Recent Blog Posts
- Shirley Jo Finney Lifted Every Soul
- Fountain Theatre will host memorial celebration for Shirley Jo Finney at Kirk Douglas Theatre Dec. 12
- NOW CASTING: Graceful, angelic Black actress/dancer for “Freight” West Coast Premiere at Fountain Theatre
- Fountain Theatre mourns the passing of one of its own: Celebrated director Shirley Jo Finney
- J. Alphonse Nicholson stars in West Coast premiere of ‘Freight’ for limited run at Fountain Theatre
Archives by Month
Search Our Blog
Email SubscriptionJoin 107 other subscribers
Follow Blog via EmailJoin 107 other subscribers
Connect With Us
Follow us on TwitterMy Tweets
Category Archives: playwriting
Performance on Nov. 3 will be live-streamed
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.
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.”
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 Phillips–Gerla 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.
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.
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.
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.
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.
This Saturday, June 27, at 5:00 pm The Fountain Theatre is proud to present a reading of France-Luce Benson’s one-act play Showtime Blues, originally presented at the Ensemble Studio Theatre in New York in 2017. Showtime Blues will be presented online as The Fountain’s final Saturday Matinee program for June and will feature Cecil Blutcher, Suzette Azariah Gunn and Matt Kirkwood. Saturday Matinees will take a break in July, returning with France-Luce in August.
France-Luce produces and hosts Saturday Matinees and has generously presented several readings of her own work for our patrons enjoyment, including our May 20th reading of Detained, her powerful piece commissioned by the ACLU that featured the Tony-nominated actress, Kathleen Chalfant.
We wanted to take the opportunity to discuss Showtime Blues with France-Luce as it is a powerful piece of theatre in perfect pitch with the current moment and is part of a body of work in which France-Luce explores her identity as a Black American of Haitian descent, and examines broad socio-political concepts from the perspective of intimate human relationships.
Q: When did you write Showtime Blues? Did it arise out of one particular experience or in response to a lifetime of experiences?
FLB: I wrote it in 2016. That year, Alton Sterling and Philando Castille were killed by police. Prior to that…Sandra Bland, Eric Garner, Trayvon Martin, Micheal Brown…the list goes on and on. I was hurting, and angry, and terrified for my community. I have three brothers, a nephew, dozens of cousins — I couldn’t imagine how anyone could ever view them as a threat. Like all the black men in my life – they are loving, gentle, hard working, family men – they care about their communities, they are human and deserve so much better than what this country gives them. We all do. All of this was stirring in my head and heart. I didn’t know what the play would end up being, but I knew I needed to explore it, work through it, and I wanted to celebrate Black love in a way that transcended romance. I wanted to celebrate the love we as Black people have for one another, based on our shared trauma and triumphs.
Q: I’m curious about the secondary theme in the play which explores the way folks judge one another on appearances and stereotypes.
FLB: As a first generation American, I’m interested in the way we (black and brown people) “Other” each other; and I always believe that as individuals we need to hold ourselves accountable. Both Ameira and Demetrius are quick to judge, and maybe they’re justified. She’s getting hit on by some dude on the train, and he’s being dismissed by someone who can’t even be bothered to look at him – literally. They have both been conditioned by a sexist, racist society. The incident that they experience together exposes their vulnerability. That vulnerability is what interests me most. It is that vulnerability that many of us, black and white, often fail to see in each other. And certainly law enforcement officers – they see black and brown bodies void of vulnerability – void of humanity.
Q: It seems that this moment provides a unique window for artists of color to be heard and seen. What would you like your white friends and colleagues to understand about your experience as a black female artist in America?
FLB: I’d like them to truly understand how far reaching, how expansive, how insidious white supremacy is. My voice and stories matter as much as anyone else. The lack of opportunity artists of color experience is a result of systemic institutionalized racism. White people need to understand this country’s history, and then maybe they’ll begin to understand my experience. I’ve been writing a trilogy about the Haitian Revolution, and I’ve often been told that my cultural experience is not relevant to Americans. But I challenge anyone reading this to study the Haitian Revolution and tell me it’s not part of America’s history. The problem is, Americans have been in denial about a lot of her history; I would like my white friends and colleagues to investigate the ways they have been in denial.
Q: As a Black American. What makes you hopeful?
FLB: This new generation of activists makes me hopeful; the current uprising, the fact that white people seem more willing to listen and take real action.
Cecil Blutcher: Regional Theater: Pipeline (Actor’s Theatre of Louisville); Petrol Station (The Kennedy Center). NYC: The Hot Wing King (Signature Theatre); Tempo (Ensemble Studio Theatre); Showtime Blues (Ensemble Studio Theatre). Film: Premature (Dir. Rashad Ernesto Green); Skin (Dir. Guy Nattiv); Sketch (Dir. Mariama Diallo). Television: The Good Fight (CBS All-Access); Random Acts of Flyness (HBO). Training: M.F.A. (Penn State). Website: CecilBlutcherCreates.com
Suzette Azariah Gunn is an actress, writer, director from New York. She has a degree in acting from Howard University and Oxford University. She has recurred, starred and guest starred on television and been in film and Theater across the US. Most recently 21 Bridges film and Nya in Pipeline at Cleveland Playhouse. Honors- Los Angeles Film Award Best Ensemble, Golden Door International Film Festival Nominated Best Lead Actress, NBC Diversity Showcase, Named Up and Coming Actress to watch, Best Supporting Actress Planet Connections,.- For more info suzettegunn.com
Matt Kirkwood has been an actor and director in Los Angeles theatre for the last 30+ years. He was last seen in The Fountain’s production of HUMAN INTEREST STORY, and in the live stream reading of DETAINED.
Actors Rob Nagle and Tanya Alexander will head the cast as newspaper columnist Andy Kramer and laid-off Elementary school teacher Betty Frazier in the world premiere of Human Interest Story at the Fountain Theatre, written and directed by Stephen Sachs. The timely drama on homelessness, celebrity worship and the assault on American journalism opens February 15.
Rob Nagle is a film/TV/stage actor and longtime Los Angeles favorite admired by local theatre audiences. His acclaimed portrayal of Oscar Wilde in David Hare’s The Judas Kiss at Boston Court Pasadena was hailed by the Los Angeles Times as “A performance not to be missed.” Tanya Alexander has been seen in a variety of film and TV roles and recently co-starred in the world premiere of Brian Reynolds’ Mono/Poly at the Odyssey Theatre.
Stephen Sachs is the co-founder and co-Artistic Director of the Fountain Theatre and the author of fifteen plays. Recent work includes his Deaf/Hearing love story, Arrival & Departure (Critic’s Choice, LA Times), his stage adaptation of William Goldman’s screenplay for All the President’s Men at LA City Hall starring Bradley Whitford and Joshua Malina, and his stage adaptation of Claudia Rankine’s Citizen: An American Lyric (Fountain Theatre and Kirk Douglas Theatre). His play Bakersfield Mist is performed worldwide.
In Human Interest Story, newspaper columnist Andy Kramer is laid off when a corporate takeover downsizes the City Chronicle. In retaliation, Andy fabricates a letter to his column from an imaginary homeless woman named “Jane Doe” who announces she will kill herself on the 4th of July because of the heartless state of the world. When the letter goes viral, Andy is forced to hire a homeless woman to stand-in as the fictitious Jane Doe. She becomes an overnight internet sensation and a national women’s movement is ignited.
Human Interest Story runs February 15 to April 5 at the Fountain Theatre.