Category Archives: Outreach Program

VIDEO: Fountain Theatre delivers donated clothes to Covenant House

Inspired by viral post on ‘Mockingbird’, Fountain Theatre launches Free Student Fridays

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Students can now see a Friday night play free at the Fountain.

When Artistic Director Stephen Sachs shared his thoughts on the Fountain Theatre blog last Friday, he never dreamed his post would go viral.  It did, big time. His observations on the free performance of Broadway’s “To Kill A Mockingbird” at Madison Square Garden for 18,000 high school students drew 65,975 views to the Fountain blog and was shared by more than 39,000 people on Facebook, sweeping the globe in 111 countries.

Central to the Fountain is the impact the post had on one person: Sachs himself.

“I am blown away by the post’s popularity,” he says.

For Sachs, reading the avalanche of online comments the post triggered as it was shared around the world was overwhelming and eye-opening. “For me, the post became more than a feel-good story about young people experiencing live theatre.  For me, it is a call to action.”

What action is the Fountain taking?

Starting this weekend with the current production of Human Interest Story, the Fountain Theatre launches a new program called Free Student Fridays. Any high school or college student may see a play at the Fountain on Friday for free.  To reserve online, students use the promo code FreeStudent. A valid school ID card must be shown at the box office window on the night of the performance. Seats are subject to availability.

“This program is a modest start, but it’s a start,” admits Sachs. “We may not have 18,000 seats like Madison Square Garden, but if we can inspire the young minds and open the young hearts of 80 students on Fountain Avenue every Friday night, we’ll have humbly done our part to help make the world a better place.”

Who knows? A free performance for 20,000 students at L.A.’s Staples Center may one day be on the horizon. Until then? There’s a seat for any student at the Fountain.

Click this link to book tickets for a Free Student Friday. Info on Human Interest Story.

How 18,000 students proved theater experts wrong

Mockingbird students

Students prepare to see “To Kill a Mockingbird” at Madison Square Garden.

by Stephen Sachs

There hasn’t been that much rapturous cheering in Madison Square Garden since the Knicks won their last championship in 1973. But the thunderous hollering heard this Wednesday at the sold-out arena was not for a basketball game. It was for a play.

On Wednesday, 18,000 middle and high school students from Queens, Brooklyn, Manhattan, the Bronx and Staten Island attended a free one-time special performance of the Broadway production of “To Kill A Mockingbird” at Madison Square Garden arranged by producer Scott Rudin, the MSG organization and the city of New York.  That’s right. 18,000 kids sat and watched a 3-hour drama in the cavernous home of the Knicks. Who would have thought it possible?

The result? By all accounts, everyone there on that school-day afternoon – actors, audience, organizers – have been forever changed by the experience. And, I hope, so has our field, as the impact of this one-time event ripples nationwide for years.

Artistic Directors like me have been wringing our hands over the same question for decades. How do we get younger audiences to come to our theatre? How do we engage young people today in our ancient art form? How do we not only hold their attention but excite them enough to want to come back to our theatre?

This week, one answer came. And it showed me that maybe we’ve been asking ourselves the wrong question. Sometimes we must bring the mountain to Muhammed.

The play’s usual Broadway home is the Shubert Theatre, where it commands an average ticket price of $162. The one-time performance at The Garden was free. For many kids, they were seeing a professional play – in an unusual setting — for the first time.

“This is a one-of-a-kind event — 18,000 young people who wouldn’t otherwise be able to afford to see a Broadway play are going to be introduced to American theater,” playwright Aaron Sorkin said.

MSG Mockingbird

The cast of To Kill a Mockingbird take their bows on stage after a special performance for students at Madison Square Garden in New York.

In a week of nothing but bad news for our country, this gives me hope. And shatters a few myths theater-makers may hold about young people.

The attention span of teens is too short. The myth we keep telling ourselves is that the light-speed tempo of video games have accelerated the viewing habits of young people to such a degree that they’ll never sit still for a serious play. A musical, maybe. A rock musical, certainly. Not an issue-driven drama. But the 18,000 students at Madison Square Garden not only sat still and listened to “Mockingbird”, they were riveted in their seats.

Young people are only interested in contemporary stories about themselves. It’s okay to offer them hip hop plays, urban musicals, modern teen comedies about their world today. A drama from another time period? Too risky. This week, however, a multitude of students from New York were engrossed by a fable that takes place in 1934 Alabama. Want to make it worse? It’s a play adapted from a book they are assigned to study as homework in class, for crying out loud. A theatre producer’s nightmare, right? Wrong.

Young people hate theatre. Not true. They just have fewer opportunities to see it. And when they do? “It’s so exciting,” said high school junior Michelle Hernandez. “It’s amazing,” said student Justine Jackson. “The story is very real and you can relate it to modern society,” said junior Andy Lin. “Specially racism because it’s still going on.”  The 18,000 students were clearly swept up in the play and the excitement of the event. The setting of Madison Square Garden seemed to set them free to react openly in ways they would never dare in a conventional theatre. They laughed, they gasped, they shouted, and they cried. They cheered Atticus Finch like he was a rock star.

Regional theaters across the country have educational outreach programs that include bringing their productions of plays to schools for students to enjoy and benefit by seeing. It’s a failsafe strategy that is not going anywhere. A theatre importing its production to a school campus is one thing. Partnering with Madison Square Garden is another.

The conventional model of bussing students to your theatre holds its own many benefits. But I hope the “Mockingbird” event inspires theater organizations across the country to think outside the box in their own community. To explore unconventional venues and unique partnerships to help bring the power of theater to young people nationwide.

Could the “Mockingbird” event happen in Los Angeles? Can we imagine 20,000 students from across the Southland coming to Staples Center to watch a performance of “Death of A Salesman”? Why not? It takes a mayor, a theatre producer and a city believing that it’s important and willing to make it happen. As NY Mayor Bill de Blasio said: “The only way to change your world is if you decide it is your world to change.”

 And you must find like-minded partners who are willing to change it.

Stephen Sachs is the Artistic Director of the Fountain Theatre. 

See the play. Stay for ‘Breaking It Down.’

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by France-Luce Benson

The Fountain’s Breaking It Down program is designed to build community and deepen the impact of a play through a variety of events before and after performances. Our preshow events may include art exhibitions and talks that invite audiences into the world of the play. Our post show discussions create a space for our audiences to gather with the artistic teams, scholars, journalists, and community leaders to unpack the themes explored, and provide a platform to share personal connections to the work.

March 1: Q&A with the cast of Human Interest Story

HIS_0123Engage in a post-show conversation with actors Tanya Alexander, Richard Azurdia, Aleisha Force, James Harper, Matt Kirkwood, Rob Nagle, and Tarina Pouncy. Get Tickets

March 8 @ 1pm: Meet artist Stuart Perlman

PerlmanStuart Perlman’s Faces Of Homelessness portrait project has been exhibited throughout Los Angeles, covered on Public Radio (KPCC), featured in print in Column One of the front page of the Los Angeles Times, and in other national and international publications including The Guardian (London), Taipei Times (Taiwan), Vanity Fair Italia and a cover story in the Jewish Journal. It will be on display at The Fountain for the duration of the run.

Perlman will talk about what inspired the project, and how his connections with these individuals have impacted his life in ways he never imagined. Get tickets now.

Stuart Perlman has been a psychologist and psychoanalyst in private practice in West Los Angeles for 40 years. He received a Ph.D. from UCLA in clinical psychology, and a second Ph.D. in psychoanalysis.  He has published many articles in psychoanalytic journals, and authored the book, The Therapist’s Emotional Survival: Dealing with the Pain of Exploring Trauma. His new book, Struggle in Paradise, is about homeless individuals, featuring moving oil-on-canvas portraits, life stories and follow-ups. This painting project has been nominated for the Best Art of the Year Award by the National Association for the Advancement of Psychoanalysis. After a hiatus of over 25 years, Dr. Perlman returned to one of his early passions, painting. He has devoted thousands of hours to painting the experiences of the homeless and illuminating their humanity and pain. Through portraiture, a style traditionally used to immortalize the rich, famous and powerful, Dr. Perlman reminds us that these homeless individuals, too, are to be valued: “If we can see into their faces and learn their stories — their hopes, dreams, accomplishments and fears — we can no longer pretend that they don’t exist…we can no longer look the other way.” www.stuartperlmanartist.com

March 15:  Inside L.A.’s Homeless Crisis

homeless manYou see them everywhere. At freeway off-ramps, under bridges, in tents. Los Angeles Mayor Eric Garcetti has declared homelessness “the great humanitarian crisis of our time.” What are we doing about it? A post-show discussion with panelists Anthony Conley (Covenant House) and John Billingsley (Hollywood Food Coalition).  Get tickets now. 

March 19 @ 7p.m: Screening of Stuart Perlman’s Struggle in Paradise

Struggle in Paradise“Best Movie of the Year” National Association for the Advancement of Psychoanalysis.
Nominated Best Documentary- Pasadena International Film Festival. Honorable Mention- American Psychological Association Film Festival. Struggle in Paradise is the gripping story of the skyrocketing number of homeless people living and dying on the streets of Los Angeles. I have been shocked at the amount of trauma that people have sustained that contributed to their homelessness and, once on the streets, are repetitively traumatized. View the Trailer

March 22: Truth in American Journalism 

man-hands-reading-boyHow do you get your news? The print edition delivered at your door? Online? Join the post-show conversation with local journalists as we examine how the internet has impacted print newspapers around the country. How has the invention of “fake news” influenced ethics in reporting? What is the truth? Who decides? Get tickets

March 29 @ 5pm: Sunday Supper at The Center 

russell-westbrook-why-not-foundation-8th-annual-thanksgiving-dinnerJoin us at The Center in Hollywood where the Fountain will host one of their monthly “Supper Sunday” dinners. Following the performance, we will head to The Center where we will prepare (or purchase), serve, set up, and clean up after a meal. The most important aspect of Supper Sunday is that WE will dine WITH the individuals we are serving. Sharing a meal is a beautiful opportunity for the housed and unhoused members of our community to gain greater understanding, empathy, and connection. Order now

Feb 15 – April 5: Donation Drive for our homeless community 

April Goddard

Fountain patron April Goddard donates items to the homeless at tonight’s preview of Human Interest Story. 

Throughout the run of Human Interest Story The Fountain will accept donations to be distributed to various Homeless organizations in our community.  Items most needed are:

  • Toiletries (toilet paper; wet wipes; toothpaste/toothbrushes; mouthwash; body wash) Feminine products (sanitary pads, tampons)
  • Gently Used Clothing (especially winter clothing, socks, shoes)
  • Men’s and Women’s Underwear (New, all sizes)
  • Blankets

Bins will be set up in front of the theatre before each performance and all items will be distributed to various organizations on a weekly basis. You need not have a ticket to the show to bring donations. All are welcome!

France-Luce Benson is the Community Engagement Coordinator for the Fountain Theatre. Contact her: franceluce@fountaintheatre.com 

France-Luce Benson joins Fountain Theatre staff as Community Engagement Coordinator

France-Luce Benson

France-Luce Benson

The Fountain Theatre is pleased to announce that playwright/teaching artist France-Luce Benson has joined the staff as Community Engagement Coordinator. Her duties will include overseeing the Fountain’s educational outreach programs and expanding the theatre’s interaction with audiences and local communities.

“As an artist committed to equanimity in representation and creating art that affects change, it is an honor to be a part of The Fountain Theatre, a company that is truly walking the walk, ” says Benson. “The many theatrical giants who The Fountain has produced over the years have not only influenced my work as a playwright, but they are representative of Los Angeles’ diverse cultural landscape. I am confident that my own cultural background will contribute to the important work The Fountain is doing to promote and inspire social justice.”

France-Luce Benson was named “Someone to Watch ” in 2019 by American Theatre magazine. As a playwright, she is a recipient of a Miranda Foundation grant (DETAINED), Alfred P. Sloan Foundation New Play Commission (DEVIL’S SALT), and a Princess Grace Award runner up (BOAT PEOPLE).   Additional honors include: Zoetrope Grand Prize (CAROLINE’S WEDDING); Dramatists Guild Fellow 2016-17, Sam French OOB Festival Winner, NNPN Award for Best Play, and  three time Kilroy List Honorable Mention.  Residencies include  Djerassi, the Camargo Foundation in France, and Instituto Sacatar in Bahia, Brazil. Her plays have had productions, workshops, and readings at Crossroads Theatre New Jersey, City Theatre of Miami, The Playwrights Center, Oregon Shakespeare Festival, City Theatre of Miami, Loyola Marymount University, Global Black Voices in London, and in New York The Lark, The Billy Holiday Theatre, and the Ensemble Studio Theatre where she is a company member. She’s been published by Samuel French and Routledge Press. She earned an MFA in Dramatic Writing from Carnegie Mellon University and a BA in Theatre from Florida International University. Teaching appointments include UCLA Extension, St. Johns University, Columbia University, Girl Be Heard, and P.S. Arts/Inside Out in L.A. She is a proud member of The Dramatists Guild, Inc.

France-Luce teaches Story Analysis for Film and Television at UCLA Extension School. As a Dramatist Guild Fund teaching artist, she launched the Traveling Masters Program for NY Public Schools and was a guest lecturer at Columbia University, where she facilitated a playwriting intensive designed for the International Student Fellows of Columbia’s esteemed Human Rights Advocacy Program.

“We’re excited to welcome France-Luce to our Fountain Family,” says Artistic Director Stephen Sachs. “She brings expertise, passion and insight to our community programming as the Fountain broadens its services into the future.”

VIDEO: Devised Theatre Lab encourages future theater-makers to express themselves

 

VIDEO: Watch cops and kids put their stories on stage in short documentary ‘Walking the Beat’

Post-Show Blues

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by Melina Young

Post-show blues. It’s a common phrase among theatre folk.

As we close the final performance of the Fountain Theatre’s arts education program, Walking the Beat Hollywood, as panels are struck and lights come down, as kids head safely home to their families, and cops return to patrolling the streets, the phrase takes on new meaning. In the context of Walking the Beat Hollywood, the phrase alludes not only to the malaise that accompanies the end of an affecting production, but also to the image of an LAPD uniform.

Post-show blues.

Walking the Beat Hollywood is a theatrical residency for high school students across Los Angeles and the police officers who patrol their neighborhoods. Together, students and officers devised a piece of theatre they titled “A Wall is Just Another Door,” about community policing informed by their personal experiences. During the show, performers begged the question in a rap battle, “When you see me in my uniform what do you see?” The question asks us all to challenge the assumptions we make and to acknowledge our biases, disadvantages, and privileges.

I have often been told that if I want to make a change in the world, I’m in the wrong business. I’ve heard that political theatre preaches to an audience that is already in agreement. This assumes that the audience attending theatre is of the same ilk. And yet, after Walking the Beat Hollywood I have never been more convinced that theatre changes lives.

Perhaps that is because the theatrical community that created and witnessed Walking the Beat Hollywood was not typical. (Walking the Beat Hollywood challenged convention as soon as the doors opened.) Development offices at theatres all over the world work hard to gather demographic information about their audiences. As a result, we know that theatrical audiences are largely white, liberal, affluent, and over 50. Working for a theatre festival during college, I was tasked with reviewing and digitizing hard-copies of audience surveys. One respondent answered the race and ethnicity question: “Really white.”

This respondent’s answer still makes me laugh. However, it’s also true and has far-reaching and troubling consequences. The ambition to democratize theatre can paradoxically become pretentious and self-serving. This is when theatre-makers become white-saviors. “Democratizing” can often look more like condescending to a group of people those in power ostensibly want to “uplift.” This is tokenism. The antidote to this kind of practice is recognizing that individuals are individuals and not representatives of a group. They are people of worth and power. Walking the Beat Hollywood succeeded in democratizing theatre precisely by self-consciously circumventing that goal.

It would be untrue to claim that the regular homogeneity of most theatrical audiences was unrepresented at Walking the Beat Hollywood. But largely this audience and this cast were unconventional. In fact, the ensemble worked hard to disrupt and challenge convention. Their tools in dismantling systems of oppression were their own stories. The ensemble gave generously of themselves and as a result moved their audience.

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Melina Young and Barbara Goodhill welcome guests to “Walking the Beat” at LACC.

Angela Kariotis, a visionary theatre-maker, teaching artist, and WTBH playwright writes, “Telling a story is simple, but not easy. Easy and simple are not the same thing… We never think we have any stories. But then all of a sudden, they come tumbling out because we cracked open the door a little. And here they are all demanding, demanding to be told.” That demand imbued Walking the Beat Hollywood with honest urgency. Sitting inside the Caminito Theatre, the call for truth was palpable and stirring. My father wept as he listened to each student’s identity poem and so did I. I already knew and loved these kids and by the end of the performance I think he did too.

When I handed one of the students her final pay check, she looked at me with a telling pout and said, “I don’t want this one.” When I asked her why, she said “because it means it’s the end. And I don’t want to say goodbye to everyone.” Her reluctance was evidence of love. Sixteen strangers—ten kids and six cops—became friends.

Theatre. Changes. Lives.

I saw these kids change. I saw them grow. Many students started this process shy. Many didn’t. Some are still shy and some still aren’t. But I know that they know their worth. I know that they proclaimed their worth in front of an audience eager to bear witness to it. That is genuinely important.

Sure, this was a production focused on cops and kids coming together to discuss the problems of community policing. But the final performance did not offer a solution. Rather, it highlighted human beings of different experience coming together to listen to one another.

I return to the idea of post-show blues. How did Walking the Beat Hollywood change our proverbial uniforms? If only for an evening, we have been armed with an open mind and with the impulse to listen.

I want to challenge theatre-going audiences to continue the legacy of this performance. Be silent and be moved. Listen. After all, “Listening is an act of love.”

Melina Young is the 2019 summer intern at the Fountain Theatre. We thanks the LA Department of Arts and Culture for the support of its Arts Internship Program. 

What the Constitution Means to intern Melina Young

Heidi-Schreck

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.

Constitution

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 Sense in 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.

Mueller Reading 17.5

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.

Melina Young is the summer intern at the Fountain Theatre. We thank the Los Angeles County Department of Arts and Culture for the support of its Arts Internship Program. 

Our nation’s future depends on moments like this

Mueller Reading 51

Fountain Board member Miles Benickes and Zoey Rosenzweig at Mueller Read-A-Thon.

by Stephen Sachs

First, she said no. She would not do it. When her grandfather asked her again in the Fountain Theatre lobby, she awkwardly took a step back in retreat, shy and embarrassed.  

“No,” she said, in a blushing 14-year old half-grin.

She would not join her grandfather, Miles Benickes, on stage to read a ten-minute section of the Mueller Report in front of a gathered audience of LA professionals and unseen viewers watching online via a simultaneous live stream on Facebook, Twitter and YouTube. No way.

Then Zoey Rosenzweig changed her mind. I was thrilled and surprised when she strode out onto our Fountain stage with Miles and diligently read through the Mueller legalese with her grandfather. She may not have understood much of the gobbledygook she was reading. Who did? That didn’t matter. Something vital for the future of our nation was happening. Zoey Rosenzweig was getting involved.

Thursday’s 15-hour Mueller Report Read-A-Thon at the Fountain Theatre held dozens of unforgettable moments like this for me. The marathon event was emotionally overwhelming. The Fountain hummed with ecstatic energy all day and all night. A parade of politicians, actors, writers, and community leaders read from the podium as if declaring from a public square, each person high-charged by their call to duty.

I thought of the day as an Open House. The Fountain Theatre opening its doors – all day and all night — to democracy. At an Open House, all visitors are welcome. At an Open House, anyone who wishes may visit. An Open House is a gathering that’s open to anyone who wants to come by, any time. 

An atmosphere of community was everywhere. In the lobby, in the audience, out front on the sidewalk, in our upstairs café.  Theatre provides community. Los Angeles is one of the most diverse cities in this country, and our LA theatre network is large and widespread. But on Thursday our Mueller Report Read-A-Thon proved that, like the motto of our nation, Los Angeles and the LA Theatre Community is “out of many, one.”

For our nation to survive, engaging young people in the arts and politics of this country is essential. I studied closely as our twenty-two-year-old Fountain intern, Melina Young, sat in the front row watching respected LA theatre critic Sylvie Drake read from our stage. A proud grin spreading across Melina’s face. Sylvie Drake is Melina’s grandmother. Now Melina seeks a career in the theatre. Her grandmother, by example, reminding her how the arts and social action can intersect.    

An endless stream of memorable instants that day/night flood through me now, two days later. Images of celebrities, LA Theatre icons, government officials. But it was Zoey Rosenzweig, perhaps, who remains the most indelible. A fourteen-year-old girl reading this urgent government document from the podium while her grandfather somberly leans over her shoulder like a rabbi guiding her through the Torah.

Moments like this are the reason we hosted the reading of the Mueller Report in the first place. It gives me hope. We need Zoey Rosenzweig and Melina Young and millions more like them.

Our nation, and our art form, depend on them.     

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