Category Archives: Fountain Theatre

Fountain Theatre to host Los Angeles ‘Mueller Report Read-A-Thon’ on July 18

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We’ve been told what it is, what it isn’t. What’s in it, what’s not. But how many have actually read it for themselves? Even some members of Congress haven’t read it.

Robert Mueller told us the report speaks for itself. But who can give voice to the report? Our Los Angeles theatre community, that’s who.

The Fountain Theatre will host a single, 15-hour Mueller Report Read-A-Thon, offering citizens of Los Angeles the opportunity to hear the Mueller Report read aloud, on Thursday, July 18 from 9 a.m. to midnight.

On Tuesday, it was announced that former special counsel Robert Mueller will testify before Congress on July 17, the day before the Fountain Read-A-Thon.

Earlier this month, a reading was hosted by NY theater companies, and a marathon reading is scheduled for July at the Arena Stage in Washington D.C. This week, an all-star celebrity reading of a new play, adapted from the Mueller Report by Pulitzer Prize and Tony Award-winning playwright Robert Schenkkan, was streamed live on social media.

Special Counsel Robert Mueller’s “Report on the Investigation into Russian Interference in the 2016 Presidential Election” is the official report documenting the findings and conclusions of investigation into Russian efforts to interfere in the 2016 United States presidential election, allegations of conspiracy or coordination between Donald Trump’s presidential campaign and Russia, and allegations of obstruction of justice.

“The Fountain has a long history of using theater as a trigger for political and social action,” says Fountain Theatre co-artistic director Stephen Sachs. “My larger purpose for the Read-a-thon is not to disseminate details about the report — although that is important. The greater goal is to give the public and our Los Angeles theatre community the opportunity to engage, to take some kind of expressive action. I see it as similar to a protest march. But all of us are marching from our stages.”

Readers at the Fountain will include over 90 readers representing the diversity of Los Angeles, including actors, artistic leaders, community leaders and business people. Confirmed to read so far: Councilmember Mitch O’Farrell; actors Alfred Molina, Jeff PerryRichard SchiffRob NagleFrances FisherHarry Groener, Karen KondazianBill Brochtrup and Jenny O’Hara; artistic directors Daniel Henning (Blank Theatre) and John Flynn (Rogue Machine); playwright Justin Tanner; and theater journalist Steven Leigh Morris. A complete list of readers is available at www.fountaintheatre.com/event/mueller, where anyone interested in participating can also sign up for a 10-minute reading slot. The Fountain Theatre Read-A-Thon will be streamed live on the Fountain’s Facebook and Twitter pages. The Fountain Theatre Café will be open throughout the event.

Los Angeles Theatres supporting the Read-A-Thon include: 24th Street Theatre, Blank Theatre Company, Boston Court Pasadena, Celebration Theatre, Company of Angels, Cornerstone Theater Company, Echo Theatre Company, Hero Theatre Company, The Inkwell Theatre, Latino Theatre Company, The Los Angeles LGBT Center, Lower Depth Theatre Ensemble, The Matrix Theatre Company, Moving Arts, New American Theatre, Open Fist, Playwrights Arena, Road Theatre Company, Rogue Machine, Skylight Theatre, Stacie Chaiken and What’s the Story?, The Victory Theatre Center, Vs. Theatre Company, Whitefire Theatre, Will Geer’s Theatricum Botanicum

The Odyssey Theatre Ensemble in West L.A. will hold a separate marathon reading, breaking it up into two 8-hour sessions on MondayJuly 22 and Tuesday, July 23, each from 1 p.m. to 9 p.m.

According to Odyssey Theatre artistic director Ron Sossi, “Political projects like Chicago Conspiracy Trial, Tracers, McCarthy and Rapmaster Ronnie have always been a large part of the Odyssey’s 50-year history. Sadly politically-oriented work has been missing from American stages of late. This live reading of the Mueller Report at two different L.A. theaters is a refreshing and exciting reminder of the heady days of ‘60s/’70s activism, and, hopefully, a sign that the local theater scene is becoming re-engaged.”

The Odyssey event, curated by Not Man Apart artistic director John Farmanesh-Bocca, will include 20-minute readings by long-standing company members, friends and celebrities including Councilmember Paul Koretz; film and stage actors Alfred MolinaFrances FisherBrenda StrongNorbert WeisserMichael NouriRay Abruzzo, Darrell Larson and Gregg HenryRichard Montoya of Culture Clash; spoken word artist Steve Connell; Cornerstone Theater Company members Shishirand Bahni Kurup; Padua Playwrights founding artistic director Murray Mednick; plus many more. A complete list of readers will be available at www.odysseytheatre.com.

Admission to both Read-A-thons is free and open to the public. Audience members may come and go throughout each event.

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Fountain Theatre, East West Players will make magic in ‘Hannah and the Dread Gazebo’

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Creation myths and family histories meld in a wildly theatrical, startling new comedy that explores what it means to walk the edge between cultures. The Fountain Theatre, in association with East West Players and with generous support form the S. Mark Taper Foundation, presents the California premiere of Hannah and the Dread Gazebo by Jiehae Park. Los Angeles Drama Critic’s Circle Award-winner Jennifer Chang (Vietgone) directs for an Aug. 17 opening at the Fountain Theatre in East Hollywood, near Koreatown, where performances continue through Sept. 22.

Set in NYC and Korea in the winter of 2011, just before the death of Kim Jong Il, Hannah and the Dread Gazebo takes Hannah’s Korean American family on a surreal, funny and heartbreaking adventure back to their roots in South and North Korea and the forbidden Demilitarized Zone that divides them.

“The play is a funny-tragic look at what it means to be caught in between,” says Park. “The characters are striving to reconcile the contradictions of their immigrant lives: North/South, past/future, coming/going.”

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Monica Hong

Thirty-something Hannah, played by Monica Hong (Ivanov at the Mint Theater in NYC, Please Stand By at Actor’s Playpen in LA), is two weeks away from becoming a board-certified neurologist when she receives a FedEx box from her grandmother with two things inside: a 100% bona-fide-heart’s-desire-level wish — and a suicide note. Hannah’s father (Hahn Cho, recently seen on TV in For the People, Magnum P.I., Swedish Dicks) and mother (Elaine Kao — upcoming feature film Paper Tigers, recurring on Netflix’s No Good Nick) have already moved back to South Korea to be near Grandma at the Sunrise Dewdrop Apartment City for Senior Living, which sits right on the edge of the DMZ. Meanwhile, Hannah’s slacker brother, Dang (Gavin Lee, whose credits include Blood, written and directed by Robert Allan Ackerman, and a recurring role on Fox’s The Orville) bonds over music with a student activist played by Wonjung Kim (Korea Musical Award for Best Actress, Ovation nominee for The Last Empress in L.A). In this strange and wonderful play that is a mix of unexpected whimsy, delightful comedy, profound despair and more than a little bit of magic, actress Jully Lee (Ladies at Boston Court, tokyo fish story at South Coast Rep) appears in many forms.

Helping make that magic happen is the Magic Castle’s Dominik Krzanowski, who will create original illusions for the production. 

Hannah and the Dread Gazebo premiered at the 2017 Oregon Shakespeare Festival in Ashland, where the Mail Tribune called it “blisteringly original, acerbically funny, powerfully dramatic and deeply thought provoking… If you’re keen to have your mind expanded by an evening of theater that is not going to be comparable to anything you’ll see anytime soon, Hannah and the Dread Gazebo is a good place to start.”

Last week, the American Theatre Critics Association announced that Hannah has been selected as one of three finalists for its prestigious Francesca Primus Prize, sponsored by ATCA and the Francesca Ronnie Primus Foundation.

“I saw the world premiere in Ashland and was completely charmed by the play,” says Fountain Theatre co-artistic director Stephen Sachs. “I was enchanted by its whimsical, dreamlike surprises, and truly moved by its poignant revelation of a grandmother, mother and daughter relationship. Once the lights came up and the performance was over, I knew I wanted to present it at the Fountain.”

Sachs continues, “The Fountain is committed to diversity and inclusion, which makes this first-time partnership with East West Players very meaningful. It’s an invigorating sharing of resources, artists and audiences benefiting both companies and the communities we serve.”

“We are honored to partner with the Fountain on this production,” agrees East West Players artistic director Snehal Desai. “EWP first did a reading of the play in 2013, also directed by Jennifer Chang. The Fountain is a theater whose work and mission I have always admired; this seemed like the perfect project for our two companies to collaborate on, with its mix of humor, theatricality and timeliness.”

The creative team for Hannah and the Dread Gazebo also includes scenic and video designer Yee Eun Nam, lighting designer Rebecca Bonebrake, sound designer/composer Howard Ho, costume designer Ruoxuan Li and props designer Michael Allen Angel. The production stage manager is Bryan P. Clements.

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Playwright Jiehae Park

Jiehae Park’s plays include peerless (Yale Rep premiere, upcoming in NY at Primary Stages), Hannah and the Dread Gazebo (Oregon Shakespeare Festival), Here We Are Here (Sundance Theater-Makers residency, Berkeley Rep’s Ground Floor, Princess Grace Works-in-Progress @ Baryshnikov Arts Center), The Aves (McCarter Spotlight Series) and contributions to Wondrous Strange (Humana/Actor’s Theatre of Louisville). Her work has been developed through the Soho Rep Writer-Director Lab, The Public’s Emerging Writers Group, p73, Playwrights Horizons, NYTW, Atlantic, Old Globe, Dramatists Guild Fellowship, Ojai, BAPF, CTG Writers Workshop, Banff Playwrights Lab, ACT New Strands, and Ma-Yi Writers Lab. Awards: Leah Ryan, Princess Grace, Weissberger, ANPF Women’s Invitational; two years on the Kilroys List. Commissions: Playwrights Horizons, Yale Rep, Geffen, OSF, Williamstown, MTC/Sloan. Residencies: MacDowell, Yaddo, Hedgebrook, McCarter/Sallie B. Goodman. She is a NYTW Usual Suspect, Lincoln Center New Writer in Residence, former Hodder Fellow, and current New Dramatists. As a performer recently: Ripe Time/Naomi Iizuka’s adaptation of Haruki Murakami’s Sleep (BAM Next Wave, Yale Rep); Celine Song’s Endlings (A.R.T.). She was a staff writer on season one of Marvel’s Runaways and currently teaches Playwriting at Princeton University. BA, Amherst;
MFA, UCSD.

Jennifer Chang

Jennifer Chang

Jennifer Chang won the 2019 LADCC award for excellence in direction for her work on the Los Angeles premiere of Qui Nguyen’s Vietgone. She was a 2018 Drama League New York directing fellow and was the assistant director for the Broadway world premiere of Bernhardt/Hamlet by Theresa Rebeck starring Janet McTeer. Ms Chang’s multi-disciplinary work has been honored with Ovation, LA Weekly and the Stage Scene LA awards, among others. She is a founding member of Chalk Repertory Theatre where she served as artistic producing director and produced, directed and acted in numerous plays over the course of eight seasons. Upcoming directing credits include Where the Mountain Meets the Moon at South Coast Repertory and The Time of Your Life at Antaeus Theatre Company. Select directing credits include Death & Cockroaches by Eric Reyes Loo (Chalk Rep at Circle X/ Atwater Village Theatre); 53% Of by Stephanie Del Rosso and Birds of North America by Anna Moench for the Wagner New Play Festival; Animals Out of Paper at East West Players (Los Angeles Times “Critics Pick”); Edith Can Shoot Things and Hit Them for Artists at Play (GLAAD Media Award and Ovation-nominated); and Residence Elsewhere, commemorating the 75th anniversary of Executive Order 9066 at the Japanese American National Museum. She is very active in the development of new plays with the Geffen Playhouse, Chance Theater, Circle X Theatre Company, EST/LA, Playwrights Arena and East West Players.

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. Recent highlights include all-star readings of Ms. Smith Goes to Washington and All the President’s Men at Los Angeles City Hall and the inclusion of the Fountain’s Citizen: An American Lyric in the Music Center’s Our L.A. Voices festival at Grand Park. The Fountain’s 2018 productions of The Chosen and Arrival & Departure each enjoyed months-long sold out runs and was named a Los Angeles Times “Critic’s Choice.” The company’s West Coast premiere of Martyna Majok’s Pulitzer Prize-winning play Cost of Living, was named to the Los Angeles Times’ “Best of 2018” list. Its current production, Daniel’s Husband, was named a Los Angeles Times “Critic’s Choice” and is enjoying an extended, sold-out run.

As the nation’s premier Asian American theater organization, East West Players produces artistic work and educational programs that foster dialogue exploring Asian Pacific Islander (API) experiences. Founded in 1965, at a time when APIs faced limited or no opportunities to see their experiences reflected outside of stereotypical and demeaning caricatures in the American landscape, EWP not only ensures that API stories are told, but works to increase access, inclusion, and representation in the economy.

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VIDEO: Highlights of awesome week one of ‘Walking the Beat’ at Fountain Theatre

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VIP Donors gather in Hollywood for Fountain/EWP premiere “Hannah and the Dread Gazebo”

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Fountain Co-Artistic Director Stephen Sachs welcomes guests.

Friends and supporters of the Fountain Theatre and East West Players gathered Sunday at the lovely Hollywood home of Diana Buckhantz to celebrate the upcoming California Premiere of Hannah and the Dread Gazebo by Jiehae Park.  There is much to celebrate. The production marks the first time the Fountain and EWP have collaborated and both companies share excitement about this meaningful opportunity.

“For almost 30 years, The Fountain has opened its doors to diversity and inclusion,” Fountain Co-Artistic Director Stephen Sachs stated in his welcoming remarks. “We welcome East West Players into our home. From day one, our collaboration has been open and generous. As the nation’s premiere Asian American Theatre, EWP brings its artistry and authenticity to the production, as we share resources, audiences and communities with each other.”

EWP Artistic Director Snehal Desai echoed Sachs’ enthusiasm for the partnership. Desai shared EWP’s history with the play and director Jennifer Chang. EWP hosted a reading of Hannah in 2013 directed by Chang, winner of the 2019 LADCC award for excellence in direction for the LA premiere of Qui Nguyen’s Vietgone at EWP. Desai kept his eye on Hannah and planned to include it in a earlier season.  After Sachs saw the world premiere at Oregon Shakespeare Festival in Ashland in 2017, he secured the rights to the play and reached out to EWP in partnership.  Everything fell into place.

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In the play, Hannah receives a FedEx box with two things: a 100% bona-fide-heart’s-desire-level wish and a suicide note. Hannah tracks the package back to Seoul, where her grandmother recently jumped from the roof of her retirement home onto the wrong side of the Demilitarized Zone. Hannah and her family need North Korea’s permission to retrieve the body, but Kim Jong Il just kicked the bucket, and things in the DMZ are even stranger then they seem.  The play is a whimsical, surreal and poignant tale about a grandmother, mother and daughter striving to reconcile the cultural contradictions of their lives.

At Sunday’s gathering, guests enjoyed some Korean delicacies catered by Don Tahara of First Street Cuisine. A brief scene from the play was presented in the living room read by cast members. Then Fountain Director of Development Barbara Goodhill explained to the group how they could support the production.

Guests included James Bennett, Jason Blackwell, Diana Buckhantz, Rose Chan, Jennifer Chang, Wendy Chang, Charles Chatelain, Hahn Cho, Chris Christensen, Snehal Desai, Kiyomi Emi, Lois Fishman, Barbara Goodhill, Elaine Kao, Serena Kim, Jully Lee, Gavin Lee, Simon Levy, Dick Motika, Sally Pai Unruh, Pia Palomo, Youn Park, Dora Quach, Stephen Sachs, Allison Thomas, Steve Warheit, Jerrie Whitfield, Dorothy Wolpert, Kim Wonjung. Melina Young.

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Looking to restore empathy in the world? Here’s where you find it.

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Terrylene and Freda Norman. Sweet Nothing in my Ear, Fountain Theatre, 1997.

By Stephen Sachs

Whatever happened to empathy in this country?

A candidate for President mocks a person with physical disabilities on national television — and still gets elected.  Undocumented children are pulled from their parents and locked into cages. Hateful tweets fly between rich celebrities. Insulting attacks are vomited on TV talk shows. Demeaning personal smears splatter across the blogosphere. Women are shamed, minorities are assaulted. Those with the power to do good seem indifferent to the suffering of others.  Fewer care to consider what it’s like to walk in another person’s shoes, to entertain the notion that others may feel the way they do for reasons that are understandable and valid from their point of view. Common respect for another human being seems as rare today in public life as a sighting of Bigfoot.

What can you do? How can you counteract today’s lack of empathy?

Turn off cable news. Switch off your smartphone. And go to the theatre.

Not because the display of human behavior from the stage will be any prettier. Don’t forget, the fundamental element of drama is conflict. Even so, no matter how tragic, a good play is a pathway to empathy. That’s because theatre doesn’t just manufacture empathy, it depends on it. Without empathy, theatre not only fails, it doesn’t exist.  Here’s why:

Every play that has ever been written asks the same fundamental human question:

“What is it like to be someone else?”

That’s it.

During a recent Sunday panel discussion on NBC’s Meet the Press, political columnist Matt Bai stated, “This is a presidency entirely without empathy.” Trump, he added, “seems to be a person who is entirely without empathy. Whatever his strong suits or weak suits, he does not have the ability to feel personally and deeply the suffering of others.”

Empathy is a skill that everyone could do well to develop and maintain whether President or not, and theatre, an art where the purpose is to explore what it means to be human, is an excellent teacher. Its in-the-moment human interaction makes theatre one-stop shopping for empathy.

In the performance of a play, the current of empathy runs two-fold. The actors pretend they are somebody else while the audience imagines what it must be like to be them. This remarkable double-shot of empathy brings mutual benefit: the attention of both actor and audience is focused on someone other than themselves. The fears, passions and needs of another human being become their own. Performers achieve this skill through years of training. Audiences have empathy thrust upon them.

In a 2012 study, researchers Thalia Goldstein and Ellen Winner assessed empathy levels in elementary and high school students who had received one year of theatre. They found that those who had studied acting for the year showed the most significant growth in empathy scores.

In the past 20 years, psychologists and neurologists have started to look at how empathy actually works, in our brains and our hearts. Fritz Breithaupt, a professor at Indiana University who studies empathy, says one thing he found is that “one of the strongest triggers for human empathy is observing some kind of conflict between two other parties.”

Sound familiar? Conflict is the essence of drama?

All of the hateful me-first narcissistic rhetoric of today doesn’t just give empathy a back seat, it tosses it out of the car entirely. The feeling now seems to be: Why should I put myself in the shoes of someone who is not me? Why waste my empathy on those not deserving? On someone older or younger? More rich or poorer? From another country? Another color? Gender? Sexual preference? The new rule seems to be: Reserve your empathy only for those who are like you which, by definition, isn’t empathy at all.  In this twisted thinking, a lack of empathy is a show of power, self-reliance, a way to make a stand against the imagined danger of “the other.”

I believe our humanity is enhanced if we can learn to see the world through the eyes of a migrant child. A homeless woman. A person of a color not our own. And we are blessed with the opportunity to imagine what someone else might be thinking or feeling by going to the theatre.

People often confuse the words “sympathy” and “empathy”.  Sympathy describes feelings of pity and sorrow for someone else’s misfortune. Empathy puts you in their shoes. Which is also the difference between a good play and a great play.  A good play makes you feel sorry for a character. A great play makes you see life through their eyes.

On day one of first rehearsal of any play, in any city in any state in this nation, an actor or actress of any age, gender, race or sexual identity will open the first page of their script for the first time, find the role they are playing, and ask themself the same question: Who is this person?

And the door of empathy opens.

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

HBO supports Fountain Theatre’s cops/kids program ‘Walking the Beat’ with $10,000 gift

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Cops, kids and staff of Walking the Beat at the Fountain Theatre.

The Fountain Theatre is pleased to announce that HBO is making a generous contribution of $10,000 to support Walking the Beat, the Fountain’s educational arts program that brings together LAPD police officers and inner city students over an 8-week period to write and create a theatre piece that they perform themselves.

“We are thrilled to welcome HBO to the Fountain Family,” says Co-Artistic Director Stephen Sachs. “HBO’s pedigree in providing ground-breaking, high-quality entertainment is matched by its commitment to young people and communities nationwide. Walking the Beat is an innovative program that uses theatre to promote empathy, self-expression and empowerment.”

HBO’s Senior Vice President of Corporate Social Responsibility Dennis Williams explains the cable network’s philosophy of giving as “how we can do the best with the resources that we have.”

“If you’re in a position of power or privilege, the question you should always ask yourself is, ‘Are you using your powers for good?’” continues Williams. “At HBO, we’re in a position to inspire change and start conversations in a way that others might not be able to do themselves. We must use our powers for good.”

Walking the Beat was devised by Theo Perkins and Angela Kariotis at Elizabeth Youth Theater Ensemble in New Jersey. HBO supported the project there for three years, and continues its sponsorship with the Hollywood program at the Fountain.

HBO and EYTE join other sponsors and partners for Walking the Beat at the Fountain, including the Hollywood Police Activities League,  Los Angeles City College Theatre Academy, Deborah Culver, The Vladimir and Araxia Buckhantz Foundation, Dorothy Wolpert, Robert and Carrie Meadow, the Central Hollywood Neighborhood Council, Councilmember Mitch O’Farrell and District 13, and Los Angeles County Supervisor Sheila Kuehl and District 3.

Home Box Office is the oldest and longest continuously operating pay television service in the United States, with 140 million subscribers worldwide as of 2018. HBO’s Corporate Social Responsibility team unites employees, talent and non-profit partners to elevate social issues connected to communities. At the heart of HBO’s effort  is a passion for making a difference, to use its platform to educate, inspire thoughtful action and help make the world a better place.

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‘Hannah and the Dread Gazebo’ a finalist for American Theatre Critics Association Prize

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Hannah and the Dread Gazebo by Jiehae Park, opening at the Fountain Theatre on August 17th in its Southern California Premiere, has been named a finalist for the Francesca Primus Prize, sponsored by the American Theatre Critics Association and the Francesca Ronnie Primus Foundation.  The award, presented annually since 1997, recognizes the best work by an emerging woman playwright who has not yet achieved national prominence.

Hannah and the Dread Gazebo earned glowing reviews in its recent world premiere at Oregon Shakespeare Festival in Ashland.

“Masterful! So powerful and indescribably beautiful.” – Stanford Daily 

“This is theater as it should be — blisteringly original, acerbically funny, powerfully dramatic and deeply thought-provoking.” – Mail Tribune

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Playwright Jiehae Park

In the funny and poignant play, Hannah is two weeks away from becoming a neurologist when she gets a strange package in the mail from her grandmother in South Korea, who may or may not have just ended her own life. A surreal adventure leads Hannah on a journey back to her homeland and the forbidden Demilitarized Zone that divides South and North Korea. A startling comedy about a daughter, a mother, a grandmother and the mystery that connects them.

The Fountain Theatre partners with East West Players in the Southland premiere directed by Jennifer Chang. As the nation’s premier Asian American theatre organization, East West Players produces artistic works and educational programs that foster dialogue exploring Asian Pacific experiences.

Named in honor of Francesca Primus, a playwright, dramaturg, theater critic, and ATCA member who died of cancer in 1992, the Primus Prize was originally administered through the Denver Center Theatre Company. Since 2002, ATCA has adjudicated the award, which includes a $10,000 grant presented through the generosity of the Primus Foundation as well as a plaque for the winning author. The winner will be announced in July.

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

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Summer intern Melina Young is thrilled to be back in LA and at the Fountain Theatre

Melina Young

Melina Young at the Fountain Theatre.

by Melina Drake Young

Hi.

My name is Melina Drake Young and I’m the new Development Intern at the Fountain Theatre. This is supposed to be a chatty-get-to-know-me kind of piece, so let’s chat and get to know—well—me. I would say each other, but since this isn’t a real conversation I can’t, so I didn’t.

Relax. Take off your shoes.

Pour yourself a glass of Rosé.

Did you do it?

Me neither. I’m at work. But it’s nice to pretend.

That’s what I like to spend my time doing—playing pretend. Since I was a little girl I’ve wanted to be a pretend-player—a storyteller—so naturally I wound up in The Theatre. (I hope you read that to yourself in the voice of Katherine Hepburn because that’s exactly how I hear it in my head.)

I’m an actress and writer (a rare bird in Los Angeles, California?) and a (VERY) recent graduate of Bard College’s Theatre & Performance and Literature programs. I was born in Silver Lake just before it became Silver Lake. And I think I liked it a little bit more when the neighborhood wasn’t italicized. What I mean is, LA is my home. Oh mother LA, how I love you. When I was studying in the Hudson Valley, I would often identify LA in movies (as one does) by its light. It’s golden, warm, heavenly, distinctly-LA light.

I’m thrilled to return to it and to re-discover LA’s artistic vibrancy as a young adult. How lucky am I to be starting my theatrical career at the Fountain?

A typical day in the life at the Fountain Theatre for this Development Intern includes time spent discussing theatre, organizing, crafting surveys, writing, chatting with co-workers, and being dazzled and moved by the students participating in Walking the Beat . Created and led by Angie Karoitis and Theo Perkins in Elizabethville, New Jersey, Walking the Beat is new to the Fountain and new to me. The program seeks to create a discourse between and eventually a performance devised by and starring ten remarkable students from LA high schools and LAPD officers.

Melina at WTB Orientation

Melina guides students through paperwork at the orientation for Walking the Beat.

Before my time at the Fountain, I would like to say that you’d have found me traipsing around the beautiful Hudson Valley, but the truth is more likely than not I was in rehearsal. If I wasn’t, I was writing at my desk.

This is still true.

The setting, however, has changed.

TIME: The present.

LOCATION: 5060 Fountain Ave, Los Angeles, CA.

CAST OF CHARACTERS: A blonde 20-something who doesn’t like to be identified as such. She wears glasses sometimes. Her eyes are myopic, but she isn’t. She’s grateful to be where she is and she hopes that you can tell.

The Fountain Theatre thanks the Los Angeles County Board of Supervisors and the LA County Arts Internship Program.   

VIDEO: House Manager Richard Horton loves his job, and the people he greets at the Fountain

House Manager Richard Horton loves his job at the Fountain Theatre. You’ll love Richard after watching him work behind the scenes, greeting patrons, and serving as the Fountain goodwill ambassador.