if we let it. So, if you work to make firm boundaries around the space you carve out for grief … the gifts you find there are life-enhancing and heart-strengthening.
TR. What form do you prefer? Live stage or the digital small screen? Why?
LP: Well, I love the stage first. Always. That said, a story told is a story told. There are people who will run to the digital screen quicker than they would to the live stage. I want to meet both of these groups of people where they are — and I believe it is my calling to love as many forms of storytelling as possible.
TR: What’s next for you?
LP: More joy. More understanding. More peace. More love. More opportunity. More creation. More surrender. More gratitude. And always, more learning.
Terri Roberts is a freelance writer and the Coordinator of Fountain Friends, the Fountain Theatre’s new volunteer program. She also manages the Fountain Theatre Café.
Settle in with your favorite beverage on Saturday, Dec. 19 at 5 p.m. PT / 8 p.m. ET when the Fountain Theatre winds up 2020 and its monthly Saturday Matinee series with an Old Hollywood-themed holiday party filled with joy, games, and — of course — an online playreading. Admission is free at fountaintheatre.com.
Venerable actress Karen Kondazian, a lifetime member of the Actors Studio and Los Angeles Drama Critics Circle Award-winner best known for her work in the plays of Tennessee Williams (with whom she was a personal friend), takes on the role of Hollywood legend Bette Davis in Interviewing Miss Davis by award-winning playwright Laura Maria Censabella.
After the reading, stick around for party games and a celebration of friends, fellow artists and the Fountain’s all-important audience. Bring something glamorous! (optional)
Inspired by a true event in Ms. Censabella’s own life, the one-act is set in 1985 as Davis interviews a new personal assistant (Wonjung Kim) upon learning that her current, beloved assistant (and nurse) Jacqueline (Aleisha Force) is leaving.
“I was just out of college and very, very broke — no furniture, a folding chair, folding table, mattress on the floor, and I was working for someone who said I’d make a great assistant for Bette Davis,” Censabella explained in an interview. “I went to the interview but was very conflicted because I wanted to be a writer and at the same time I wanted instant validation, and I felt like if I became Bette Davis’s assistant, I would have that.”