Poster for 1972 political film “The Candidate” starring Robert Redford.
The acclaimed Fountain Theatre has obtained permission from Warner Bros to present a one-night celebrity reading of the Jeremy Larner screenplay for the Academy Award winning 1972 movie, The Candidate. The event will take place in the City Council Chamber at Los Angeles City Hall in 2020, the cast, date and time to be announced.
In the gritty, documentary-like film The Candidate directed by Michael Ritchie, Robert Redford stars as an idealistic, good-natured attorney whose high standards are soiled by his run for political office. Jeremy Larner won the Academy Award for his screenplay. The film is considered one of the top ten political movies ever made.
Fountain Co-Artistic Director Stephen Sachs, who directed the City Hall readings of All The President’s Men and Ms. Smith Goes to Washington, will guide the celebrity reading of The Candidate in 2020, stating “I can think of no better choice for the upcoming election year.”
Audiences enjoy Daniel’s Husband at the Fountain Theatre.
Los Angeles County Department of Arts and Culture has awarded The Fountain Theatre a 2019-20 Organizational Grant in the amount of $20,900 to support the creation and implementation of the new staff position of Development/Outreach Associate to increase the infrastructure of the organization, expand fundraising and broaden community outreach.
“This new position will enable the Fountain to further its organizational growth,” says Co-Artistic Director Stephen Sachs. “We are grateful to the County of Los Angeles for its ongoing partnership with the Fountain for more than twenty years.”
The mission of the Los Angeles County Department of Arts and Culture is to advance arts, culture, and creativity throughout LA County. It provides leadership, services, and support in areas including grants and technical assistance for nonprofit organizations, countywide arts education initiatives, commissioning and care for civic art collections, research and evaluation, access to creative pathways, professional development, free community programs, and cross sector creative strategies that address civic issues. All of this work is framed by its longstanding commitment to fostering access to the arts, and the County’s Cultural Equity and Inclusion Initiative.
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.
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 Sensein 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.
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.
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.
“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 Perry, Richard Schiff, Rob Nagle, Frances Fisher, Harry Groener, Karen Kondazian, Bill 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 Monday, July 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 Molina, Frances Fisher, Brenda Strong, Norbert Weisser, Michael Nouri, Ray Abruzzo, Darrell Larson and Gregg Henry; Richard 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.
Need a cure for what ails you? Next time you see your doctor, the prescription he or she scribbles may surprise you: see a play.
Research is now proving that gathering with other people to see a play, listen to music or watch a dance concert not only heals the soul. It mends the body, as well.
Doctors generally prescribe pills to make people feel better. Yet the medical benefits of engaging with the arts are well-recorded. A first-of-its-kind study last year found that the social engagement of art is an effective way to improve the health and well-being of patients with such long-term conditions as asthma, cardiovascular disease, diabetes, epilepsy, and osteoporosis—which often exacerbate symptoms of depression and/or anxiety.
Going to the theatre and being part of an audience, joining other human beings in a shared live experience, has medical benefits. Countless studies have found that social isolation takes a heavy toll on our well-being over time. One of the advantages of joining other theater-goers to see a play is that it reduces feelings of loneliness. Our daily lives in front of computer screens can be isolating. Attending live theatre boosts a sense of belonging and face-to-face human connectedness.
In January this year, the U.K. appointed Tracey Crouch to serve as its first “minister of loneliness” to explore how to combat the “sad reality of modern life”. According to a report last year from the Jo Cox Commission on Loneliness, more than 9 million people in Britain—around 14% of the population—often or always feel lonely. The numbers are even higher in the United States. Cigna’s recent survey revealed 46% of Americans — nearly half the population.– report sometimes or always feeling alone.
“We should value the arts because they’re essential to our health and wellbeing,” says British Health Secretary Matt Hancock. “Access to the arts improves people’s mental and physical health. It makes us happier and healthier.”
The larger question we must ask ourselves is: What sort of society do we want? One that generates physical and emotional illness and then thrives on pharmaceuticals to put it right? Or a society that embraces a more holistic approach to public health through social responsibility and artistic engagement? Given the toxic state of our politics and the poisonous nature of our society and environment today, it is remarkable that we manage to keep going as we are. But for how long? The dilemma was raised by Samuel Beckett, once again, at the theatre, “You must go on. I can’t go on. I’ll go on.”
Witnessing a powerful play can illuminate what it means to be a human being and connect us to a larger and higher vision of ourselves. In his powerful account of his own holocaust experience, psychiatrist Viktor Frankl concludes that the ‘search for meaning is the primary motivation in life’. He describes lack of meaning as an ‘existential vacuum’, often manifesting as boredom, and invaded by numerous neurotic and addictive problems. He quotes Nietzsche:
‘He who has a why to live can bear almost any how.’
This echoes, of course, the eternal question posed by Hamlet: “To be, or not to be …” This is how theatre triggers self-treatment. A theater-goer witnessing Hamlet’s struggle on stage is himself, from the audience, thrown into questioning the purpose of his or her own life. A great play, seen in the most public of settings, generates intimate self-examination and, at the same time, connects us to our fellow beings. Theatre is a journey inward and outward.
The arts play a critical role in the better health of our nation. Not only spiritually and aesthetically — but physically, medically. The arts, like health care, not only make life better — they make it livable. Congress seems to agree. Despite Trump’s call to eliminate the National Endowment for the Arts, Congress passed a 2019 budget increase of more than $2 million to the NEA and the National Endowment for the Humanities.
Even with this modest 2019 budget increase in arts funding, the United States is writing a doctor’s prescription to itself. Politicians must learn to protect the NEA as fervently as they defend the Second Amendment.
More than guns, Americans have the right to bear arts.
This White House has been, and is likely to remain, home to the first presidency in American history that is almost completely devoid of culture. In the 17 months that Donald Trump has been in office, he has hosted only a few artists of any kind. One was the gun fetishist Ted Nugent. Another was Kid Rock. They went together (and with Sarah Palin). Neither performed.
Since his inauguration in January 2017, there have been no official concerts at the White House (the Reagans had one every few weeks). No poetry readings (the Obamas regularly celebrated young poets). The Carters began a televised series, “In Performance at the White House,” which last aired in 2016, where artists as varied as Mikhail Baryshnikov and Patricia McBride performed in the East Room. The Clintons continued the series with Aretha Franklin and B. B. King, Alison Krauss and Linda Ronstadt.
But aside from occasional performances by “The President’s Own” United States Marine Band, the White House is now virtually free of music. Never have we had a president not just indifferent to the arts, but actively oppositional to artists. Mr. Trump disparaged the play “Hamilton” and a few weeks later attacked Meryl Streep. He has said he does not have time to read books (“I read passages, I read areas, I read chapters”). Outside of recommending books by his acolytes, Mr. Trump has tweeted about only one work of literature since the beginning of his presidency: Michael Wolff’s “Fire and Fury.” It was not an endorsement.
Every great civilization has fostered great art, while authoritarian regimes customarily see artists as either nuisances, enemies of the state or tools for the creation of propaganda. The Soviet leader Nikita Khrushchev asserted that “the highest duty of the Soviet writer, artist and composer, of every creative worker” is to “fight for the triumph of the ideas of Marxism-Leninism.”
When John Kennedy took office, his policies reacted against both the Soviet Union’s approach to the arts and that of Joseph McCarthy, who had worked hard to create in the United States an atmosphere where artists were required to be allegiant and where dissent was called treason. Pivoting hard, Kennedy’s White House made support of the avant-garde a priority. The artists Franz Kline and Mark Rothko came to the inauguration, and at a state dinner for France’s minister of cultural affairs, André Malraux, the guests included Arthur Miller, Tennessee Williams, Robert Lowell, Geraldine Page and George Balanchine. Kennedy gave the Spanish cellist Pablo Casals, who had exiled himself to France and then Puerto Rico to protest Franco’s fascism, a forum in the East Room. Casals had performed in the White House once before, at the young age of 27. Now 84, and a man without a country, he played a mournful version of “The Song of the Birds.”
Pablo Casals at the Kennedy White House.
It’s crucial to note that the White House’s support of the arts has never been partisan. No matter their political differences, presidents and artists have been able to find common ground in the celebration of American art and in the artists’ respect for the office of the presidency. This mutual respect, even if measured, made for the occasional odd photo-op. George H. W. Bush met Michael Jackson, who wore faux-military garb, including two medals he seemed to have given himself. Richard Nixon heartily shook the hand of Elvis Presley, whose jacket hung over his shoulders like a cape.
George W. Bush widened the partisan rift, but culturally, Mr. Bush — the future figurative painter — was open-minded and active. He met Bono in the Oval Office. He hosted a wide range of musicians, from Itzhak Perlman to Destiny’s Child. He was an avid reader — he maintained a long-running contest with Karl Rove to see who could read more books in a year. Laura Bush has long been a crucial figure in the book world, having co-founded the Texas Book Festival and the National Book Festival in Washington, now one of the country’s largest literary gatherings.
But perhaps no Republican could match the presidency of Ronald Reagan, whose guest list was a relentless celebration of the diversity of American culture. He and Nancy Reagan hosted Lionel Hampton. Then the Statler Brothers. Then Ella Fitzgerald. Then Benny Goodman. Then a night with Beverly Sills, Rudolf Serkin and Ida Levin. That was all in the fall of 1981. The Reagans did much to highlight uniquely American forms, especially jazz. One night in 1982, the White House hosted Dizzy Gillespie, Chick Corea and Stan Getz. When Reagan visited Mikhail Gorbachev in Moscow in 1988, he brought along the Dave Brubeck Quartet.
But that kind of thing is inconceivable now. Admittedly, at a time when Mr. Trump’s policies have forcibly separated children from their asylum-seeking parents — taking the most vulnerable children from the most vulnerable adults — the White House’s attitude toward the arts seems relatively unimportant. But with art comes empathy. It allows us to look through someone else’s eyes and know their strivings and struggles. It expands the moral imagination and makes it impossible to accept the dehumanization of others. When we are without art, we are a diminished people — myopic, unlearned and cruel.
The Fountain Theatre continues to expand and broaden its Board of Directors with an elite team of highly-regarded and successful business, arts, legal and financial professionals. The Fountain is honored to welcome Carrie Chassin to the Board.
“I am thrilled to be joining the dedicated members of the Fountain board in advancing the goals of this sparkling gem of Los Angeles, ” says Ms. Chassin. “The fearless productions have often reminded me of the role of drama in ancient Athens : inspiring, educating , entertaining, stimulating, challenging and uplifting. The clarity and talent on display at the Fountain stage have consistently provided me with the most satisfying theatre experience in our city.”
Carrie has spent her professional life engaged in controversial issues and crisis communications on behalf of Fortune 100 companies, governments, non-governmental organizations, environmental groups, industry associations, and Indian tribes. She developed and executed strategies responding to complex legal, legislative, regulatory, public opinion and media challenges. Many of these assignments involved advising CEOs, establishing and mobilizing grassroots organizations, media training, multiple forms of communication and complex negotiations. Her issues included major project siting, product liability, air quality, utility deregulation, labor disputes, water resources and preservation of wild lands and architecturally significant buildings.
“Carrie brings a high level of clear organizational thinking to our Board of Directors,” states Co-Artistic Director Stephen. “She has dedicated her career to passionately defending the rights of people and groups fighting for the public good. She has strongly advocated for issues that make the world a better place.”
Sachs jokes, “Besides, every non-profit theatre organization should have an expert on crisis management on its Board of Directors.”
Carrie retired 6 years ago from her position as Executive Vice President at Winner & Associates, an international issue management firm and Winner & Mandabach Campaigns, a national, full-service ballot measure campaign firm where she managed all aspects of ballot measure and issue campaigns, including strategic planning, public opinion research, advertising, direct mail, digital/social media, phone banks, earned media, and grassroots/outreach activities.
Her successful campaigns in California included park and water bonds, eminent domain, taxes for rapid transit, and the legalization of Indian gaming. She was honored by 88 California tribes as a Great Warrior Woman during that campaign. She also represented the Choctaw Nation in preserving their water rights and in negotiations with the Smithsonian for what is now the annual Choctaw Days festival at the National Museum of the American Indian. Her theater work involved advising the Nederlander organization on their Greek Theatre contract with the City of Los Angeles.
She spent almost a decade at Exxon directing corporate philanthropy to the arts, education and community programs in the Western region. She served as media spokesperson, lobbyist, strategist and on the negotiating team that obtained federal, state and local permits for a $3 billion onshore and offshore oil and gas project in Santa Barbara County. She was also involved in legislative and regulatory issues related to all areas of Exxon’s interests in exploration, production, shipping, pipelines, refining and marketing.
Prior to working in the private sector, she served as a deputy to Los Angeles City Councilman Marvin Braude. Carrie has served on the board of directors of the Baldwin Hills Conservancy, the Los Angeles Regional Food Bank, Hillel and the Los Angeles Child Development Center. She was the first Chief Operating Officer of CALSTART, dedicated to the growth of a clean transportation.
Carrie has been married to Jochen Haber for almost 40 years. She swam into him at the Rec Center pool while a graduate student in urban and regional planning at UCLA. They still swim there together. She has one son and 3 grandchildren living in Amsterdam. She is also sculpts, paints, gardens and travels as much as possible.
Reading of ‘All the President’s Men’, LA City Hall, Jan 27th, 2018.
by Stephen Sachs
Los Angeles is hailed as The City of Dreams. But our one-night reading of William Goldman’s screenplay for All the President’s Men at City Hall inspired me in one way that I could never imagine.
We knew we had a good idea. The right project at the right time delivering the right message for the right reason. We knew inviting celebrity actors to participate would heighten public interest. We knew we had the ideal location in the Los Angeles City Council Chamber at City Hall. What I didn’t know, what caught me by surprise, were the men and women who work there.
The Fountain Theatre has enjoyed a longtime friendship with the City of Los Angeles. We have benefited from the generous grant support of the Department of Cultural Affairs for more than twenty-five years.
Eric Garcetti was our City Councilmember in District 13. His parents, Gil Garcetti and Sukey Roth Garcetti, are longstanding Fountain Theatre members. Eric was more than our Councilmember for twelve years. He was our friend. I am forever grateful to Eric and his staff for coming to our side at the Fountain Theatre’s moment of darkest tragedy.
Our beloved Fountain colleague Ben Bradley was savagely murdered in his apartment on New Year’s Day, 2010. We were inundated with calls and emails of condolence from the LA theatre community. Eric’s staff at Council District 13 came by our office, in person, asking, “What can we do to help?” I was blown away. We sat down together, shared memories of Ben, and planned his memorial service at the Gallery Theatre in Barnsdall Park. Eric’s office arranged for us to have access to the venue at no charge. Eric attended the memorial and spoke at the service. He showed up for us. He was there.
Eric was elected mayor of Los Angeles in 2013. My wife and I happily attended his reelection swearing-in ceremony last year on the steps of City Hall. For five years, The Fountain’s City Councilmember has been Garcetti’s former District Director and senior advisor, Mitch O’Farrell.
Stephen Sachs and Councilmember Mitch O’Farrell
Mitch has always been a strong advocate for the arts in Los Angeles. For years, Mitch has championed the significance of the network of intimate theatres throughout our city. He took a stand and spoke out publicly on our behalf when we battled with Actors Equity Association over the 99-Seat Plan. He was instrumental in designating a section of Santa Monica Blvd in Hollywood as Theatre Row. He knows intimate theatres enhance the cultural landscape of Los Angeles. Once an actor and dancer himself, he is one of us. He gets it.
I placed a call to Mitch’s Field Deputy, Dan Halden, last year about our reading of All the President’s Men. I was adamant that the reading happen close to January 20th, the one-year anniversary of the Trump administration. I was looking for the appropriate location. It needed it to be some place symbolic. I wanted the building itself to hold meaning, make a statement. I called Dan thinking a room at City Hall would be good. Dan agreed. I was then floored when he suggested, “You know, the City Council Chamber might be available. Your actors could sit in the Councilmembers’ chairs …” It was then that the event crystalized from an idea in my mind into something I could see.
Months of planning quickly followed. We had to move fast. The Fountain staff leaped into action. A casting director was hired. A consulting firm was brought on. Most remarkably, Dan Halden and his team at Council District 13 were hands-on, all the way. When using a City building for a public event, every detail must be worked out. Security, parking, access, maintenance, the LAPD, the Fire Department, the press, catering, the offices that oversee use of equipment. All of this was handled through a blizzard of emails, phone calls and in-person meetings with Fountain staff and CD13 personnel. Everything overseen by Councilmember Mitch O’Farrell.
Receiving a grant award from the City of Los Angeles is a wonderful thing. Financial support from the city is essential and the Fountain is deeply grateful each year. All the President’s Men demanded a different kind of support from the city. It was more than just signing contracts and receiving a check in the mail. This was the rare, exhilarating experience of two teams working together, of Fountain staff and City staff rolling up their sleeves and getting the nuts-and-bolts items done. We were truly partners. Fully invested personally, professionally and ideologically. All of it executed with efficiency, good humor, and energized by knowing that we were pulling off something that had never been done before in that building.
I am so proud of our city. What other major city in the country would hand over City Hall to its artists? Would have its Councilmembers allow artists to literally sit in their seats for one night to express an urgent fundamental truth about our country through their art?
As Washington wallows mired in stagnant gridlock, the city of Los Angeles offers a lesson in public partnership to the nation. When I first called Mitch O’Farrell’s office with the idea to use City Hall as a civic performance space for this reading, the expected government response would have been “no”. Instead, carrying forward the heartfelt spirt of his predecessor, Mitch O’Farrell answered, “What can we do to help?”
I believe last Saturday night’s reading of All the President’sMen at City Hall was a watershed moment in our city’s engagement with local arts organizations. We should not let it end there, on that evening. Our hope is that we use the lessons and rewards earned from this experience to discuss more partnerships like this in the future. When local artists and city government officials work together, all citizens of our city benefit.
“Art can highlight things that need to change,” Mitch O’Farrell pointed out to the City Hall crowd in his opening remarks for All the President’s Men. “And draw parallels to historical lessons that can propel humanity forward.”
Stephen Sachs is the Co-Artistic Director of the Fountain Theatre.
Saturday night’s exhilarating reading of All the President’s Men at Los Angeles City Hall was an historic event. Not only was it a powerful statement advocating Freedom of the Press and honoring American journalism, it demonstrated a watershed moment in our city’s engagement with local arts organizations. Never has the City of Los Angeles handed over its Council Chamber to a theatre company and partnered with it in this way. We applaud Councilmember Mitch O’Farrell and his staff for making it possible.
The Fountain Theatre believes that events like All the President’s Men, where art and politics intersect to enhance our civic discourse, are essential to an informed society. We believe a small theatre can do big things. As Charles McNulty stated in his feature story on our event in the Los Angeles Times, “it is heartening to see an intimate theater like the Fountain advocating for what is in our collective interest as a nation.”
Jeff Perry and Joe Morton, co-stars on ABC-TV’s hit series Scandal, took on the roles of Washington Post editor Ben Bradlee and anonymous source “Deep Throat,” joining alumni of The West WingBradley Whitford as Bob Woodward and Joshua Malina as Carl Bernstein; Richard Schiff as Post local news editor Harry Rosenfeld; and Ed Begley, Jr. as managing editor Howard Simons. The cast also featured Sam Anderson, Leith Burke, Seamus Dever, James Dumont, Arianna Ortiz, Spencer Garrett, Deidrie Henry, Morlan Higgins, Anna Khaja, Karen Kondazian, Rob Nagle, Virginia Newcomb, Larry Poindexter and Andrew Robinson. The reading was directed by Stephen Sachs, with sound design by Peter Bayne.
The reading supported, in part, the Society of Professional Journalists, the nation’s oldest organization representing American journalists, founded to protect journalism and dedicated to the continuation of a free press. We were honored to be joined by the Los Angeles Press Club, which supports, promotes, and defends quality journalism in Southern California with the belief that a free press is crucial to a free society. And The American Civil Liberties Union of Southern California, defending the fundamental rights of each citizen as outlined in the United States Constitution and the Bill of Rights.
“We have a commander-in-chief who does not respect or even understand the freedoms embedded in our Constitution or its First Amendment,” said Councilman Mitch O’Farrell, who hosted the reading in the John Ferraro Council Camber. “The Trump administration’s war on the First Amendment includes repeated degradations of the role of media in our society and repeated invocations of ‘fake news’ when the absolute truth does not suit him, blacklisting press on occasion, including, and not ironically, The Washington Post, [and] open discrimination and intolerance under the guise of religious freedom.”
“In Los Angeles, we hold these values dear,” O’Farrell continued. “Donald Trump and his administration do not represent our values. The state of California and the city of Los Angeles, we are leading the resistance. All of us gathered here tonight, we are part and parcel of that resistance.”
“I am so proud of our city,” stated Stephen Sachs in his remarks before the reading. “What other major city in the country would hand over City Hall to its artists? Would have its Councilmembers allowing artists to literally sit in their seats for one night to express an urgent fundamental truth about our country through their art?”
“To every news man and news woman in this room,” Sachs continued. “To every reporter, every elected official, every artist, every citizen – we offer this reminder of hope. The truth will set us free.”
Final casting has been announced for the all-star reading of William Goldman’s screenplay for All The President’s Men scheduled to take place this Saturday, Jan. 27 in the John Ferraro Council Chamber of Los Angeles City Hall.
Based on the book by Washington Post reporters Bob Woodward and Carl Bernstein, the 1976 film All The President’s Men tells the story of their Pulitzer Prize-winning investigation of the Watergate scandal, which brought down the presidency of Richard M. Nixon.
Jeff Perry and Joe Morton, co-stars on ABC-TV’s hit series Scandal, will take on the roles of Washington Post editor Ben Bradlee and anonymous source “Deep Throat,” joining previously announced alumni of The West WingBradley Whitford as Woodward and Joshua Malina as Bernstein; Richard Schiff as Post local news editor Harry Rosenfeld; and Ed Begley, Jr. as managing editor Howard Simons. The cast will also feature Sam Anderson, Leith Burke, Seamus Dever, James Dumont, Arianna Ortiz, Spencer Garrett, Deidrie Henry, Morlan Higgins, Anna Khaja, Karen Kondazian, Rob Nagle, Virginia Newcomb, Larry Poindexter and Andrew Robinson.
The reading is being presented by the award-winning Fountain Theatre and co-sponsored by the City of L.A., the Los Angeles Press Club, Davis Wright Tremaine LLP and the American Civil Liberties Union as a statement asserting the First Amendment, advocating freedom of the press and honoring the tenacity of American journalism in a free society. Although admission to the reading is free of charge, any voluntary donations will support, in part, the Society of Professional Journalists, the nation’s oldest organization representing American journalists, founded to improve and protect journalism and dedicated to the perpetuation of a free press.
To date, over 5,000 reservation inquiries have been received. With only 240 seats available in the council chamber at City Hall, the producers have instituted a lottery system. No further requests are being accepted.
“We knew this would be a must-see event but this goes beyond our wildest expectations,” says Fountain Theatre co-artistic director StephenSachs. “It shows how passionate the public feels about these urgent issues of Freedom of the Press and the sanctity of the First Amendment.”