Category Archives: performing arts

Meet Barbara Herman and Susan Stockel, Executive Producers for An Octroon

Barbara Herman (L) and Susan Stockel (R)

by Barbara Goodhill

Philanthropists who dedicate their giving to arts organizations like the Fountain Theatre are a special breed.  They are people who understand the value of the arts, love live theatre, and believe in its ability to open hearts and elevate our understanding of the world.  Barbara Herman and Susan Stockel, Executive Producers of An Octoroon, are two such philanthropists. They are extraordinary people who are dedicated to giving back, and it is the Fountain’s great good fortune that they choose to support our work.

Barbara Herman is an enthusiastic member of LA’s philanthropic community. She has many passions. Like her mother before her, Barbara is passionate about supporting ground-breaking medical research. Having been a member of The Cedars-Sinai Women’s Guild for over 50 years, Barbara is proud of her many accomplishments. She is, however, particularly proud to have helped launch The Cedars-Sinai’s Neurology Project, created to support innovative research and education for the understanding and treatment of complex neurological disorders. The Women’s Guild is honoring Barbara this September at their annual gala. Barbara is also passionate about the arts, and she is a pillar of support to both the Fountain Theatre and The Broad Stage, on whose board she serves. 

Barbara Herman enjoys opening night of Citizen: An American Lyric at the Fountain Theatre in 2015.

“I have always loved going to the theatre. One of my most treasured memories is going to the theatre with my parents when I was a little girl. Several years ago, I was thrilled to discover the Fountain, a little gem of a theatre in Los Angeles. One of my favorite things to do is gather a group of friends and take them to the Fountain. We have so much fun! We have dinner at Marouch and then go to the Fountain to enjoy whatever is on the stage. It’s always memorable.”

“To me, the Fountain Theatre offers one of the best cultural experiences in Los Angeles. There are just so many reasons. The first, of course, is the excellence of the productions. Everything is done beautifully. Total artistry. The directing, acting, and sets are consistently excellent. I’ve never seen a show that I didn’t either love or like. Now that’s quite a track record! But what’s equally remarkable is the consistent sensitivity and timeliness of the plays presented. Every play the Fountain mounts is relevant and thought-provoking. My friends and I love to discuss the plays after the show, whether we do it on the sidewalk or up in the cafe.”

“But for me, the Fountain is more than a theatre. It is a community. Everyone — from Joe in the parking lot to Simon, Stephen, Barbara and James— greets me by name and makes me feel welcome. It’s a very personal place, not an institution. And that warmth, that personal connection is very unique, and refreshing. Everything at the Fountain seems to come from the heart.”

Barbara’s philanthropy is guided by a simple principle that she learned from her parents: “I’m a firm believer in leaving the world a better place than I found it. If I see a need, I try to fill it. If I see a problem, I try to fix it. And I always encourage people to join me.”

A passionate theatre lover, Susan Stockel becomes filled with excitement when she speaks about theatre — especially when she is describing a play that has truly touched her. Susan’s love for theatre finds her frequently traveling to New York, London and beyond to experience the magic. A wonderful supporter of the Fountain, Susan has executive produced several plays with us, including Cost of Living and Citizen: An American Lyric. Her family foundation funds a variety of organizations: some grants aid low income families who have children with special needs, other grants aid organizations that are working in innovative ways to slow global warming and help indigenous people protect their lands from deforestation and illegal mining. The foundation also supports children’s theatre programs that introduce theatre to youngsters who have never seen live theatre.

Playwright Martyna Majok and Susan Stockel at the Fountain Theatre’s VIP dinner in celebration of Cost of Living, 2018. 

“The magic happens when the children take out their notebooks and read a scene that they have prepared and rehearsed!” Susan beams with pride when she remembers this, and talks about how she first learned to give back from her parents.

“I learned about how important it was to share what I had with others who were in need by watching my father. He was a first-generation American — one of six children, and the only one to finish college. He had to work to help his family and went to night high school. Thankfully, in those days, New York had tuition-free city college that opened up learning to an entire generation of students. He worked days in a clothing factory. My father always provided for his siblings when they needed help, and would pull out his checkbook and loan money to friends with never a due date on the loans. And, of course, he took care of his mother when he lost his father the month before his graduation from dental school. My husband and I also believed in continuing that tradition. We worked as a team when deciding what donations to make, and taught our values to our children. In my husband’s honor, I established a family foundation, and I feel great joy working on the foundation’s projects with my children and grandchildren, knowing that the work will continue, and the family will always be there for each other and for others.”

Susan’s love of theatre began when she was a young girl, and she has a keen eye for great theatre.

“When I was a little girl I loved to perform. I loved telling stories, and I still do! I am a passionate lover of the spoken word. The Fountain Theatre was introduced to me many years ago. An intimate space on a tight budget — the Fountain was an unexpected surprise. Excellent plays, always well-cast and directed, with a loyal diverse audience from all over the city, who brave the traffic to attend!” 

“I chose to produce An Octoroon because I saw the play when it was first produced in Brooklyn at Theatre for a New Audience. I loved it. An Octoroon is a unique play.  It is funny, sad, clever, quirky and wonderful. Just like any piece of great historical fiction, An Octoroon peels back the layers of civilization to reveal the cruelty and hypocrisy often hidden beneath the facade. An Octoroon shows us powerful men behaving ‘civilly,’ but cruelly. They are willing to do anything to further their own self-interest. Narcissism is revealed as a cruel but powerful driver of history. I am particularly drawn to the depiction of Zoe, our heroine. Despite being beautiful and admirable in every way, she becomes an outcast because she is an Octoroon. I love the story and I knew the Fountain would do a tremendous job with this play, so was happy to join the team.”

“Thank you all for your interest and support of the Fountain, Our Magic Place!  May we grow and thrive.”

Barbara Goodhill is the Director of Development for the Fountain Theatre.

All our parking lot’s now a stage…

by Terri Roberts

…and we couldn’t be more excited!

Recently, we shared video with you of our cleared-out parking lot getting re-paved. With that job completed, we were ready for the big, exciting deliveries: the trussing and the stage.

Trussing is the aluminum support structure around the perimeter of the stage from which lighting and sound equipment are hung. The outdoor stage – which is larger than its indoor counterpart – is composed of individual modular units like those used in open-air productions that can be easily broken down, stored, and then re-assembled as needed.

Both are now in place, so viola! The outdoor stage is ready to go!

So what’s next? Lights and sound equipment. The set. The actors. Tech. And then…you, dear friends! We cannot wait to see you again. Tickets for our inaugural outdoor stage production, the LA premiere of Branden Jacobs-Jenkins An Octoroon, are on sale now. The New York Times hailed An Octoroon as “this decade’s most eloquent theatrical statement on race in America today.” Don’t miss it! Call the box office at 323/663-1525 or visit our website at http://www.fountaintheatre.com to reserve your seats under the stars.

Check out the video below and watch how it all came together:

Terri Roberts is a freelance writer and the Coordinator of Fountain Friends, the Fountain Theatre’s volunteer program. She also manages the Fountain Theatre Café and outdoor concessions.

Stephen Sachs believes Fountain’s Outdoor Stage will be game-changer

Curious about the future of Los Angeles theatre and our game-changing Outdoor Stage? Artistic Director Stephen Sachs chats with theatre journalist Steven Leigh Morris.

Conversations with Black Artists, Part II

By Terri Roberts

Here, in the second part of our series of conversations with Black artists who have frequently worked with the Fountain Theatre, we talk with actor and director’s assistant Erinn Anova, as well as actors Karen Malina White and Victoria Platt. More conversations to come. Stay tuned!

Erinn Anova

Actor: Central Avenue, Direct From Death Row: The Scottsboro Boys, Cyrano. Assistant to the Director: The Ballad of Emmett Till, In the Red and Brown Water

1. When/how did you first come to the Fountain Theatre?

I first came to the Fountain as the understudy for “Angel” in Central Avenue. Shirley Jo Finney had just directed me in Blues for an Alabama Sky in Northern California, and I’d recently moved to LA. She knew I was a huge jazz fan, and suggested I audition for the new play she was directing: Central Avenue. That play was so good! It went on for six months, so even as an understudy I had plenty of shows.

2. How has your experience been working here?

Great! I gained amazing friendships, and I’ve learned so much! I’ve had the opportunity to work with world-class playwrights, actors and designers. When I moved to New York, the Fountain was one of the few LA theatres that people have actually heard of. Overall, the Fountain feels like home – the quirks, the magic, the consistency. I just love it.

3. What Fountain shows that you’ve worked on hold particular meaning for you, and why? 

They have all been great, but I’m going to have to go with two, for very different reasons.

First, Cyrano. It was such a gift for me, as a hearing person, to be immersed in the deaf community. In this whole new world, I learned about deafness and its power, about language and somatics, and about life. It changed me.

As far as acting goes the whole cast was amazing, but sharing scenes with Troy Kotsur (Cyrano) was something-other-else. It’s what I imagine working with another genius, Charlie Chaplin, would be like, and I’m not exaggerating. I also have to shout out Stephen Sachs for casting me – a dark brown, short-haired black woman (someone not always so “visible” in Hollywood) as the love interest, Roxy. The fact that there was never even a conversation about it was even sweeter. 

Finally – very few people know this, but now’s as good a time as ever to share – a few years after Cyrano closed, and after some mysterious symptoms appeared, I was diagnosed with both hearing loss and an auditory processing disorder. It made so much of my life make sense, and now I wear hearing aids in both ears. That was a very scary time, and folks have no idea how badly regulated the hearing aid business is (that’s another story.) But because of Cyrano, I had people to reach out to. Maleni Chaitoo, one of the deaf actors, helped me tremendously with her knowledge and resources to navigate that journey, and I will always be grateful for her warm welcome into the hard of hearing/deaf community. Cyrano was a blessing.

Next, In the Red and Brown Water. For that show there was no “official” casting person – it was me! I was assisting Shirley Jo, and I believe James Bennett or Stephen gave me a general rundown of how to work the casting websites, and I was off and running. Of course, Shirley Jo gave me parameters of what to look for, but I am very proud of the amazing actors that I personally picked to come in for auditions. There were a few I even fought for: Diarra Kilpatrick, Maya Lynne Robinson, Stephen Marshall, Gilbert Glenn Brown, Justin Chu Cary and Simone Missick. Along with Iona Morris, Theo Perkins, Peggy Blow, and Dorian Baucum, this was one of the most phenomenal casts I’ve ever seen. They, along with Shirley Jo’s brilliant and elevating direction, made Tarell Alvin McCraney’s play fly. And they all turned out to be wonderful people, too! It’s been a joy to see everyone continue to shine bright in theatre, television, and film, and it’s even more of a blessing to be a part of the IRBW “family.”

One more: Direct From Death Row: Scottsboro Boys. This show has special meaning for me because Ben Bradley cast me in it. Rest in peace, Ben. Also, Mark Stein, who wrote it, and my brother, Harley White, Jr., who wrote the music, were nominated for the Pulitzer Prize.  They lost out to some musical called Hamilton.

4. Last summer’s civil unrest brought an increased focus on racism, both in general and within the theatre world. We also saw the emergence of the BIPOC movement. How have these issues impacted you and your work in the theatre?  

My work has been impacted by the fact that that these conversations about racism are just now happening in the theatre world. At some point I stopped investing time and interest in pursuing work in “mainstream” theatres. As my grandmother would say, “Go where you’re wanted, honey.” I started in theatre very young (age 12) and in my naivete, I think I mistook the magic and camaraderie of theatre as a place where kindness and respect for humanity were built in. Often they are not. Some of my worst racial experiences have happened at theatres.  No place is perfect, but I appreciate that the Fountain has always been interested in producing plays, supporting playwrights, and hiring actors from various cultures, with different abilities, and with numerous points of view — including BIPOC. It’s unique.

5. Why is Black History Month important?

It’s American history.

6. What’s next for you? Any upcoming projects?

I’m currently producing a documentary based on a study done by the University of California. It’s about racial disparities in marijuana arrests and the cannabis industry, and it’s called When The Smoke Clears. I’ve ot two national commercials that should start airing this spring. And I found a fantastic illustrator, so my children’s book, Pretty Bun, will finally be published this summer!   

Karen Malina White

Actor: The Ballad of Emmett Till, Citizen: An American Lyric, Runaway Home

1. When/how did you first come to the Fountain Theatre?

I had auditioned for The Ballad of Emmet Till when it was being produced by The Goodman Theatre in Chicago. I was beat out by the one and only Deidrie Henry (Yellowman, Coming Home at the Fountain.) But a friend called me out of the blue to invite me to a reading of it at the Fountain. I was so excited! I hadn’t heard of the Fountain at that time but rushed and hoped I could get inside to hear the reading. I so loved the play and felt an enormous attachment to it. When I got there I saw both the playwright, Ifa Bayeza, and Oz Scott, who directed the Goodman production. I loved the new configuration with five actors playing all the parts, which was not the case in the Chicago production. Oz introduced me to Ben Bradley. Time moved on and that same friend, John McDonald. reached out to say that Ben Bradley was scrambling to find me to audition. So grateful and honored to have been a part of that life changing and bonding production.

2. How has your experience been working here?

Working at the Fountain is wonderful. It’s home now, and Stephen, Simon and Debra, the designers , (technical director) Scott Tuomey, and you, Terri, make every experience a joy!

3. What Fountain shows that you’ve worked on hold particular meaning for you, and why?

The Ballad of Emmett Till, because it was my first and because of the tragic circumstances surrounding it as well as the eternal friendships that came out of that experience. Finally working with Shirley Jo Finney, too.

4. Last summer’s civil unrest brought an increased focus on racism, both in general and within the theatre world. We also saw the emergence of the BIPOC movement. How have these issues impacted you and your work in the theatre?  

I’m a company member of Antaeus, and we have been having some amazing conversations and taking major actions to be inclusive and reflect the most accurate picture of the best of America. It’s now a conscious decision to have our productions reflect inclusiveness and racial equity. We are looking forward to the work.

5. Why is Black History Month important?

Because it’s American History. African American History. So much of us know about the history of the dominant culture but not enough of other cultures. We have to remedy that.

6. What’s next for you? Any upcoming projects?

I have been fortunate enough to be working on The Proud Family reboot with Disney Plus Channel. Coming soon to the streaming service.

Victoria Platt           

Actor: Cyrano, Building the Wall, Natural Shocks (staged reading)

1. When/how did you first come to the Fountain Theatre?

I can’t recall the very first production I saw. It was waaay back. But it was late ‘90s that I started coming to see productions there. Victory, In the Red and Brown Water, Emmet Till, The Brothers Size to name a few. The first production I was in was Cyrano.

2. How has your experience been working here?

It’s always wonderful. Simon Levy and Stephen Sachs hold this work with great care and respect. Every production I see at the Fountain is inspiring, thought provoking, and well produced. Hard to find all those elements simultaneously.

3. What Fountain shows that you’ve worked on hold particular meaning for you, and why?

Everything I’ve done at the Fountain has been important. That’s what they do there – important, meaningful work. Natural Shocks brought gun violence and violence against women to the stage. I love that Stephen chose to give the play four voices instead of the one it was written as. Cyrano was an incredible experience because I was reunited with Troy Kotsur (we performed together in Pippin at the Mark Taper Forum) and it was a co-production with Deaf West (as was Pippin.) I learned ASL for Pippin and kept it up, so the opportunity to use ASL on the stage again, to bring theatre to hearing and deaf audience members, and to work again with Troy was a trifecta of awesomeness for me. Building the Wall though was probably the most poignant for me because of the content. Seeing how it all played out in the real world was a testament to the prophetic words of Robert Schenkkan. It was an honor to tell that story at that time. After each show I spoke with audience members who were not just impacted by the work but were compelled to action. That is one of the blessings of all the productions at the Fountain. They not only educate, and enlighten but inspire. Good theatre is supposed to do that.

4. Last summer’s civil unrest brought an increased focus on racism, both in general and within the theatre world. We also saw the emergence of the BIPOC movement. How have these issues impacted you and your work in the theatre?  

The issues that have emerged for some recently, have always been present within the BIBOC (Black Indigenous Bodies of Culture) community. I’m grateful to George Floyd and the countless others who shed their blood to shine a light on the injustices BIBOC have been experiencing for centuries. I’ve encountered more people willing to have real conversations about race, socio-economics and frankly all the ‘isms. And finally, the hard conversations are being had. I was accepted into Communal Consultations – a program created and run by My Grandmother’s Hands author Resmaa Menakem, which will deal with healing ancestral and racialized trauma. This training will allow me more insight into how I can use my work as an artist to bring more awareness and healing to people of all bodies.

5. Why is Black History Month important?

Unfortunately, Black History month is important because there is still grave inequality and oppression. People in Black bodies are still being murdered for no reason except being Black, and with no consequences. Black History Month is one of the necessary actions that highlight how people in Black bodies have contributed to the fabric of this nation; not just the fringe of it. In too many arenas, Black History Month is used as a performative practice, but sometimes even performative practices make their way past the ego and into the soul.

6. What’s next for you? Any upcoming projects?

For the past year I’ve been blessed to have recurring guest star work on NCIS, Good Trouble and Days of Our Lives. I’ve also been working as a motion capture (mocap) performer on a video game by 2K productions, which has yet to be named but due for release later this year. I can also be seen in A Cold Hard Truth, a film by Charles Murray (Luke Cage, Sons of Anarchy), now streaming on multiple platforms, and A Hard Problem, a film I also co-starred in, will release this March.

Terri Roberts is a freelance writer and the Coordinator of Fountain Friends, the Fountain Theatre’s volunteer program. She also manages the Fountain Theatre Café.

Fountain Theatre to host online tribute to photographer Ed Krieger on Jan. 24

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

Fountain Theatre approved by City of Los Angeles to install outdoor stage during pandemic

Artist rendering by Matthew Hill

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 FoundationRabbi Anne BrenerCarrie Chassin and Jochen HaberMiles 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.

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Fountain Theatre welcomes Rabbi Anne Brener to Board of Directors

Anne Brener

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.

VIDEO: In a year of heartbreak, good things happened, too

Playwright Larry Powell reflects on ‘The Gaze’, the Fountain, and the impact of 2020

Writer Larry Powell.

By Terri Roberts

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) and gender-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.

TC Carson in “The Gaze.”

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.

Fountain Theatre’s virtual end-of-year party features playreading on Hollywood legend Bette Davis

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.”

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