Category Archives: playwright

Lisa Loomer’s play tells “shocking” true story behind Roe v. Wade

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NOW CASTING: L.A. Premiere of “If I Forget” on Fountain Theatre Outdoor Stage directed by Jason Alexander

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.

World Premiere of “Detained” opens Feb. 19 on the Fountain Theatre’s indoor stage

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.

Ensemble members, who play a range of roles, include Liana Aráuz, Camila Betancourt Ascencio, Christine Avila, Will Dixon, Jan Munroe, Theo Perkins, Marlo Su and Michael Uribes. The creative team includes scenic designer Sarah Krainin; lighting designer Christian V. Mejia; composer and sound designer Marc Antonio Pritchett; media designer Matt Soson; props designer Katelyn Lopez; and costume designer Jeanette Godoy. Movement choreography is by Annie Yee. The production stage manager is Anna Kupershmidt. Stephen Sachs, Simon Levy and James Bennett produce for the Fountain Theatre. Producing underwriters include the PhillipsGerla Family and Donald and Suzanne Zachary. Executive producers are Miles Benickes and Diana Buckhantz.

Detained was developed, with a generous grant from the Miranda Family Foundation, at Ensemble Studio Theatre in New York under artistic director Billy Carden.

Detained opens 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.

For reservations and information, call (323) 663-1525 or go to www.FountainTheatre.com.

Pens up! End of Play is about to begin…

by France-Luce Benson

One of the many things I’ve desperately missed in this time of isolated lockdown is the beautiful ritual of sharing space with fellow writers to do what we love most – write. Some of my favorite spots were the Writer’s Guild Association Library, Café Intelligentsia, and the warm homes of my lovely writer friends. If you’ve ever sat in silence with other artists to collectively create, you know what a powerful experience it can be. Not only does it increase focus and productivity, but there is something spiritual that happens when artists come together. I believe that creative energy, like laughter, like kindness, is contagious. When I sit with fellow artists committed to doing the work, their dedication and passion boost my own, and likewise. I am reminded what a gift I’ve been given, to be among a community of artists who encourage, challenge, and support one another.

I am thrilled to announce that the Fountain Theatre has joined the Dramatists Guild’s Southern California region as an End of Play™ partner.

The Dramatists Guild of America is the national, professional membership trade association of theatre writers including playwrights, composers, lyricists, and librettists. The Guild was established for the purpose of aiding dramatists in protecting both the artistic and economic integrity of their work, and has grown into both and advocacy organization for professional dramatists, as well as an artistic sanctuary. Some of the services and initiatives provided include legal aide in contract negotiations, emergency grants for artists experiencing financial hardship, and ongoing reading series for new work development.

A member since 2008, I have been fortunate enough to benefit from all of the above-mentioned programs. Additionally, I was honored to have been awarded a Dramatists Guild Fellowship from 2015-2016. Each year four playwrights and four musical theatre teams are selected for the Fellowship in which emerging dramatists receive professional mentorship and artistic support. Since then, I have served as a teaching artist in the DG’s Traveling Masters program, in which playwrights facilitate workshops across the United States. All of this to say, I know first hand how devoted the Dramatists Guild is to providing playwrights, composers, and lyricists with resources so vital to our work.

End of Play™ is an annual Dramatists Guild initiative to cultivate new plays. For the entire month of April, playwrights, composers, and lyricists will commit to completing a new play, song, score, screenplay, or revised draft of an existing work. In an effort to help us achieve our goals, the Dramatists Guild and partnering organizations will host a series of silent virtual writing sessions each day. You need not be a Dramatists Guild member to participate. All are welcome, and participants may register for as many sessions as they wish.

The Fountain Theatre will host three of these writing sessions: Saturday April 3, 10, and 17, from 9-10:30amPDT. Each of the Fountain’s sessions will end with optional community building where participants will be invited to say hello, share a bit about their process, and get to know each other.

To culminate End of Play™ 2021, the Fountain Theatre will host a presentation of selected excerpts written over the course of the month. Stay tuned for information about the readings.

To register for our writing sessions, please visit https://www.dramatistsguild.com/end-of-play

Pens up April 1. Pens down April 30. We hope to see you in between.

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

Embrace the light. Let theatre shine.

France-Luce Benson

by France-Luce Benson

On March 12, 2020, I flew from Los Angeles to Ft. Lauderdale to watch my 14-year-old niece, Shelby, act in her first play. The year prior we’d spent months, at her request, preparing for her audition for Dillard Performance Arts High School. Days before her audition, she desperately asked, “Auntie, do you think I have a chance?” As any loving aunt would, I replied, “Are you kidding? They’d be crazy not to accept you!”

Truth is, I was worried. Not about whether she’d get in or not—I had no doubt she would. I was actually worried about what would follow when she did get in. What would happen if she fell in love with theatre, just as I did at that age? What if it became her passion, her profession, her vocation, her life? I wanted to protect her from a life of rejection, of disappointment, of cutthroat competition, of financial instability, of heartbreak. I know, right? Project much?

Needless to say, Shelby’s school show did not go on. Like theatres all over the country, the school shut down that week and stayed closed for the remainder of 2020. What this last year without live theatre has taught me is that all the things I love and miss about theatre far outweigh the fears and anxieties I projected on to my niece. I was so focused on the ways the industry can hurt and disappoint. But 2020 reminded me of the ways the art of theatre loves. Theatre heals. Theatre connects. Theatre teaches. Theatre activates change and even revolution.

And probably most evident in this past year, no matter what, theatre survives. I am in awe of the ways my community has demonstrated this truth, and am immensely grateful for the opportunities I have had to create, connect, heal, and teach through my own work. In July 2020, I was one of four female-identifying playwrights, representing the African Diaspora, commissioned to write plays in response to the prompt “Conversations with the Ancestors.” A production of Project Y Theatre, All Hands on Deck streamed throughout the summer.

From April through December, I hosted “Saturday Matinees” with the Fountain Theatre, a virtual salon that featured theatre artists from all over the country, including Kit Yan, Antonio Lyons, Lisa Strum, Dennis A. Allen, Vanessa Garcia, and more. The weekly series celebrated BIPOC artists, while providing audiences time and space to connect with each another during a time when many of us endured incredible isolation. In November, I led a four-week workshop hosted by Global Voices Theatre in London. Participants joined from all over the world—Hong Kong, Philippines, India, the U.S.—to develop new plays aimed at correcting revisionist history.

In January of this year, my play Tigress of San Domingue streamed as part of Atlantic Theatre Company’s African Caribbean Mixfest, and last month I was among six playwrights featured in Long Distance Affair. Produced by Juggerknot Theatre and Popup Theatrics, LDA brought together playwrights and actors from six cities around the world—Los Angeles, Portland, Beirut, Lagos, Mexico City, and Mumbai—to create immersive theatre. With over 60 live performances, LDA is the closest thing to in-person theatre I experienced all year. Audience members interacted with one another in intimate Zoom rooms, and with the characters whose lives they interrupted, often at odd times depending on the city (2 a.m. in Lagos).

I had the pleasure of collaborating with L.A.-based actor Wendy Elizabeth Abraham, who bravely invited us into her home in Sherman Oaks, and into her emotional journey through grief and motherhood. I attended about six of the 60-plus performances, and no two were ever the same.

Finally, I launched Fountain Voices, a new arts education initiative I developed in my role as community engagement coordinator for the Fountain. The program promotes empathy and community building, teaching students how to write original plays based on interviews with members of their own community. The successful pilot run of Fountain Voices at Hollywood High culminated in January, with a powerful presentation of work that explored homophobia, depression, and homelessness among teenagers. This month, Fountain Voices begins a partnership with Compton Unified School District, where we will serve over 100 students, longing to be seen and heard.

My time spent with these students reaffirmed what the last year taught me. And when my niece is ready to return to school and inevitably enjoys her first moment onstage, rather than prepare her for the darkness, I will encourage her to embrace all the light and love theatre shines on us.

This post originally appeared in American Theatre Magazine.

L.A. premiere of ‘An Octoroon’ by Branden Jacobs-Jenkins will launch outdoor stage at Fountain Theatre

Playwright Branden Jacobs-Jenkins

The Los Angeles premiere of An Octoroon by Branden Jacobs-Jenkins will inaugurate the new outdoor stage at the Fountain Theatre later this spring. Judith Moreland will direct.

Winner of the Obie Award for Best American Play, Jacobs-Jenkins’ landmark play has earned ecstatic reviews nationwide. The New York Times hailed it as “this decade’s most eloquent theatrical statement on race in America today.” The Guardian declared it “brilliant” and “extraordinary.”

An Octoroon is a radical, incendiary and subversively funny riff on Dion Boucicault’s once-popular 1859 mustache-twirling melodrama set on a Louisiana plantation. A spectacular collision of the antebellum South and 21st-century cultural politics, An Octoroon twists a funhouse world of larger-than-life stereotypes into blistering social commentary to create a gasp-inducing satire.

“I’m proud the Fountain will introduce this bold play to Los Angeles audiences on our new outdoor stage,” states Fountain artistic director Stephen Sachs. “It could not be timelier. The moment has come for our nation to confront its own racist history. Branden uses satire to get to the dark core of American slavery and the racial stereotypes that continue to plague this country today.” 

Earlier this year, the Fountain received approval from the City of Los Angeles to install the outdoor stage for the purpose of safely presenting live performances and other events during the pandemic. Construction is set to begin this month, with the opening of An Octoroon slated for June.

Before that can happen, a number of tasks remain on the Fountain’s to-do list to inaugurate the outdoor venue. The first step is to repave the parking lot, where the stage will be installed. Lighting, sound, and video equipment will be loaded in. New chairs will be positioned according to COVID guidelines to accommodate 84 viewers. The entire site will meet all safety requirements for artists and audience members.

“Everything now depends on the COVID numbers,” says Sachs. “Once they drop to a level where the County Department of Public Health allows a gathering outdoors of one hundred people, with safety guidelines in place, we’re good to go.”

The new outdoor performance area 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.

For more information about the Fountain Theatre, go to www.fountaintheatre.com

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.

New play by France-Luce Benson opens virtual international festival ‘Long Distance Affair’

Actress Wendy Elizabeth Abraham in her California home.

by France-Luce Benson

I was on a crowded beach in Salvador de Bahia, Brazil celebrating the new year. Surrounded by beautiful, dancing, sweaty bodies I ran towards the ocean to jump the waves, hoping for an unforgettable year ahead. It was definitely unforgettable. But we won’t go there. We survived, and in some ways thrived. While it seemed like the pandemic would be the death of theatre, artists around the world found new, innovative ways to keep creating bold, brave, new theatre. In fact, I’ve been as busy as ever with projects lined up through the fall.  For that I am truly grateful. And while I can appreciate the abundance of creativity and opportunity, there are some days when I feel like I’d trade it all to be back in Bahia. Or in the South of France. Or London. Japan. Hell, I’d settle for Nova Scotia and I hate the cold. But you get it. If you’re anything like me the pandemic has given you serious wanderlust. Those days of jet setting across the globe, immersing yourself in a new culture, frolicking sans mask and abandon on a white sand beach, or sipping wine in a crowded café with live music seems like a lifetime ago. So when I was approached by Juggerknot Theatre and Popup Theatrics to join them in this exciting adventure I leapt at the chance.

Long Distance Affair is a global, virtual, immersive, theatrical event. I, along with five other playwrights from all over the world, were tasked with writing short, interactive plays for an actor in our city to perform in their home. As an audience member, you will board a virtual plane and be transported to Beirut, Mexico, Lagos, Mumbai, Portland, and Los Angeles. Each piece offers a glimpse into that city’s culture, and a voyeuristic view of the character/actor’s inner life. You may be asked to dance, or to pray, or simply bear witness to the things we only reveal in the sanctity of our homes.

It’s been an honor collaborating with so many incredible artists, and a special treat to represent Los Angeles with local actor Wendy Elizabeth Abraham. A Resident Artist of Moving Arts Company since 2008, she was last seen in their production of Early Birds by Dana Schwartz. It was actually one of the last live productions I saw before flying out to Brazil for a two month artist residency. We had never met but I waited for her to come out after the show to tell her how much I loved her performance, and hoped that we’d have a chance to work together some day. With theatres closed for nearly a year now, I never imagined that chance would come now. And yet, here we are on an adventure that has been surprising, challenging, and satisfying in so many ways.

Long Distance Affair opens this weekend, and runs Feb. 12 – Feb 21st. And because I love The Fountain Theatre, Juggerknot Theatre has extended a generous offer of 50% off the ticket price to Fountain patrons and friends. Visit www.LongDistanceAffair.info to reserve your ticket and use the code Fountain50 for a 50% discount.

It may be a while before we can start globetrotting again, but in the meantime, this is the next best thing.

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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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