The Fountain Theatre will host “L.A. Theatre Pays Tribute to Ed Krieger,” a virtual memorial for longtime theater photographer Ed Krieger, on Sunday, Jan. 24, 2021 at 2 p.m. PT. Krieger passed away on Dec. 16, 2020.
“The Los Angeles theater community has lost a dear friend,” says Fountain artistic director Stephen Sachs. “For decades, through the lens of his camera, Ed chronicled the production history of local stages throughout Southern California.”
Born in Chicago, Krieger photographed the Southern California theater scene for more than 30 years. His production stills captured the essence of live performance at such venues as the Fountain Theatre, Skylight Theatre, Boston Court, El Portal, Laguna Playhouse, Rubicon Theatre, Downey Civic Light Opera, Ford Amphitheatre, Hollywood Bowl and many more. His images appeared in the Los Angeles Times, New York Times, Variety and the Hollywood Reporter. American Theatre magazine highlighted Krieger in its 2015 feature on nationally recognized theater photographers.
The tribute is scheduled to run 90 minutes and will include a slideshow of Ed’s photos as well as live and pre-recorded testimonials by members of the L.A. theater community.
The Fountain is requesting that organizations who worked with Ed each submit two of their favorite photos.
To register to attend the event and to upload photos and/or testimonials, CLICK HERE
The Fountain Theatre has received approval from the City of Los Angeles to install a temporary outdoor stage for the purpose of presenting live performances and other events during the pandemic.
“Pandemic permitting, we hope to open our first outdoor production by late spring or early summer,” says Fountain artistic director Stephen Sachs. “We’re planning an exciting Los Angeles premiere that dramatizes urgent social issues using the Fountain’s signature bold and theatrical approach.”
Installed in what is now the theater parking lot, the new performance area will be able to accommodate 50 to 84 audience members. It will feature seven rows of chairs, each six feet apart, as well as 12 high-top tables positioned six feet apart for use by patrons from the same “bubble” households. Every aspect of the outdoor performance area will meet COVID-19 safety guidelines.
According to Sachs, “The most painful aspect of the past ten months has been the separation from our patrons and the disconnection from our art form. Until our indoor theater reopens, the outdoor stage will be a thrilling performance venue and a hub for our educational and community engagement programs. The outdoor stage will be the centerpiece as we re-emerge in 2021. It galvanizes our vision moving forward.”
The Fountain Theatre outdoor stage is made possible, in part, by the generous support of Karen Kondazian, the Vladimir and Araxia Buckhantz Foundation, Rabbi Anne Brener, Carrie Chassin and Jochen Haber, Miles and Joni Benickes, and the Phillips-Gerla Family.
Want to join our family of donors and become an integral partner in making this thrilling new venture possible? Email Barbara Goodhill at Barbara@FountainTheatre.com.
The mission of the Fountain Theatre is to create, develop and publicly produce plays that reflect the diversity of Los Angeles, to serve young people through educational outreach programs, and to enhance the lives of the public with community engagement activities. For three decades, the Fountain has earned acclaim and admiration nationwide, been honored with more than 200 awards for artistic excellence and is a leader in the L.A. theater community. The organization is proud to count L.A. City Councilmember Mitch O’Farrell, and Mayor Eric Garcetti as supporters, reflecting the company’s successful history of partnering with City government. In addition to being a Los Angeles Department of Cultural Affairs grant recipient for decades, the Fountain launched a groundbreaking program that brings celebrity actors to L.A. City Hall to perform one-night free public readings in the City Council chambers.
As the Fountain Theatre continues to add public-spirited individuals to its nonprofit arts organization, it welcomes Rabbi Anne Brener to its board of directors. She is a longtime friend and supporter of the Fountain who has enjoyed many plays and special events over the years. She also currently serves on the board of ALEPH: The Alliance for Jewish Renewal.
“The Fountain Theatre begins 2021 with a large, active, dedicated board of directors who are dedicated to guiding the organization to not only survive these difficult times, but rise above them,” says Artistic Director Stephen Sachs. “Rabbi Anne Brener offers wisdom, intelligence and a compassionate heart as we trek forward. Her years of experience in community building and serving others is inspirational.”
Rabbi Anne Brener, Professor of Ritual and Spiritual Development at the Academy for Jewish Religion, California, is the author of Mourning & Mitzvah: Walking the Mourners’ Path, now in its third edition. She is a Psychotherapist, Spiritual Director and Meditation Teacher, whose writing appears in many anthologies and periodicals. Anne co-founded one of California’s first Domestic Violence shelters and the Morei Derekh Jewish Spiritual Direction Training Program. She worked as a Hospice Chaplain and currently serves on the board of ALEPH: The Alliance for Jewish Renewal and Los Angeles’ Fountain Theatre. Her work has been dedicated to the study of ancient Jewish rituals and practices to harvest an understanding of the universal healing wisdom that is embedded within them.
It was just last month that the Fountain Theatre announced it had joined forces with playwright Larry Powell, his producing partner Angelica Robinson, and their Tell Me a Story Productions to bring Powell’s exciting 12-part tragicomedy, The Gaze…No Homo to Fountain audiences. Presented via the theatre’s new digital platform, Fountain Stream, this episodic version of Powell’s live stage play has been reinvented for the digital age.
A set of three short-form episodes has premiered each Friday for the past three weeks. Now, The Gaze…No Homo comes full circle as the final set of episodes have been released. All episodes remain available for viewing on the Fountain Stream page until Dec 31.
To recap: The Gaze…No Homo centers around a young actor, Jerome Price (Galen J. Williams), as he tries to navigate his way through the increasingly uncomfortable rehearsal process of No Homo, a new play by emerging Black queer playwright Shaun Korey (Devere Rogers.) Korey is championed by Miranda Cryer (Sharon Lawrence), the straight White interim artistic director of the esteemed Evergreen Theatre Festival (“where the brightest and boldest new American voices are watered with wisdom, fed with fodder and nurtured with nourishment.”) Cryer is also the director of the world premiere of Korey’s new play.
This year, the festival has been consigned to a digital Zoomscape instead of the traditional seats-and-stage live theatre experience thanks to the COVID pandemic. In addition to the neophyte Price, No Homo features far more seasoned actors Kendrell Thompson (Eugene Byrd) and Buddy DuPois (TC Carson), and is stage managed by the experienced team of no-nosense PSM Sherry Grosse (Yvette Cason) andgender-fluid ASM Tee (Jason “Freckle” Greene.) There is much at stake here for everyone, and complicating matters is the growing dissent between Price and Cryer. As their abrasive relationship grows ever-more heated, the fate of the entire production becomes jeopardized.
The Gaze…No Homo was selected as a finalist in the prestigious 2020/2021 Eugene O’Neill National Playwrights Conference. It is the first in Powell’s The Gaze cycle of plays that examines the process of building culturally specific and queer works of color in certain historically white spaces. The Gaze tackles difficult topics like racism and microagressions, and wrestles with the question, “Why strain to be free under a gaze fixed on your imprisonment, when it’s you who is holding the key?”
As we wrap up our exclusive showing of The Gaze…No Homo on the Fountain’s digital stage this month, Powell reflected back on the journey his show has taken over this past tumultuous year, and ponders the future and what he hopes it will bring.
TR: What was it like working with the Fountain Theatre this past month to present this digital reinvention of your play?
LP: If this piece can bring awareness to theatres that have been serving communities across the globe for years and who have had to close their doors due to the pandemic, I am pleased. I feel like we’ve done that at The Fountain, and that makes me proud.
TR. Would you consider another collaboration with the Fountain in the future?
LP: Of course! I would love one of my plays to be on the Fountain stage!
TR: No Homo is the first play in The Gaze cycle of plays. What is your vision for the entire cycle? How many plays are included in The Gaze? Are any of them written yet and what themes do they explore?
LP: Right now, I know there are three plays. They chart Jerome, the protagonist, as he grows older and older. I am going to start working on a new version of the second play next year. This play will focus on how we hold on to new awareness of ourselves in our art and life once we make the initial reclamation of our time and imagination. What challenges do we face? What questions do we have in that space of new consciousness?
TR: Will No Homo be presented on stage again when we return to live performances? Or will it live now as a digital presentation? What about future installments in The Gaze cycle? What form will they take?
LP: Yes. It is important to me that I continue to diversify how an audience can experience my stories. So, in every way a play can be experienced, I will lean into. A stage play, Screenplay, Teleplay, #Digiplay, Audioplay, VR play, Animated Play…. to me, it all starts with “the play.” All different structures, skill sets, and audiences but definitely all sourced in telling a story around a fire in the village.
TR. Has the success of this digital adaptation of The Gaze…No Homo encouraged you to adapt any of your previous works for digital platforms? If so, what ones?
LP: Yes and All.
TR. Was the choice of the cycle name The Gaze a conscious choice, to play on The Gays, or was it a happy coincidence?
LP: The best titles have double, triple meanings. The first play was always called “No Homo” because of the play within the play. Once I started to see the story as a cycle of works, I needed a title that spoke to a larger, more general container. The reason The Gaze sticks is because it still specifies the queer black experience as it pertains to its relationship to an oppressive gaze.
TR: You said in your Theatre Talk interview with Stephen Sachs that 2020 was a “profound year,” and you talked about “collective grief.” How have the events of 2020 shaped you as an artist? How do we, as theatre artists, as citizens, as a country, grieve our many losses this year and use them for a higher purpose?
LP: I have learned it’s important to give those loved ones, and the things we have lost, space. What I mean by that is silence and the stopping of this abusive obsession with “gotta keep going!!” Grief is a love language. We must take the time to learn it and to speak well and often. That means something different for each of us, and that’s important. We become more courageous in grief because it usually takes us to a place of surrender that opens us up to higher visions of our purpose in the world. It can, at least …if we let it. So, if you work to make firm boundaries around the space you carve out for grief … the gifts you find there are life-enhancing and heart-strengthening.
TR. What form do you prefer? Live stage or the digital small screen? Why?
LP: Well, I love the stage first. Always. That said, a story told is a story told. There are people who will run to the digital screen quicker than they would to the live stage. I want to meet both of these groups of people where they are — and I believe it is my calling to love as many forms of storytelling as possible.
TR: What’s next for you?
LP: More joy. More understanding. More peace. More love. More opportunity. More creation. More surrender. More gratitude. And always, more learning.
Terri Roberts is a freelance writer and the Coordinator of Fountain Friends, the Fountain Theatre’s new volunteer program. She also manages the Fountain Theatre Café.
Settle in with your favorite beverage on Saturday, Dec. 19 at 5 p.m. PT / 8 p.m. ET when the Fountain Theatre winds up 2020 and its monthly Saturday Matinee series with an Old Hollywood-themed holiday party filled with joy, games, and — of course — an online playreading. Admission is free at fountaintheatre.com.
Venerable actress Karen Kondazian, a lifetime member of the Actors Studio and Los Angeles Drama Critics Circle Award-winner best known for her work in the plays of Tennessee Williams (with whom she was a personal friend), takes on the role of Hollywood legend Bette Davis in Interviewing Miss Davis by award-winning playwright Laura Maria Censabella.
After the reading, stick around for party games and a celebration of friends, fellow artists and the Fountain’s all-important audience. Bring something glamorous! (optional)
Inspired by a true event in Ms. Censabella’s own life, the one-act is set in 1985 as Davis interviews a new personal assistant (Wonjung Kim) upon learning that her current, beloved assistant (and nurse) Jacqueline (Aleisha Force) is leaving.
“I was just out of college and very, very broke — no furniture, a folding chair, folding table, mattress on the floor, and I was working for someone who said I’d make a great assistant for Bette Davis,” Censabella explained in an interview. “I went to the interview but was very conflicted because I wanted to be a writer and at the same time I wanted instant validation, and I felt like if I became Bette Davis’s assistant, I would have that.”
It’s Thanksgiving week, a time to reflect on that for which we are grateful. And even within the insanity of a year that brought us a global pandemic, extreme racial unrest, and a surreal presidential election, there were still rays of light. Here at the Fountain Theatre, one of our great joys came in the form of creating a stage/screen hybrid video adaptation of Ifa Bayeza’s stunning play, The Ballad of Emmett Till. If you have not seen it, there is still time. But the streaming of this acclaimed video-on-demand production ends on December 1st, so don’t delay. Tickets are just $20 and are available here.
The Ballad of Emmett Till is a lyrical retelling of the true events that kick-started the Civil Rights movement, and blends history, mystery and legend with accents of music and poetry. The Fountain’s widely heralded, multiple award-winning 2010 west coast premiere was helmed by Shirley Jo Finney, and starred the impeccable ensemble of Bernard K. Addison, Rico E. Anderson, Lorenz Arnell, Adenrele Ojo and Karen Malina White. Actors and director reunited over the summer to create this unique VOD version of our original stage production, which is enhanced by the use of music, sound, visual imagery and various film techniques. It debuted on August 28th, which marked the 65-year anniversary of Till’s brutal murder. His death had not only become a rallying cry for the times, but it has continued to resonate, and activate civic action, across the decades that followed.
Emmett Till was a charming, precocious 14-year-old boy who lived in Chicago with his mother, Mamie. In August 1955, he traveled down south to the Mississippi Delta to visit his uncle, Mose “Preacher” Wright, and other family members. One sunny day he and his cousins and a few friends went into town, and the young teenager stopped at a local market to buy some sweets. Accounts differ as to what actually happened to provoke the tragedy that followed, but it is widely believed that Till, who used whistling to help control a lifelong stutter, innocently whistled at the white, married, female store clerk.
As a result, Till was later kidnapped from his uncle’s house in the middle of the night by the woman’s husband and his half-brother. The men took the boy down to the Tallahatchie River and forced him to strip. Then they beat him, shot him in the head, and weighted his body down with a heavy metal cotton gin fan that they wrapped around his neck with barbed wire. Three days later, the boy’s naked, bloated body was discovered floating in the river.
Mamie insisted that her only child’s grotesquely disfigured body be returned to her in Chicago, untouched. “Let the people see what they did to my boy,” she famously said, and insisted on an open casket with a glass shield to contain the stench of her son’s decomposing corpse. The media had started carrying the news of the murder, and Mamie encouraged even more attention by publically displaying the body. Mourners gathered around the clock to pay their respects. The viewing went on for four days.
It might sound odd, during this week of focused gratitude, to suggest taking these final days of opportunity to view the Fountain’s VOD production of The Ballad of Emmett Till as part of our expressions of thankfulness. I feel it is not. The joyous way he lived his short life, contrasted with the ugliness of his premature death, led to a social rebellion that’s still being waged today. We entered the summer of 2020 with streets across America being crowded with marches born of unfettered rage against the killings of George Floyd, Breonna Taylor and Ahmaud Arbery, and the long-shadow history of Sandra Bland, Freddy Gray, Walter Scott, the nine men and women of the Episcopal Church in Charleston, and the hundreds more that came before them. Including, of course, Emmett Till.
The Ballad of Emmett Till is available through December 1st. Tickets are $20 and can be purchased here. I’m willing to bet you’ll be grateful you watched it.
Terri Roberts is a freelance writer and the Coordinator of Fountain Friends, the Fountain Theatre’s new volunteer program. She also manages the Fountain Theatre Café.
In between BLM protests and existential quarantine queries, writer/creator Larry Powell adapted his play The Gaze…No Homo (2020/2021 Eugene O’Neill NPC finalist) into a new media series. The Fountain Theatre’s new digital platform, Fountain Stream, has partnered with Powell and Angelica Robinson of Tell Me a Story Productions to present thisbold, funny episodic tragicomedy for our times, a 12-part, multi-platform online experience unlike anything audiences have seen before. The first three short-form episodes of The Gaze… No Homo will begin streaming on Friday, Nov. 20, with episodes four, five and six going online Friday, Nov. 27; episodes seven, eight and nine on Friday, Dec. 4; and the final three episodes becoming available on Friday, Dec. 11. Tickets are free at fountaintheatre.com/now-upcoming/the-gaze.
No Homo is the first in Powell’s The Gaze cycle of plays that examines the process of building culturally specific and queer works of color in certain historically white spaces. The story of an openly Black queer artist as he navigates the rehearsal process at a very white American theater festival, The Gaze tackles hard topics head on. It wrestles with the question, “Why strain to be free under a gaze fixed on your imprisonment, when it’s you who is holding the key?”
In episode one, we meet protagonist Jerome Price, played by Galen J. Williams (national touring and Broadway productions of Motown the Musical) as he arrives at the prestigious Evergreen Theatre Festival (“where the brightest and boldest new American voices are watered with wisdom, fed with fodder and nurtured with nourishment”). Evergreen interim artistic director Miranda Cryer (Sharon Lawrence of NYPD Blue, Dynasty, Shameless, The Ranch and much more) has always been an outspoken champion of diverse voices — including that of emerging, Black queer playwright Shaun Korey, played by Devere Rogers (My Spy and IFC’s Sherman’s Showcase). Relegated to Zoom by the pandemic, Cryer is directing the world premiere of Korey’s newest work, No Homo, but “artistic differences” between her and festival newbie Price threaten to blow up the process. Eugene Byrd (Dr. Clark Edison in Bones) and TC Carson (Living Single)star as Price’sfellow actors Kendrell Thompson and Buddy DuPois, each of whom has learned to navigate the hidden dangers and microaggressions of the entertainment business in his own way — as has long-time stage manager Sherry Grosse (Yvette Cason, original Broadway cast and feature film version of Dreamgirls) andgender-fluid ASM Tee (internet personality, actor and model Jason “Freckle” Greene).
Powell states, “In order to properly experience my own exodus of the decentralization of the white gaze in my creative work and reclaim my black ass imagination I had to stare the poison in the face and, through the telling of Jerome’s story, turn it into the medicine decolonization so fiercely provides. That I was able to make this piece in the summer of 2020 and share this piece that same summer and beyond is a divine triumph. A blessing standing on sacred ground and under one gaze only: the ancestral one. Thankful to any and all who make it possible for others to catch the vision.”
The creative team behind The Gaze… No Homo includes episode directors Joanna Strapp (episode 1), Larry Powell (episodes 2, 11 and 12), Zhailon Levingston (episode 3), Satya Bhabha (episode 4), Reginald L. Douglas (episode 5), Amber A Harris (episode 6), Jonathan McCrory (episode 7) and Bianca Laverne Jones (episodes 8 and 9); as well as editor Joey Scoma, composer Robert Revell, branding and graphic design artist Samia Zaidi, website designer Nick Ducassi, and co-producer Haley Rawson. The series is produced by producer/executive producers Angelica Robinson, Spencer Williams and Matt Lubetich, along with executive producers Larry Powell, Zhailon Levingston and Devere Rogers and executive producer/director of photography John Macdonald.
Larry Powell is a writer, actor, director and producer born and raised in South Central L.A. As an actor, he’s originated and premiered roles in some of the most exciting new plays in America including The Christians by Lucas Hnath, The Legend of Georgia McBride by Matthew Lopez, Father Comes Home From The Wars by Suzan Lori Parks (opposite Sterling K. Brown), Brokeology by Nathan Louis Jackson, and he played the title role in While I Yet Live by Billy Porter. He is a two-time Los Angeles Drama Critics Circle award-winner, and has been nominated for numerous Ovation, NAACP and San Francisco Bay Area theater awards as well as for Audelco and Audie awards. Larry is also a published playwright and professional screenwriter, with three plays scheduled to receive world premieres over the next two years. He is a core playwright at the Lark Play Development Center. A graduate of Carnegie Mellon’s School of Drama, Larry is an adjunct lecturer at the University of Southern California’s School of Dramatic Arts MFA Acting program. He is the founder and creative director of the Powell Academy of the Performing Arts, an arts organization providing high-performance training and resources to historically marginalized artists on the rise in the mainstream entertainment industry.
CLICK HERE To watch The Gaze… No Homo beginning Friday, Nov. 20.
No trick or treating this year? The Fountain’s got you covered. Please be sure to bring your kids and grandkids to this week’s show, where our guest – Lynne Streeter Childress – will perform work from her show for young people.
I met Lynne Streeter Childress many moons ago in Miami, FL when I booked my first professional acting gig. We were part of a company that toured plays for young audiences about issues like domestic violence and homelessness. While the subjects are grim, the plays were full of hope and the creative process was full of light. The latter, largely due to Lynne’s exuberance and delightful sense of humor. Decades later, Lynne has her own company, producing plays for young audiences that address issues like tolerance and empathy. I spoke to Lynne about the origins of her company (Building Better People Productions), and what it’s like to balance her creative life with motherhood in the time of Covid.
What was the genesis of Building Better People Productions? I had always wanted to do my own stuff, and I knew that it would be for young audiences, and I knew that it was going to be something about building people up. Over the years I would start, and then put things on a shelf because I was working for other people, which actually was great, because I was gaining not only a paycheck, but support, and the chance to grow. In 2015, lots of things started to come together, good and bad, that kinda pushed me forward. I lost my brother in law, which was the 4th in a series of family losses. I had also started writing a piece about empathy that I planned to produce on my own somehow, and when the opportunity to perform part of it for a festival didn’t work out, that seemed like an open door to just do the thing for real. I was in the place to just move forward.
How will future productions address the moment we are in as a Nation? How do you tackle such complicated conversations? It’s made me want to continue to not run away from addressing hurt. Most of the shows that we have done have hard moments, where people are bullied, and lose family members, and have anxiety, and are treated bad because of differences. There is always a moment in rehearsal where I think “Is this too much?” And no, it’s not. Kids are smart. And I think that we insult them when we DON’T tackle things they are going through or that are going on around them. There has to be something between hitting them over the head and completely ignoring where we are with the isolation of COVID, and the sadness of where we are racially. I owe it to my kid, and all kids, to figure out how to do that respectfully. One more thing: we have always had a pretty diverse group of people that we work with, but I am committed to truly seeking out more people. I also want to do a show that is about a little black girl loving life. I needed to see more of that when I was a little kid, and now I want to do that. For little black girls and for everyone, to normalize that little black girls can just have joy.
You say that the adaptation of “Alexander and the Terrible, Horrible, No Good, Very Bad Day” you performed in is your most favorite show you’ve ever done. Why? What made it so special? It was my first Equity show (although I am not a part of the union now currently), and I participated in a development reading of it, I was part of the original cast of the show, and in the first tour. I am on the cover of the script as a koala! It is the show that made me feel like I was really doing this, and I got to be at the Kennedy Center every day, which is the most beautiful space. I got to see something come off of the page, see it worked in the room with the playwright and composer in rehearsals. And it took me around the country, getting paid to perform and travel. It helped make me. Also, I think that I may have named my son after that show. It was years later, and the name Alexander came to me as a front runner, and I didn’t know why. It just felt right. When my son was a baby I was at a party for a friend, who had directed that first production of “Alexander”, and Judith Viorst,the writer of the show, was there, and I had not seen her in a while. She asked what my son’s name was; when I said “Alexander”, everyone started laughing. And I said, “WAIT! Did I name him for the show?” And maybe I did. It was in there somewhere.
You have a twin sister who also writes? Did you grow up writing together? Will you or have you ever collaborated? My sister is amazing. AMAZING. She has been a journalist for 27 years, and has won awards, and wrote a memoir that came out earlier this year called “Black Widow: A Sad-Funny Journey Through Grief for People Who Normally Avoid Books with Words Like ‘Journey’ in the Title”, about losing her husband. We used to make up stories as little kids, and actually blogged together about our experiences in our 40s for a while. I produced and perform in a holiday play that she wrote, The Gift of the Mad Guy, about generosity, that Building Better People has performed yearly since 2016. I love saying her words, and I love sending her royalty checks.
Did becoming a Mom change you as an artist? If so, how? Yep. It’s made me want to make a world that he sees as lovely and that sees him as lovely. The third part of “We Got It” was inspired by the deaths of Trayvon Martin and Tamir Rice, and I was pregnant when Trayvon was murdered, and I felt the weight of how some people did not value the lives of young black men, and did not see their deaths as tragedies. That wrecked me for their parents, and I was about to BE a parent of a young black man, and me yelling on Facebook, while cathartic, wasn’t going to be enough. What I knew how to do was create. So, I wrote. My son has also inspired shows that I have written or that we have performed, that are things I want him to hear, like about keeping his imagination, and knowing his worth.
How will you make Halloween special for an 8-year-old in the middle of a Pandemic? Our plan is to have my sister and nephew and mom over (they are in our Covid circle), and we will wear costumes and eat candy. That’s a good plan. Family and sugar.
What’s been keeping you sane? God, and the idea that if we are in this place, then there has to be a way to work in it. If we are still here, when other people aren’t, there is something to do in it, even if that’s just to be grateful for being here. I have also learned a lot of grace for others because we are all struggling.
What gives you hope? That people are still creating and finding ways to be light for themselves, and then for other people. Seeing creative output gives me LIFE.
Are you ready to vote on November 3rd? Do you have plans to vote early? The Fountain Theatre seeks to activate people on the urgency of voting by launching Raise Your Voice – Vote!, a guerrilla style, immersive theater event set to take place this weekend at locations throughout the City of Los Angeles. Watch the live-stream every hour on the hour beginning at 10 a.m. PT / 1 p.m. ET on Saturday, Oct. 24 and Sunday, Oct. 25 at www.FountainTheatre.com
Raise Your Voice – Vote! aims to build momentum and awareness about the upcoming election while bringing theater for the people to the people. A five-member acting ensemble will present a series of pop up performances in six public spaces, each representative of L.A.’s cultural landscape. Each performance will feature America’s most iconic speeches about voting rights, plus dance and song. Volunteers will be stationed at every location to offer assistance with voter registration and voter education.
Each of the performances will be live-streamed and will also be augmented by a series of surprise appearances, posts and performances on the Fountain Theatre’s social media pages in support of voter awareness.