Set in 1974, a group of queer women spend their summers together in a remote oceanfront town on Long Island. Their lesbian enclave is disrupted when Eva, a naïve straight woman recently separated from her husband, stumbles unaware into their circle and falls for the charming, tough-talking Lil. This heartfelt play, a landmark in lesbian history, is bursting with friendship, laughter, love and hope, bringing well-rounded, three-dimensional characters that transcend stereotypes and preconceptions to the stage.
Check out this short video to meet the cast of our hot new summer production, Last Summer at Bluefish Cove, opening June 17 on our Outdoor Stage.
What happens when telling the truth gets in the way of a good story? The Fountain Theatre presents the West Coast premiere of the Broadway hit play, The Lifespan of a Fact, by Jeremy Kareken, David Murrell and Gordon Farrell. Simon Levy directs for a February 18 opening, with performances continuing through April 2 on the Fountain’s indoor stage. Previews begin February 15.
Based on the nonfiction book by John D’Agata and Jim Fingal, this highly entertaining, very funny new play follows Fingal (Jonah Robinson), a young intern at an elite New York magazine. Fingal’s first assignment from his editor (Inger Tudor) is to fact-check an essay written by a highly celebrated and cantankerous author (Ron Bottitta as John D’Agata). What Jim finds turns his world upside down. Thought-provoking, with zinging one-liners, The Lifespan of a Fact explodes into a hilarious slugfest between “facts” and “truth,” making it hard to imagine a play ever being more timely.
“The play urges us to take a harder look at the content we read and the stories we’re told — even from sources we trust,” says Fountain artistic director Stephen Sachs.
“What I love about this play is that it’s based on a true story and that it tackles the concepts of ‘fact’ and ‘truth’ in a theatrical context through three wonderfully contrasting, funny and compulsive/obsessive characters,” says Levy. “When you’re writing a nonfiction piece about a real person, are ‘facts’ and ‘truth’ negotiable? Or is it okay to make stuff up for the sake of a good story?”
D’Agata and Fingal’s book received critical attention from multiple publications, including NPR, The New York Times, and the Los Angeles Times. It was subsequently named a “Top 10 Most Crucial Book” by the editors of Slate, a “Best Book of the Year” by the Huffington Post, and an “Editor’s Choice” by The New York Times Book Review. The stage adaptation, which opened on Broadway in 2018 starring Daniel Radcliffe, Bobby Cannavale, and Cherry Jones, was called “terrifically engaging” by The New York Times in its “Critic’s Pick” review.
The Fountain’s creative team includes scenic designer Joel Daavid, lighting designer Alison Brummer, sound designer Marc Antonio Pritchett, costume designer Michael Mullen, video designer Nicholas Santiago and properties designer Joyce Hutter. The production stage manager is Hannah Raymond. Stephen Sachs and James Bennett produce for the Fountain Theatre.
Following last summer’s triumphant readings of Lisa Loomer’s Roe and with the midterm elections upon us, The Fountain Theatre once again jumps into action to give women a voice. The Fountain joins 20 theaters and universities across the U.S. to present two evenings of My Body, No Choice, staged readings of monologues commissioned by Washington D.C.’s Arena Stage. Eight of America’s most exciting female playwrights share what choice means to them through the telling of fiction and non-fiction stories rooted in personal experience.
Written by Lee Cataluna, Fatima Dyfan, Lisa Loomer, Dael Orlandersmith, Sarah Ruhl, Mary Hall Surface, V (formerly Eve Ensler), and “Anonymous.” Directed by Judith Moreland. Starring Veralyn Jones, Tamika Katon-Donegal, Jenny O’Hara, Amy Pietz, Pam Trotter.
After a long list of rave reviews and a successful run of nearly three months, the Fountain Theatre’s world premiere production of the gripping docudrama, Detained, comes to an end on Sunday, May 15th. The final performances of Detained are May 9 and 14 at 8pm, and May 15 at 2pm. Special $10 tickets are available on a limited, first come/first-served basis.
Originally commissioned by immigration attorney Judy Rabinovitz of the ACLU Immigrants’ Rights Projectand written by The Lillys 2021 Lorraine Hansberry Award-winning playwright France-Luce Benson, Detained explores the heartbreak and fierce determination of families fighting to stay together while mass deportation and harsh U.S. immigration legislation become ever more dedicated to keeping them apart. It is both a devastating, in-depth look at everyday people caught in the punishing web of harsh immigration policies, and a celebration of the courage and conviction of those struggling against an often coldblooded institution that seems to have lost sight of its former humanity.
Former cast member Michael Uribes was unable to continue with the show, so Jose Fernando (Daniel’s Husband) has temporarily relinquished his duties as Fountain Theatre House Manager to join the cast of Detained. “It feels great to be switching gears and joining the Detained family in this capacity,” he said. “As someone who immigrated to this country, and has friends and family affected by the politics surrounding immigration, this show is very real to me. It allows me an opportunity to give a voice to our lived experiences.”
Jose Fernando joins the ensemble cast of Detained
Fernando, along with company members Liana Aráuz, Camila Betancourt Ascencio, Christine Avila,Will Dixon,Jan Munroe,Theo PerkinsandMarlo Su, bring to life a variety of characters based on real-life U.S. detainees, their families and supporters, and ICE representatives – all of whom were interviewed by Benson. These characters include a teenage foodie aspiring “chef-lebrity,” a U.S. Veteran, and a mother of two who works as a roofer in New York City.
“This play is a living document, and I’m constantly updating it,” Benson says. “People think that now that Biden is president, things are better. But thousands of people are still facing deportation every day. Many of these people have been living in this country for decades. They own houses, run businesses, pay taxes, have families.”
“No theatre complex in LA has been as staunchly dedicated to social relevance and fighting for equality and justice than the Fountain.”
Ticket Holders LA
The Los Angeles Times notes that, “In familiarizing theatergoers with the immense toll these policies take on individuals and their loved ones, the play reminds us that human rights abuses are more than a talking point… The message of the play comes through loud and clear in (director Mark) Valdez’s staging.” Ticket Holders LA proclaims that, “no theatre complex in LA has been as staunchly dedicated to social relevance and fighting for equality and justice than the Fountain.” TotalTheater.com calls Detained, “Brave and shocking… masterfully directed…” and declares, “The people whose stories are memorialized here remind all of us that we have the power to dismantle a corrupt, inhuman system.” And Showmag.com decrees, “it’s enough to make a person want to run for office… meticulous performance values… every element coalesces into a smooth, almost magazine style of presentation… the play performs an important function to awaken all of us to a system that has grown out of control.” Click here for more reviews and for a list of organizations where you can take action.
Good seats still remain for the final performances of Detained. And to celebrate the last days of the show that People’s World calls “deeply affecting” and “yet another triumph in (the Fountain’s) long line of work,” a limited number of special $10 tickets have been made available with the promo code “Final2.” Don’t miss out — act now!
Please note: All Covid protocols are followed. Proof of both vaccination and booster (if eligible) are required for admission. Masks are strongly encouraged. Snug, surgical-grade respirator masks (N-95/KN-95/KF-94) that cover both mouth and nose are preferred, but blue surgical masks are acceptable. Cloth masks are no longer approved.
The Fountain Theatre is now casting the Los Angeles Premiere of Steven Levenson’s funny and poignant play, IF I FORGET, directed by Jason Alexander (TV’s Seinfeld). Steven Levenson is the author of TICK, TICK… BOOM!, DEAR EVAN HANSEN, and FOSSE/VERDON. IF I FORGET will be performed on the Fountain Theatre’s Outdoor Stage in East Hollywood.
Storyline: Los Angeles Premiere. A funny and powerful tale of a family and a culture at odds with itself. In the final months before 9/11, liberal Jewish studies professor Michael Fischer reunites with his two sisters to celebrate their father’s 75th birthday. Each committed to their own version of family history, they clash over everything from Michael’s controversial book, to whether they should sell the family business. Secrets and long-held resentments bubble to the surface as the three negotiate – with biting humor and razor-sharp insight – just what they’re willing to sacrifice for a chance at a new beginning.
Producer/Theatre Company: The Fountain Theatre Artistic Director: Stephen Sachs Director: Jason Alexander Writer: Steven Levenson Casting Director: Simon Levy, Jose Fernando Lead Producers: Simon Levy, James Bennett Auditions: April 18-19, 2022 Rehearsals: June 13 – July 19, 2022 Previews: July 20 – 22, 2022 Opens/Closes: July 23, 2022 – September 10, 2022
LOU FISCHER 65 to 75 years old, male. (to play 75) Smart, sensitive, caring. He is capable of deep feeling but can be distant as is typical of men of his generation. Holds disturbing secrets from the war. A Jewish WWII veteran, proud of his family and Jewish heritage. Suffers a debilitating stroke during the course of the play. A man of quiet dignity. An untapped well.
MICHAEL FISCHER 45 to 50 years old, male. Lou’s son. A Jewish Studies professor who happens to be an atheist. A cynical, avowed liberal whose intellect and passions coupled with his ego and neurosis often cloud his better judgment and his better angels. Proud, defiant, stubborn and yet fearful and ultimately a bit lost. He struggles to make his heart as potent as his mind. A brilliant, if tortured, soul.
HOLLY FISCHER 45 to 52 years old, female. Lou’s oldest daughter and Michael’s older sister. (should read slightly older than him). Her dress and manner reflect a lifestyle that connotes a degree of financial success and social influence. She thinks highly of herself and freely speaks her mind, oftentimes at the expense of others. Though brash and biting, she means well and genuinely cares for her family. She is driven, fierce – but the bark is far worse than the bite.
SHARON FISCHER 38 to 40 years old, female. Lou’s youngest daughter. Sweet to the point of almost seeming simple. A natural giver, reflected in being a kindergarten teacher and Lou’s primary caregiver. She is also a bit high strung and desperate to have a family of her own at this later stage of her life. She harbors unspoken resentment toward her siblings for making her the de facto nanny and nurse. Though fragile and brittle, she spends much of the play struggling to assert herself and fight for the things she wants and believes in.
ELLEN MANNING 40 to 43 years old, female. Michael’s wife. Not Jewish. Kind, calm, and the voice of reason when tensions arise between Michael and his siblings. She is supportive of her husband’s career and beliefs though keenly aware and nervous of their offensiveness. She determinedly suppresses her fear and anxiety about her daughter’s mental illness. She is a woman very much on the edge and holding on with all the grace she can muster.
HOWARD KILBERG 50 to 55 years old, male. Holly’s husband. Jewish. A corporate lawyer. Successful and affable but a bit of a dolt. He is socially awkward, never sure of where he stands in anyone’s esteem. He is mild-mannered, even kindly but uncomfortable in his skin. And he harbors a secret that he greatly fears will ruin his life if revealed.
JOEY OREN 16 to 20 years old, male. (to play 16) Holly’s son. A smart and socially awkward teen. Has some behavioral issues; not violent, just acts out to get attention. He acts indifferent toward his family but can’t help revealing genuine concern during trying times. Takes refuge in gaming. An awkward kid, probably somewhere on the spectrum.
Please submit electronically via Breakdown Express/Actors Access or email casting@fountaintheatre.com. First round of auditions will be self-tape of Sides, which will be made available by the casting coordinator. Then there will be an in-person audition at the theatre. Then a callback.
How do families stay together, even when they are kept apart? The Fountain Theatre presents a gripping new docudrama, a compilation of true stories that explores the rippling impact of mass deportations on families. The world premiere of Detained, written by The Lillys 2021 Lorraine Hansberry Award-winning playwright France-Luce Benson and directed by Mark Valdez, winner of the 2021 Zelda Fichandler Award, opens February 19 at the Fountain Theatre. Performances will continue through April 10, with three public previews taking place February 16, 17, and 18 at 8pm.
Originally commissioned by immigration attorney Judy Rabinovitz of the ACLU Immigrants’ Rights Project, Detained is based on interviews with longtime U.S. residents held in immigration detention, and with their family members, advocates, attorneys and representatives of ICE. Inspired by their stories, Detained explores how families fight to stay together as increasingly cruel U.S. immigration legislation keeps them apart through mass deportations and immigration detention centers. It offers a heart-wrenching and in-depth look at the human lives behind the policies, and celebrates the strength and determination of the ordinary people who must fight against an unjust system while keeping their hope and faith in humanity intact.
“All of the stories in this play are true, and they are heartbreaking,” says Benson. “The more people I met, the more time I spent with them, the more important it became to tell their stories. When you go through trauma, you want to be seen, to be given a voice. My own family immigrated to America in the 1970s, and my father received a humanitarian award for the work he did at Krome Detention Center in the ’80s and ’90s. This is his story too, and a way for me to honor the sacrifices he made for us.”
Theodore Perkins in rehearsal for Detained.
When Rabinovitz first approached Benson, President Obama was still in office. Under his administration, more people were being deported than ever before. Since then, with harsher immigration legislation enacted under President Trump and the current Covid-19 health crisis, the situation for many immigrants has become ever more dire. As more stories of injustice persist and legislation changes, so does the play.
“This play is a living document, and I’m constantly updating it,” Benson says. “People think that now that Biden is president, things are better. But thousands of people are still facing deportation every day. Many of these people have been living in this country for decades. They own houses, run businesses, pay taxes, have families.”
Characters in the play include a teenage foodie aspiring “chef-lebrity,” a U.S. Veteran, and a mother of two who works as a roofer in New York City. Together, their collective voices weave a compelling and complicated tapestry.
Detained was developed, with a generous grant from the Miranda Family Foundation, at Ensemble Studio Theatre in New York under artistic director Billy Carden.
Detainedopens February 19 and runs to April 10. Proof of both vaccination and booster will be required for admission. Patrons must be masked at all times in the theatre, except when actively eating or drinking in our upstairs indoor café/outdoor deck. Snug, surgical grade respirator masks (N-95/KN-95/KF-94) that cover both mouth and nose, are strongly encouraged, but blue surgical masks are acceptable. Cloth masks are no longer approved.
Happy New Year! After a long and tumultuous 2021, the hope and promise of the first calendar page of 2022 has arrived.
At the Fountain, we have much to look forward to in the months ahead. New, exciting productions are already in the works (more news on them to come), but first we wrap up our LA premiere presentation of Lucy Kirkwood’s Tony-nominated drama, The Children. This critically-acclaimed production returns to our indoor stage on Saturday, January 8th, to begin the countdown of its final seven performances.
Directed by Simon Levy, The Children stars Ron Bottitta, Elizabeth Huffman and Lily Knight as longtime friends and work colleagues at a British nuclear power plant who are reunited after decades apart when one of the trio surprises the other two with an unplanned visit and an unthinkable request. Kirkwood’s funny and astonishing play is a taut and disquieting thriller about responsibility, reparation and moral accountability. The Children is a provocative legacy drama that asks the big questions we often try to avoid but ultimately must always face: what is our responsibility to the future? To ourselves? To our children?
Lead L.A. Times theatre critic Charles McNulty declared that, “…we hang on to every word… Lucy Kirkwood’s The Children follows the wisdom of the environmental slogan “think globally, act locally.”… What Kirkwood excels at is creating characters that audiences want to learn more about… The Fountain bravely continues to bring L.A. audiences important contemporary works the larger theaters in town still haven’t the courage or vision to produce.”(CLICK HERE for links to reviews and to read pull quotes from them.)
If you haven’t yet seen the show, you still have time. The Children runs through Sunday, January 23rd, with performances Saturdays and Monday the 10th at 8pm, and Sundays at 2pm. (Dark on Monday, the 17th, in observance of Martin Luther King Day.)
Please Note: All Covid protocols are followed and enforced. Audience members will be temperature checked and must show proof of full vaccination to be admitted. Masks are mandated and must be worn at all times inside the theatre, except when eating or drinking. Our upstairs café is open and waiting for you.
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.
I have a ritual I perform every night, no matter what. I write out a list of the things I am grateful for that day and text it to a dear friend. He, in turn, sends me his nightly Gratitude List as well. We have been doing this, without fail, for almost two years now.
This simple little exercise keeps us focused on the important things in our lives. The things that really matter. And while yes, we sometimes note gratitude for such mundane (but still important) things such as paying the bills, gas in the car, and a working AC on a blistering summer day, our lists are mostly filled with thankfulness for friends and family, meaningful work, joy in simple things, and actions that reflect a refusal to live in the shadow of doom and gloom.
That does not mean, however, that life is lived on a pink cloud. Far from it.
Invariably we each have days where there’s just not a drop of gratitude to be found. Anywhere. Problems at work, health issues, financial stresses, family challenges, the nightly news and the state of the state/country/world can all be tenacious and debilitating in their grip. And so it becomes a wonderful thing – and something else to be deeply grateful for – to have someone there to offer perspective, support, and unflagging friendship and love. We have each pulled the other out of the roadside ditch many times, and are closer for it.
Here at the Fountain, the list is long of similar struggles. But the list of our blessings is even longer. Our amazing supporters and donors. A devoted board of directors. Tremendous plays, performers, and production teams. The generous grantors who believe in our work and the power of theatre to create awareness and change – and help to fund it. A blossoming volunteer program with folks eager to help however they can. Ever-evolving programing to extend our reach into the community even deeper and further than before. A small, but very mighty, staff. And always, a willingness and determination to keep theatre alive and well.
Having an attitude of gratitude is not just putting on a happy face and ignoring the problems before us. It is an action we take. It is a conscious shift in perspective to find the positive in the negative, the good in the bad. An unimaginable pandemic lockdown encouraged us to find new ways of keeping our art alive. The technology of Zoom kept us connected with members of our Fountain Family. The incredible blessing of owning our building and property allowed us to apply for funding to build an outdoor stage in our parking lot – and to make that stage available to other local artists and companies who have either been displaced by Covid or are not yet ready to return to an indoor space. Indeed, the Fountain overflows with blessings.
So tell me – what are you grateful for this Thanksgiving? What’s on your Gratitude List? I would love to know! Email me at terri@fountaintheatre.com and share with me what fills your heart with thankfulness and joy. With your permission, I will share some of your thoughts in an upcoming blog. Gratitude, after all, is not restricted to one day of the year. An attitude of gratitude is something to be cultivated year-round. Writing out, on a regular basis, what brings you thankfulness and joy is a powerful way to do that.
I wish you all a blessed Thanksgiving. And for all you have done for all of us here at the Fountain Theatre, “I can no other answer make but thanks and thanks and ever thanks…”
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.
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.
