Category Archives: plays

In gratitude for the Fountain Theatre’s VOD presentation of ‘The Ballad of Emmett Till’

Stream Ends December 1st

by Terri Roberts

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.

‘Fountain Stream’ presents Larry Powell’s 12-part ‘The Gaze… No Homo,’ tackling systemic racism, homophobia head-on

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 this bold, 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’s fellow 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) and gender-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 RobinsonSpencer Williams and Matt Lubetich, along with executive producers Larry PowellZhailon Levingston and Devere Rogers and executive producer/director of photography John Macdonald.

Larry Powell

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.

Lynne Street Childress brings theatre for young people at this week’s Saturday Matinee, 5pm PT

By France-Luce Benson

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.

Build Better People Productions

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.

MORE INFO

Fountain Theatre weekend event ‘Raise Your Voice’ seeks to activate public to vote

Actors in rehearsal for Raise Your Voice.

Events on the streets and online

The Fountain Theatre is readying Raise Your Voice – Vote!, a guerrilla style, immersive theater event set to take place over the course of two days at six 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.

Conceived by acclaimed playwright and Fountain Theatre community engagement coordinator France-Luce Benson and co-directed by Benson and Lily OckwellRaise Your Voice – Vote!aims to build momentum and awareness about the upcoming election while bringing theater for the people to the people. The five-member acting ensemble (Victor AnthonyJessica EmmanuelWonjung KimTheo Perkins and Rayne J. Raney) 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.

“We want to create an event that is inspirational, but never didactic,” explains Benson. “The performers will be in conversation with each other and with the people around them, blending in, respecting and embracing whichever community we’re in.”

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.

Send Us Your Selfie on Voting

Want to engage in the Fountain’s newest project? We want you to upload a short selfie video (2 mins or less) of yourself expressing how important it is to vote. Nothing fancy. Can literally be taken on a smartphone. Just speak from your heart. Be passionate. What does voting mean to you? Why does voting matter? Do you have a personal story about voting? These video selfies will air at the top of each hour, from 10am to 6pm, on all Fountain social platforms and website.

Important: 

  • You (we) cannot endorse a specific candidate.
  • Do not mention Trump or Biden by name.
  • Shoot your selfie horizontal, not vertical.   

The purpose of the event is to use theatre as a trigger to activate the public to vote, to emphasize the responsibility of voting, to remind each other of the price some have paid to vote, to express the urgency to participate in this election and in our democracy.

Raise Your Voice – Vote! is produced by Stephen Sachs and Simon Levy for the Fountain Theatre. James Bennett is live-stream editor, and Terri Roberts is volunteer coordinator. The event is underwritten by Miles and Joni Benickes, Diana BuckhantzKaren KondazianMaggi PhillipsSusan StockelDorothy Wolpert, and Don and Suzanne Zachary. Event partners include volunteer organizations The Social Ripple Effect and Big Sunday.

For more information, to find out how you can volunteer and to live-stream Raise Your Voice –Vote! on Oct. 24 and Oct. 25, go to www.fountaintheatre.com.

LA intimate theatre community comes together for virtual festival of short plays

By Terri Roberts

Did you see it? Were you part of the excitement? Thursday, October 1st, was Opening Night of the first weekend of Together LA: A Virtual Theatre Festival, a three-week long celebration of new works presented by Alternative Theatre Los Angeles (ATLA) in association with L.A. Stage Alliance. The second weekend of performances has begun, and continues tonight and Saturday at 7pm. The final batch of shows is next weekend, October 15-17, at 7pm. The entire festival can be viewed on Twitch.

Each evening of the online festival is a 90-minute stretch of original 10-minute plays, all penned specifically for the digital stage by playwrights representing 34 of the 64 local intimate theatre companies – including the Fountain – that make up ATLA. The Fountain’s entry into the festival, Talking Peace, was written by Community Engagement Coordinator France-Luce Benson, who also happens to be an accomplished playwright. Talking Peace is a wittily observant take on today’s hot-button issues that is set during a virtual Zoom get-together. In it, a healing circle comes undone when an outsider finds her way in, forcing the five women to deconstruct what it means to be Black, BIPOC and bound by sisterhood.

Talking Peace was part of last week’s Opening Night schedule. You can re-watch it – and catch all other performances to date — at www.twitch.tv/togetherlafestival. To make reservations for tonight, and any of the remaining nights, visit www.togetherlafestival.com. Tickets are free, but reservations are required.

ATLA was born five months ago out of the need felt by local theatres to stay connected during the pandemic, offer strength and support to each other, and make positive steps forward in the midst of uncertainty in order to keep hope, art and theatre alive.

And so, LA’s intimate theatre community turned out en masse last Thursday to celebrate the launch of this digital effort together. New plays! Old friends! The forum was virtual, but the energy jumped right off the screen. The pre-show chat box overflowed with cries of “So excited!” and “Break legs everybody!” scattered in-between all the shout-outs and virtual drink orders and jokes about easy parking. The wild exhilaration was further pumped up with a lava flow of exuberant emojis: clapping hands, party poppers, hugs, and a full-range rainbow of colored and decorated hearts. It didn’t seem to matter that the theatre lovers gathered there were not sitting shoulder-to-shoulder in the same house. After months of isolation and darkened physical stages, they were sitting spirit-to-spirit and heart-to-heart in the same space, ready and willing to enjoy a virtual stage experience, and reveling in each others’ company. This community knows how to adapt!

“We are here to celebrate the vibrant and diverse intimate theatre scene of greater Los Angeles,” explained host Amy Hill at the top of the show. “Los Angeles theatre has always been on the forefront of innovation, and tonight we bring that to the digital stage…we are showcasing what intimate theatre does best – bringing people together. Telling important stories and creating a place to connect and heal through art.”

The three-week long event is also doubling as a fundraiser for Color of Change, a progressive nonprofit civil rights advocacy organization in the United States that uses online resources to strengthen the political voice of African Americans. By the end of yesterday’s block of shows, $3,680 had been raised toward an ultimate goal of $5,000. Could it be that a new goal will need to be set before the weekend is out? The LA theatre community is nothing if not enthusiastic and generous in their support of friends in need.

The same exuberance on display Opening Night has continued every night since then. So come on in – gather with us tonight and Saturday, and next weekend as well to cheer on all these new short plays, reconnect with the theatres and artists you love, raise some money for a good cause, and help keep the indomitable LA intimate theatre spirit riding high! A digital program will be yours for the asking, and someone will be by shortly to take your virtual drink order. You don’t even have to worry about parking or arriving late and not getting in. There’s always enough room, and plenty of fun to be had.

Together LA: A Virtual Theatre Festival is presented by Alternative Theatre L.A. in association with the L.A. Stage Alliance. In addition to the Fountain Theatre, participating companies include 24th Street Theatre, Actors Co-op, Ammunition Theatre Company, Celebration Theatre, Chance Theater, Coin and Ghost, Company of Angels, Echo Theater Company, Ensemble Studio Theatre/LA, IAMA Theatre Company, Impro Theatre, Independent Shakespeare Company, Interact Theatre Company, Lower Depth Theatre Ensemble, Macha Theatre, Odyssey Theatre Ensemble, Open Fist Theatre Company, Ophelia’s Jump Productions, Pacific Resident Theatre, Playwrights Arena, Rogue Machine Theatre, Sacred Fools Theater Company, Sierra Madre Playhouse, Skylight Theatre Company, The 6th Act, The Group Rep Theatre, The Inkwell Theater, The New American Theatre, , The Road Theatre Company, The Victory Theatre Center, Theatre of NOTE, Theatre West and Whitefire Theatre. For more information about the festival and for a schedule of shows, please visit www.togetherlafestival.com

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.

Actress/Director Lisa Strum to share hilarious and poignant solo work on ‘Saturday Matinee’

by France-Luce Benson

Lisa Strum, a Philadelphia native living and working in the New York area is a director, an educator, actress, playwright, producer, casting director, singer and a certified wedding officiant! I’d add to that list truth teller, world traveler, and cherished friend. Her soulful voice and infectious laugh make her a powerful presence on stage and off, and her sharp wit, insightful observations, and wicked sense of humor are what makes her work so compelling. An award-winning actor, she’s starred in some of American theatre’s most celebrated plays, including Wilson’s Fences, Morriseau’s Pipleline, and Nottage’s Sweat. But lately, it is her work as a director that is getting everyone’s attention. I am lucky enough to have had her direct two of my own plays – Fall at the Ensemble Studio Theatre in New York, and Nanã for the All Hands on Deck Virtual play Festival. She also directed a Kennedy Center Award winning production of For Colored Girls Who Have Considered Suicide When the Rainbow is Enough, and is currently directing Flyin West at Five Towns College. On this week’s installment of “Saturday Matinees”, Strum will perform from her original works She Gon Learn, An Actor Prepares, and Poetic Tirades. I sat down with her to discuss her journey from actor to director, and the beauty of acceptance.

F.L.B. What led you to directing?

L.S.   I dabbled in directing while I was in undergrad; directing one acts and short scenes. But it wasn’t until I was hired by Carl Johnson to act as the Theatre Specialist for the Abrons Arts Center Summer Program at Henry Street Settlement that my directing skills really began to take shape. I discovered that I had a strong visual eye to tell stories on the stage and to get great performances out of the actors I was working with – regardless of their experience or their age. There was always a mainstage show at the end of the 5 weeks of the summer program of an original devised theatre piece created by the students. The show also included dance, singing and a set, so there was constant collaboration between the voice, dance and visual arts instructors throughout the summer and year after year we generated some incredible work together. It was exciting being the conductor of all of this collaborative work. I became hooked. And I just liked telling people what to do! LOL!

F.L.B. – What has been keeping you sane?

Staying connected with friends and family. Preparing and cooking home cooked meals. Laughter. Lots of laughter! Movies from my teenage years. And simply accepting the reality of the situation we are living in right now. Adaption and going with the flow are key. Many people realized during the quarantine how much they needed a break from the constant hustle and rat race. I didn’t realize how much I needed to be still. With all the constraints we’ve been under because of COVID-19, I’ve found peace within the boundaries. It’s been an amazing way to stay focused and to stay in the moment.

FLB. – What gives you hope?

L.S. The will of the human spirit and the ability to adapt and find joy regardless of the circumstances.

France-Luce Benson is a playwright and the Community Engagement Coordinator for the Fountain Theatre.

Art imitates life in site-specific Zoom play ‘Talking Peace’ by France-Luce Benson

Playwright France-Luce Benson is the Community Engagement Coordinator at the Fountain Theatre, and host of the online gathering, “Saturday Matinees.”

Art imitates life when the Fountain Theatre presents Talking Peace, a new 10-minute, site-specific “Zoom-within-a-Zoom” by acclaimed playwright France-Luce BensonTalking Peace will premiere on day one of Alternative Theatre L.A.’s Together LA: A Virtual Theatre Festivalone of six short plays presented by Los Angeles-based theater companies on Thursday, Oct. 1 at 7 p.m. PT / 10 p.m. ET. In total, 34 companies will participate in the festival over the course of three weeks. Tickets are free, but reservations are required: RSVP at www.togetherlafestival.com.

Benson’s wittily observant take on today’s hot-button issues is set during a virtual Zoom get-together: a healing circle comes undone when an outsider finds her way in, forcing the five women to deconstruct what it means to be Black, BIPOC and bound by sisterhood.

The cast includes Paule AboiteMiriam Ani, Janelle LawrenceCelestine Rae and Lisa Rosetta StrumDr. Daphnie Sicre, who teaches directing and theater for social change at Loyola Marymount University, directs.

Benson, a Haitian-American playwright based in Los Angeles, was named “Someone to Watch” in 2019 by American Theatre magazine and is the community engagement coordinator for the Fountain.

Together LA: A Virtual Theatre Festival is presented by Alternative Theatre L.A. in association with the L.A. Stage Alliance. In addition to the Fountain Theatre, participating companies include24th Street Theatre, Actors Co-op, Ammunition Theatre Company, Celebration Theatre, Chance Theater, Coin and Ghost, Company of Angels, Echo Theater Company, Ensemble Studio Theatre/LA, IAMA Theatre Company, Impro Theatre, Independent Shakespeare Company, Interact Theatre Company, Lower Depth Theatre Ensemble, Macha Theatre, Odyssey Theatre Ensemble, Open Fist Theatre Company, Ophelia’s Jump Productions, Pacific Resident Theatre, Playwrights Arena, Rogue Machine Theatre, Sacred Fools Theater Company, Sierra Madre Playhouse, Skylight Theatre Company, The 6th Act, The Group Rep Theatre, The Inkwell Theater, The New American Theatre, , The Road Theatre Company, The Victory Theatre Center, Theatre of NOTE, Theatre West and Whitefire Theatre.

The Fountain Theatre is one of the most successful intimate theaters in Los Angeles, providing a creative home for multi-ethnic theater and dance artists. The Fountain has won hundreds of awards, and Fountain projects have been seen across the U.S. and internationally.

Alternative Theatre Los Angeles is a community of 64 professional intimate theaters, all based in the greater Los Angeles area, that came together five months ago through weekly virtual roundtables to discuss how to move through the current COVID crisis and come out stronger.

The L.A. Stage Alliance works with the theater community to expand awareness, appreciation and support of performance arts.

Together LA: A Virtual Theatre Festival will stream Oct. 1 through Oct. 17 via Twitch.tv. For more information, a full schedule and to RSVP, go to www.togetherlafestival.com

Award-winning Philly playwright Josh Wilder is now finding brotherly love in L.A.

by France-Luce Benson

Josh Wilder might be the most down to earth wunderkind I’ve ever met. Barely in his 30s, he is the winner of numerous awards including the Jerome Many Voices Fellowship, the Lorraine Hansberry Award, and Holland New Voices – among others. But the Philly native truly represents “brotherly love” – spending his time guiding and nurturing young writers, and developing his green thumb. Wilder is currently based here in Los Angeles, and graciously agreed to appear on this week’s Saturday Matinee. In this interview I learned that although he is an Angeleno at the moment, his Philly roots are firmly intact.

FLB: Philadelphia is a recurring character in many of your plays. What about the city inspires you?

Everything! The murals; the culture; the accent; you can walk anywhere and find a story. Philly is a city of rowhomes with thin walls, so ear-hustling was the everyday. THE LOVE. We really are “The City of Brotherly Love”. Most importantly, it’s the attitude. Philly is an attitude, and everybody you know from Philly got one! PHILLY ALL DAY, BABY!

FLB: I understand you’re based in Los Angeles now. How long have you been here and what has the transition from east to west coast been like for you?

I’ve been here since April. The transition has been very smooth. I love that I can escape to the beach and just think. There’s something about the ocean…

FLB: What do you miss most about Philly?

The food. I want a mushroom cheesesteak with friend onions from Max’s so bad…. Water ice and soft pretzels; the Reading Terminal; block parties in the summertime. Sitting on the porch with my brother.

FLB: I read that you started as an actor? Does that inform your writing process? Do you have any desire to return to acting?

Yes, my favorite playwrights are actors. My writing process is actor focused—being in the room with actors is the ultimate experience. Better than the actual run of the show. There’s so much magic in the room that I never want to leave my side of the table. I don’t have a strong desire to return to acting— I really love being in my lane.

FLB: What was the very first play you ever wrote?

My very first play I wrote and produced was called Michael’s Testimony. I was in my senior year at the Creative and Performing Arts High School. I’ll never forget how the audience left the theater that night. 

FLB: In addition to the Pandemic, we (Black and Brown folx) are in the midst of an uprising while simultaneously continuing to see our people suffer at the hands of police brutality. How have you been processing all of this? Do you feel that it has fueled/informed/or radicalized your work in any way?

ALL I CAN SAY IS THAT I LOVE BEING BLACK. I WAS BORN BLACK, I’MA DIE BLACK, AND I’MA CONTINUE BEING BLACK NO MATTER HOW HARD THESE EVIL-ASS PEOPLE TRY AND THAT’S ON THAT. MY GOD AND MY ANCESTORS GOT ME. MY PRESIDENT WILL ALWAYS BE BARACK OBAMA.

FLB: Lol! Agreed!!

FLB: What’s been keeping you sane?

My teaching. As soon as COVID-19 shut the country down—everything changed for me. I was let go from a teaching position in Atlanta just as I was getting the hang of Zoom. Once that happened, I packed up my apartment, got in my car, drove to LA and I set up shop by starting a Playwrights Workshop in April. So far I’ve connected with over 40+ playwrights around the country and the world! I’ve never worked with so many Black and POC playwrights in my whole teaching career—90% women. These women keep me sane– they’re gonna be the ones to watch when the theater reopens. I also became a Plant Daddy J

FLB: What gives you hope? Knowing that the sun is shining, and the sky is blue.

France-Luce Benson is a playwright, the Community Engagement Coordinator at the Fountain Theatre, and host of the livestream program Saturday Matinees.

NOW HIRING: Arts Intern for Community Engagement at Fountain Theatre

Know a college student looking for a paying job over the next few months? Someone who likes theatre and enjoys reaching out to people from a wide variety of communities? The Fountain is the place.

The Fountain Theatre is now accepting applications to hire one Community Engagement Intern. The internship will begin Monday, October 5th, 2020 and end Friday, February 26, 2021. Because of the COVID-19 pandemic, the intern will work remotely from home for part or all of the internship. Weekly hours will vary week to week, from 15 hours per week to a full-time 40-hour schedule depending on the workflow. The rate of pay is $15 per hour, to fulfill 400 hours by February 26, 2021.

The Los Angeles County Board of Supervisors established the Arts Internship Program to provide undergraduate students with meaningful on-the-job training and experience in working in nonprofit arts organizations. This is our seventh year participating in the program. Each intern has been helpful, has learned a great deal, and became part of our Fountain Family. We are still in contact with all of them.

Now in our 30th year, the award-winning Fountain Theatre is one of the most highly regarded intimate theatres in Los Angeles. The Fountain is dedicated to new plays that reflect the diversity of Los Angeles, educational outreach programs that enhance the lives of young people and utilizing theatre as a trigger for social action and community engagement.

DESCRIPTION

Assist the Community Engagement Coordinator with outreach initiatives, including: Identifying organizations and diverse L.A. communities that align with The Fountain’s mission of inclusion and social justice. Serve as a teaching assistant for the Fountain’s educational outreach programs. Develop and execute methods to increase The Fountain’s Social Media presence. Contribute to our on-going efforts to create a more ethnically and generationally diverse audience base. Assist in initiatives to cultivate and maintain relationships with supporters and donors. Assist with development and fundraising campaigns. Provide administrative assistance wherever needed

QUALIFICATIONS

The intern candidate must have basic computer and word-processing skills (PC, Word, Excel, Internet, all relevant social media platforms), good communications skills and pleasant phone manner, organizational skills, be detailed oriented, and have the ability to multi-task. She/he should be self-motivated and have the ability to work successfully from home, when required. Excellent writing and editing skills. Graphic design skills and education experience a plus (education experience may include summer camps, after school programs, children’s theatre). Spanish speaking students are encouraged to apply.

ELIGABILITY

In order to be eligible, a candidate must: (a) have the legal right to work in the United States; (b) reside in or attend college within the County, (c) be currently enrolled in a community college or four-year college/university program; and (d) have completed at least one semester or the equivalent by June 1, 2020. Prospective graduates who will complete their undergraduate degree between May 1, 2020, and September 1, 2020, need not be currently enrolled at the time of the internship.

HOW TO APPLY

Submit cover letter and resume to Ms. France-Luce Benson, Community Engagement Coordinator at franceluce@fountaintheatre.com

Groundbreaking livestream ‘The Ballad of Emmett Till’ is artistic and financial success for Fountain Theatre

By Terri Roberts

Friday, August 28th, marked the 65th anniversary of the vicious murder of an innocent 14-year-old black youth named Emmett Till. His cold-blooded, colder-hearted killing, and the events surrounding and following his funeral, became the kick-starter events of the burgeoning Civil Rights Movement in 1955. The Fountain Theatre recognized that landmark anniversary in two ways: with the reunion of the original director and cast of our award-winning 2010 production of The Ballad of Emmett Till, by poetic playwright Ifa Bayeza, and by navigating this new COVID-19 world of virtual theatre by presenting the show in a unique, forward-thinking beyond-the-Zoom-Room format.

Three hundred and forty-eight people bought $20 tickets for the livestream premiere of this re-imagined digital model of theatre. The five actors – Bernard K. Addison, Rico Anderson, Lorenz Arnell, Adenrele Ojo, and Karen Malina White – performed from their own individual, safely distanced locations, and coordinated with director Shirley Jo Finney and each other via Zoom on their computer screens. But gone was the normally pedestrian cyberscape of living room stages with bookcase backdrops. This fresh digital production of Emmett Till was dramatically enhanced with the use of props, costumes, music, sound, visual effects and cinematic techniques. The resulting hybrid of stage and digital filmmaking made for an exciting and invigorating step forward into the new frontier of virtual theatre.

If you were not able to catch the premiere, you needn’t worry. The livestream premiere was video recorded. The Ballad of Emmett Till is available for a pay-per-view rental of $20 at www.fountaintheatre.com until December 1st.

“What a stunning presentation!” wrote playwright Bayeza after Friday’s premiere. “The commitment and creative investment so enlivened the digital performance, introducing whole new dimensions and possibilities.Shirley Jo, the way you angled the car scenes, Emmett’s dancing in the water, the integration of sound and environments–all were exquisite surprises. The ensemble was marvelous again. Karen’s magical shifts of character are so seamless, you don’t even notice it’s the same actor! All in all, simply superb!”

Other viewers agreed:

“Shirley Jo Finney exceeded the medium and brought new meaning to each of the characters. Bravo! Bravo!” – Steven Williams

“Thank you for such an AMAZING virtual presentation! It was PHENOMENAL!!!! BRAVO!!!” – Cynthia Kitt

“Wonderful work in this crazy world!” – Taylor Bryce.

“Powerful production!” – Shawn Kennedy

“I was initially a bit cautious about watching on my computer but the direction drew me right in. I loved the use of photos and other visuals to create a sense of place. And the acting was superb. Very moving.” – Lois Fishman

“It was very powerful and beautifully done. The cast was amazing. Please convey my appreciation to all of them as well as to Shirley Jo Finney for the beautiful direction.” – Diana Buckhantz

“I’m so proud of what we created,” said Fountain Theatre artistic director Stephen Sachs. “I’m thrilled that the Fountain is leading the way in developing new ways to tell stories and keep the connection with our community alive.” The pay-per-view event is a budgetary victory as well. Online ticket sales and generous contributions from longtime Fountain donors Susan Stockel and Barbara Herman ensured that Emmett Till was fully funded by its first airing.  

The success of Emmett Till hashttps://www.fountaintheatre.com/fountain-digital/the-ballad-of-emmett-till-2020 demonstrated that this form of digital theatre is both viable and profitable, and can help the Fountain keep its doors metaphorically open while we are still in pandemic mode. And while we will certainly continue to present free digital content via the bi-monthly installments of Saturday Matinees and Theatre Talk, as well as other programming and readings as they present themselves, you can also expect to see more livestream/digital pay-per-view productions to come.

Is there something special you would like to see in this new format? A past Fountain production with a small cast you think should be rebooted? We’d love to know what you’d love to see. Email me at terri@fountaintheatre.com and share your thoughts.

Until then, The Ballad of Emmett Till is waiting for you.