Montae Russell, Joshua Bitton, Lesley Fera, Marisol Miranda, Matthew Hancock.
The Fountain Theatre’s acclaimed Los Angeles Premiere of the Pulitzer Prize winning play Between Riverside and Crazy by Stephen Adly Guirgis will extend its sold-out run to January 26, 2020. The original cast will remain intact.
The performance schedule continues to be Friday 8pm, Saturday 2pm & 8pm, Sunday 2pm and Monday 8pm (Pay What You Want). More info/Get Tickets
Over a dozen rave reviews:
“THE PULITZER-WINNING PLAY YOU MUST SEE IN L.A.” — Los Angeles Times
“REWARD[S] US WITH THE RAREST OF GIFTS: the pleasure of a raffish grace where you least expect to find it.”— Cultural Weekly
“SUPERBLY ACTED… The Fountain Theatre has done itself proud again.” — Hollywood Progressive
“SPLASH SELECTION… a superbly directed, acted, and produced must-see show.” — LA Splash
“HUMOR AND WORDPLAY AND FANTASTIC MUSIC… POWERFUL PERFORMANCES” — Larchmont Buzz
“A thoughtful exploration of family, forgiveness, and deciding what is important when life has not gone the way you imagined… led by a TOUR DE FORCE from Russell, who brings the enigmatic Pops to life with impressive complexity.” — On Stage and Screen
“NEEDS TO BE SEEN… sometimes hilarious, sometimes agonizing… a seamless, breathtaking ensemble” — People’s World
“OUTSTANDING… laugh lines abound… deals with profound issues of the human condition.” — Beverly Cohn, Santa Monica Mirror
“WOW!…SENSATIONAL… Contemporary play-writing at its most original and Los Angeles theater at its finest.” —Stage Scene LA
“SCINTILLATING… an exciting, engrossing piece of theatre with a cast of seasoned pros.” Theatre Notes
“BRILLIANT DIRECTION… [A] SUPERB CAST“—Theatre Spoken Here
“HILARIOUSLY OUTRAGEOUS and delightfully off-kilter dialogue… one of out city’s best ensemble casts” — Ticket Holders LA
“FEARLESS… a brutally honest understanding of human emotions fully on display by a talented cast of seven.” — Culver City News
The Fountain Theatre is now casting roles available in the world premiere of the new play, Human Interest Story, written and directed by Stephen Sachs. The timely drama examining homelessness and ethics in journalism is scheduled to open February 15, 2020.
Newspaper columnist Andy Kramer is laid off when a corporate takeover downsizes the City Chronicle. In retaliation, Andy fabricates a letter to his column from an imaginary homeless woman named “Jane Doe” who announces she will kill herself on the 4th of July because of the heartless state of the world. When the letter goes viral, Andy is forced to hire a homeless woman to stand-in as the fictitious Jane Doe. She becomes an overnight internet sensation and a national women’s movement is ignited. A funny and riveting tale on the ethics of American journalism, homelessness, the worship of celebrity and the need to tell your own story.
Now Casting the Following Roles:
BETTY FRAZIER/JANE DOE
35 to 45 years old, Black/African American female. Laid-off elementary school teacher Betty Frazier has been homeless two years. She becomes an overnight media sensation as the fictitious Jane Doe. Strong-willed, compassionate, deep feeling, smart, nobody’s fool. She has come from the hell of darkness and is now reaching for light. Fiercely fighting to be seen and be heard, she discovers her own voice. The one she always had.
Caucasian male. Seeking a versatile actor to play many roles including Miller, a cold-blooded, ruthless newspaper editor, and Bauman, a scheming far-right political campaign aide.
40 to 50 years old, Hispanic male. Seeking a versatile actor to play many roles including Hernandez, an ardent by-the-book newspaper Assistant Editor, and Moran, a polite sturdy bodyguard.
35 to 50 years old, Black/African American female. Seeking a versatile actor to play many roles including Nakesha, a hard-working impassioned school principal and TV Host, a razor-sharp intellectual black feminist.
Rehearsal starts Monday, January 6th, 2020. The production runs February 15 – April 5, 2020. Contract: AEA 99-Seat. Auditions: November 11 -22, 2019.
LA STAGE Alliance announced yesterday that the Fountain Theatre has been honored with 18 Ovation Award nominations, the largest number of any intimate theatre for the 2018/19 season. The Fountain’s nominations include Best Season for overall excellence.
The Ovation Awards are the only peer-judged theatre awards in Los Angeles, created to recognize excellence in theatrical performance, production, and design in the Greater Los Angeles area.
During the 2018-29 season, there were 278 total productions registered for the Ovation Awards from 124 different producing bodies, resulting in 199 total nominations for 64 distinct productions presented by 43 organizations. These productions were voted on by 272 Ovation Awards voters — vetted individuals from the Greater Los Angeles area who are working theatre professionals.
The Fountain Theatre received the following Ovation Award nominations:
BEST SEASON Fountain Theatre Cost of Living Daniel’s Husband Hype Man: a Break Beat Play
BEST PRODUCTION OF A PLAY (Intimate Theatre) Cost of Living Daniel’s Husband
ACTING ENSEMBLE OF A PLAY Cost of Living Daniel’s Husband
DIRECTION OF A PLAY John Vreeke – Cost of Living
LEAD ACTOR IN A PLAY Tim Cummings – Daniel’s Husband Felix Solis – Cost of Living
LEAD ACTRESS IN A PLAY Katy Sullivan – Cost of Living
FEATURED ACTOR IN A PLAY Tobias Forrest – Cost of Living
FEATURED ACTRESS IN A PLAY Jenny O’Hara – Daniel’s Husband Xochitl Romero – Cost of Living
LIGHTING DESIGN (Intimate Theatre) Chu-Hsuan Chang – Hype Man: A Break Beat Play Jennifer Edwards – Daniel’s Husband John Garofalo – Cost of Living
Director Guillermo Cienfuegos in the Fountain Cafe.
by Guillermo Cienfuegos
How the Los Angeles premiere of Between Riverside and Crazy, this great, Pulitzer Prize winning play by Stephen Adly Guirgis managed to fall into my hands, I’ll never know. But I’m grateful for it. I feel so fortunate to be given the opportunity. And to direct it with this cast, at this theatre, is an embarrassment of blessings.
First of all I’m drawn to how funny and true the play is. There’s no better way to impart to an audience some essential truths about what it is to be human than while you’re making them laugh. I find Guirgis’ gift of being able to show us these flawed and damaged people in such a funny and loving way very inspiring.
Also as a Cuban, the play puts me in mind of a lot of Catholic imagery from my youth, including Santeria traditions. It makes me think of the Beatitudes from Jesus’ Sermon on the Mount. “Blessed are the poor in spirit for theirs is the Kingdom of God”. Those are the characters in this play. The world may see them as junkies and drunks and ex cons and other outsiders of society – but they’re just children of God.
Matthew Hancock and Marisol Miranda.
I’m also drawn to the play because of my father, who I called Papi. My father was a lot like Pops, the main character of the play – he’s fighting wars on many fronts, the largest of which could be with his own ego. And he’s trying to hold on to whatever control over his life he still has. But it’s in the surrender that one wins and finds grace.
The play deals with a lot of big issues – grief, alcoholism, policing, gentrification. But I think it’s about family, forgiveness and redemption.
Montae Russell in “Between Riverside and Crazy” at the Fountain Theatre.
By Darlene Donloe
Montae Russell is well known throughout Los Angeles theater circles for playing meaty roles. He’s played Charlie “Bird” Parker in Bird Lives!, Memphis in Two Trains Running andElmore in a production of King Hedley II. He also played Mister on Broadway in King Hedley II opposite Viola Davis and Leslie Uggams.
Up next for the veteran thespian is a complicated, determined man named Walter “Pops” Washington who has declared war on almost everything in the Stephen Adly Guirgis 2015 Pulitzer Prize-winning comedy-drama Between Riverside and Crazy, opening October 19 at the Fountain Theatre in Hollywood.
Russell, a Pittsburgh native is ready to take on the role. While talking to him about the show and “Pops”, the 50-something, married (Tonia), father of one, walked around a local park to let the imagery of the play and the character “sink in.” It’s a process, he said allows him to be “closer to where I need to be” when he hits the stage.
Russell’s first acting role came in the seventh grade when he played Ebenezer Scrooge in A Christmas Carol. His first professional play was in the off-Broadway production of Three Ways Home at the Astor Place Theater in New York.
Eventually he brought his talent to Los Angeles where he became a respected film, television and theater actor.
A highly sought after actor, Russell had to decide between doing August Wilson’s Gem of the Ocean and Between Riverside and Crazy. He said it was a hard decision, but he read something in the “Pops” character that spoke to him.
In Between Riverside and Crazy, the 2015 Pulitzer Prize-winning comedy-drama by Stephen Adly Guirgis, ex-cop and recent widower Walter ‘Pops’ Washington has made a home for his newly paroled son in his sprawling, rent-controlled New York City apartment on Riverside Drive. But now the NYPD is demanding his signature to close an outstanding lawsuit, the landlord wants him out, the liquor store is closed, and the church is on his back — leaving Pops somewhere between Riverside… and crazy.
Montae Russell and Victory Anthony in “Between Riverside and Crazy”
I recently caught up with Russell to discuss his role in Between Riverside and Crazy.
DD: In your own words, describe Between Riverside and Crazy.
MR: I really can’t describe it because I’m in the midst of it. Well, from my character’s perspective, he was a cop who was shot by a white cop eight years ago. The cop overreacted when he saw black people in a bar. My character is in a battle with NYPD. He’s living in a rent-controlled apartment on Riverside Drive. The landlord wants him out so he can charge more rent.
But my character is dug in. He’s not backing down. His son is an ex-con. He is fighting for his son. Every father wants his son to become a man. He is also fighting a war with himself. He has war with a lot of people. He has a battle with the bottle and his body. He has stress and strife. There are external forces and an internal battle within himself. Sometimes it’s not about annihilating your opponent. Sometimes you just have to sign a truce.
DD: In what way are you like Pop and in what way are you the furthest from Pop?
MR: I’m a fighter, but I don’t have as many wars. I have a stubborn streak. I don’t have multiple wars, though. I don’t have people coming at me as he does. But, I can understand what it would be like. I respect the character. I just fight differently.
DD: Why did you want to play this part?
MR: When I read it, I cracked up. A lot of things about the character made me laugh. He is raging a war with God, or with his beliefs because of all the things that have happened. You can’t win that war. It’s a very hilarious play. Pops is pulling no punches. He doesn’t care. He is the master of his domain. He’s a very funny cat. He’s not a rabble-rouser. He’s not an activist. He’s a conservative – but not in a social way – more of an interpersonal way. He’s a traditional man, an old school man. He comes from a time when you controlled your emotions.
DD: How did you go about developing Pop?
MR: It’s a day-by-day thing. We’ll be developing until the end of the play in December. Different stuff is revealed each time you crack open the script. There is constant tweaking.
He’s not funny, Ha, Ha. He’s funny concerning his perspectives. Living like that can cause problems. You have to give a fuck at some point. You have to give a fuck about something.
DD: Have you ever been between Riverside and crazy?
MR: You would have to ask the people around me.
Montae Russell, Joshua Bitton, Lesley Fera, Marisol Miranda, Matthew Hancock.
DD: By what criteria do you decide to do a show?
MR: It has to be a challenge. I have to think I can bring something to it. It’s about what speaks to me. I was supposed to do Gem of the Ocean. I was going to play Caesar. Both shows were going up at the same time. I opted to do this instead. It’s difficult to turn down a role like Caesar. It would have also been difficult to turn down this role.
DD: You’ve played a lot of characters. What role did you nail?
MR: I try to do that all the time. I enjoyed playing Memphis in Two Trains Running. August Wilson front-loads his characters with a lot of stuff they are dealing with. The character challenged me. It felt good that I concurred it. The stuff he has to live through. His backstory – all of that comes into the show. You’re responsible for the backstory even if it doesn’t come up in the play.
DD: How do you prepare to go on stage? Any rituals?
MR: I gotta be at the theater at least 45 minutes before I’m supposed to be there. I have to have food in my stomach to power through the show. It’s just like a sporting event. You can’t keep running back to the locker room. I like to warm up my voice. I warm up my diction and I stretch. I need to be by myself and get in my space. I like to get in my zone.
DD: Why did you want to be an actor?
MR: A lot of people today don’t know what they want to do. I was blessed at 13 – that’s when I knew. From there, I got green lights all the way. One job led to another. August Wilson wrote my letter of recommendation to get into Rutgers. He reached back.
DD: What happens to you when you’re on stage?
MR: It allows you to go to another world. Your imagination has to buy it. It’s the same concept when doing a show. We are on stage being looked at by an audience. That to me is fun. It’s nice to get away from the real world and step into someone else’s shoes for a while.
Liza Fernandez, Joshua Bitton, Guillermo Cienfuegos, Victor Anthony, Lesley Fera, Montae Russell and Marisol Miranda
What happens when you mix a Pulitzer Prize winning script, a company of phenomenal actors and a skilled director together in one room? You get magic. From the moment the first lines of Stephen Adly Guirgis’ funny and powerful Between Riverside and Crazy were spoken at Wednesday night’s first rehearsal, all knew they were in for a wild and joyous ride.
In Gurigis’ profane and tender tale, ex-cop and recent widower Walter “Pops” Washington and his newly paroled son Junior have spent a lifetime living between Riverside and crazy. But now, the NYPD is demanding his signature to close an outstanding lawsuit, the landlord wants him out, the liquor store is closed—and the church won’t leave him alone. When the struggle to keep one of New York City’s last great rent-stabilized apartments collides with old wounds, sketchy new houseguests, and a final ultimatum, it seems that the old days may be dead and gone.
Directed by award-winning Guillermo Cienfuegos, the cast includes Victor Anthony, Joshua Bitton, Lesley Fera, Liza Fernandez, Matthew Hancock, Marisol Miranda, and Montae Russell.
At the first meet-and-greet, the company was joined by Fountain staff, Board members and donors. The group enjoyed a brief welcoming reception and then gathered on the Fountain stage for the reading of the script. Director Cienfuegos commented that he was struck by the support of the Fountain Theatre Family. Never, he said, had he witnessed such a show of community at a first rehearsal, with such a large number of dedicated people so eagerly present. “This is wonderful,” he grinned. “Because the play, in addition to being about racism and class and police work, is really about family.”