Montae Russell, Joshua Bitton, Lesley Fera, Marisol Miranda, Matthew Hancock.
The Fountain Theatre’s acclaimed Los Angeles Premiere of the Pulitzer Prize winning play Between Riverside and Crazy by Stephen Adly Guirgis will extend its sold-out run to January 26, 2020. The original cast will remain intact.
The performance schedule continues to be Friday 8pm, Saturday 2pm & 8pm, Sunday 2pm and Monday 8pm (Pay What You Want). More info/Get Tickets
Over a dozen rave reviews:
“THE PULITZER-WINNING PLAY YOU MUST SEE IN L.A.” — Los Angeles Times
“REWARD[S] US WITH THE RAREST OF GIFTS: the pleasure of a raffish grace where you least expect to find it.”— Cultural Weekly
“SUPERBLY ACTED… The Fountain Theatre has done itself proud again.” — Hollywood Progressive
“SPLASH SELECTION… a superbly directed, acted, and produced must-see show.” — LA Splash
“HUMOR AND WORDPLAY AND FANTASTIC MUSIC… POWERFUL PERFORMANCES” — Larchmont Buzz
“A thoughtful exploration of family, forgiveness, and deciding what is important when life has not gone the way you imagined… led by a TOUR DE FORCE from Russell, who brings the enigmatic Pops to life with impressive complexity.” — On Stage and Screen
“NEEDS TO BE SEEN… sometimes hilarious, sometimes agonizing… a seamless, breathtaking ensemble” — People’s World
“OUTSTANDING… laugh lines abound… deals with profound issues of the human condition.” — Beverly Cohn, Santa Monica Mirror
“WOW!…SENSATIONAL… Contemporary play-writing at its most original and Los Angeles theater at its finest.” —Stage Scene LA
“SCINTILLATING… an exciting, engrossing piece of theatre with a cast of seasoned pros.” Theatre Notes
“BRILLIANT DIRECTION… [A] SUPERB CAST“—Theatre Spoken Here
“HILARIOUSLY OUTRAGEOUS and delightfully off-kilter dialogue… one of out city’s best ensemble casts” — Ticket Holders LA
“FEARLESS… a brutally honest understanding of human emotions fully on display by a talented cast of seven.” — Culver City News
As retired Dodgers veteran sportscaster Vin Scully would declare, “It’s time for Dodgers baseball!”
With the warm nights of summer comes the annual Fountain Theatre Dodgers Game Night, a yearly tradition for Fountain staff, Board members, Fountain Family and friends to enjoy a night out at the ballpark. Last night’s event brought thirty-four Fountain folks together for hot dogs, peanuts, beer and the joy of cheering our Boys in Blue. For some, it was their first visit to Dodger Stadium. For a few, last night was their first time watching a baseball game ever.
The evening ended in celebration: The Dodgers beat the Colorado Rockies 5-3.
The Fountain Theatre has been awarded a 2017 grant in the amount of $15,000 from The Shubert Foundation to support the general operating of the organization. The Shubert Foundation provides grants only to organizations that have an established artistic and administrative track record, as well as a history of fiscal responsibility.
The award marks the second year in a row that the Fountain Theatre has received support from the Shubert Fountain. This year the award amount was increased.
“This grant is a substantial award from a foundation whose mission is to lend support to theatres of varying sizes across the country,” notes Barbara Goodhill, Fountain Director of Development. “This is another step up forward in a year of growth for The Fountain.”
Theatres are evaluated individually and with appropriate allowance for size and resources. The standard for awarding these grants is based on an assessment of each organization’s operation and its contribution to the field. Artistic achievement, administrative strength and fiscal stability are factored into each evaluation, as is the company’s development of new work and other significant contributions to the field of professional theatre in the US.
The Shubert Foundation, Inc. is dedicated to sustaining and advancing the live performing arts in the United States, with a particular emphasis on theatre. The Foundation’s Board of Directors believes that the most effective way to encourage the artistic process is by providing the general operating support that reinforces the structure that nurtures its development. Accordingly, The Foundation does not earmark its awards; all allocations are unrestricted.
The Shubert Foundation, Inc. was established in 1945 by Lee and J.J. Shubert in memory of their brother Sam, and is the sole shareholder of The Shubert Organization, Inc., which currently owns/operates 21 theatres: 17 on Broadway, one Off-Broadway theatre (The Little Shubert), and one each in Boston and Philadelphia. The Shubert Archive, a working repository of more than 10 million theatrical documents and related items, operates under the aegis of The Shubert Foundation.
“We sincerely thank the Shubert Foundation for its ongoing support,” said Fountain Co-Artistic Director Stephen Sachs. “The Shubert name is synonymous with excellence in the American Theatre. It’s an honor for us to be recognized by one of the most highly respected foundations and organizations in our field. “
Ann Noble, Liz Berman and John Prosky introduce the evening.
Tuesday night at the Fountain was one of those evenings that reminds us of the transformative power of theatre. Why we do what we do. It was also a night about working together. Not only for the incarcerated young men on stage from Rancho San Antonio Boys Home who performed the new play they wrote via the Antaeus Odyssey Workshop. But also for the two LA intimate theatre companies who partnered to make the evening possible.
The Odyssey Workshop is an educational outreach program launched by Antaeus Theatre Company that uses theatre techniques to teach creative writing to young adults from high-risk environments. “This is such an important program for all of us at Antaeus Theatre Company,” says Antaeus Co-Artistic Director Bill Brochtrup. “It’s truly a life-changing event for the young men participating — and for the audiences who are lucky enough to see them.”
Because construction on the company’s new venue in Glendale is not yet complete, Antaeus needed to find a theatre to host its one-night performance of the Odyssey Workshop. They reached out to the Fountain Theatre. We immediately agreed to welcome Antaeus and its program into our home.
Antaeus actress Ann Noble and Fountain Associate Producer James Bennett greet guests.
The coincidental timing of Tuesday night’s performance was not lost on anyone. The very next day, Actors Equity Association terminated the 99-Seat Plan, replacing it with a controversial and unpopular new Agreement that divides and separates the once-unified LA intimate theatre community into competing categories and factions.
The shared event at the Fountain Theatre was all about cooperation.
Antaeus actress and board member Dawn Didawick commented, “I wish some of our union representatives could be required to attend events like these in order to learn what Los Angeles theatre artists give to their community.”
“There’s been so much rancor and divisiveness with Actors Equity over their elimination of the 99-Seat Plan,” says Fountain Co-Artistic Director Stephen Sachs. “Tuesday night is an example of what happens when two LA intimate theatre companies, each very different in their programming and organizational structure, cooperate together for the sake of being of service to those other than themselves.”
Fountain Producing Director Simon Levy agrees. “Art does change lives. Theatre opens hearts and connects us to The Other. Bravo/bravissima to Antaeus for this great program. And a standing O to the young men who opened their hearts and allowed themselves to be vulnerable… because it changes us.”
Following the performance, the night was ignited by a lively reception in our upstairs cafe which seemed to exemplify the spirit of the evening. There was food, drinks and a cacophony of raucous chatter and laughter. Students enjoying family and friends intermixing with Antaeus members mingling with Fountain staff. A room packed with a wide variety of diverse people and two uniquely-styled theatre companies. Everyone together, for the same common purpose, becoming one.
‘Citizen: An American Lyric’ at the Fountain Theatre
by Carolyn Kellogg
Poet Claudia Rankine was awarded the MacArthur Fellowship grant for her work that engages with contemporary American culture, particularly issues of race. Her most recent book, 2014’s “Citizen,” racked up stacks of awards for its searing take on the personal and political, including the death of Trayvon Martin. Rankine, who taught for many years at Pomona College, is now on the faculty at Yale University. We talked to her about the MacArthur grant and what it means for her work.
What was it like hearing about the award?
It’s very exciting, very surprising, which makes it more exciting.
I’m in my mid-50s. This is an incredible honor, but I’ve been lucky enough to get my work done with or without it. So I feel like having this award given to me at this point in my career, I think in my own imagination, what else? It makes me want to do even more in terms of the subject of my work.
The subject of “Citizen” is, in part, the death of black men in America. And that subject is renewed again as we’re talking. I wonder if you could address that.
To me, the getting of this honor is a kind of recognition, obviously a monetary recognition, which is helpful. But it’s also for me the culture saying: We have an investment in dismantling white dominance in our culture. If you’re trying to do that, we’re going to help you. And that, to me, is encouraging. The MacArthur is given to my subject through me. The subject of trying to change the discourse of black people being equated with criminality and murdered inside a culture where white fear has justified the continued incarceration, murder of blacks and other people of color. I do feel like I am just incidental in a certain way to the prize, and that the prize is being given to the subject — that I am completely invested in.
Claudia Rankine at Fountain Theatre
Could you talk about your ongoing creative project?
Before I was notified about the MacArthur I had been in the process of putting together with Casey Llewellyn, and a number of writers and artists, the Racial Imaginary Institute. Which for us is an interdisciplinary arts and cultural laboratory for the dismantling of white dominance. One of the things I think the culture needs is an actual location where writers and artists and thinkers can come together and put pressure on the language that makes apparent white supremacy and white dominance. I think a lot of us are working separately on these subjects, but it would be nice to have a Racial Imaginary Institute that really has as its goal the dismantling of white supremacy. That each of us can go at it inside of our fields. If you’re a writer, you have the benefit of talking to other artists who are interested in the subject. What are we missing? What isn’t getting said? What are the narratives of white greatness that disallow other things to be brought to the surface? I’m very excited about the creation of the institute, the making of the space, the notion that culturally we’ll know where to go to have these discussions, to actively look at the absences and the erasures around the construction of race, especially the construction of whiteness in America.
Where will it be?
Right now we’re looking for a space, but I assume it will be in New York City. Right now we exist as people with a mission and a name. And with work [the essay collection “The Racial Imaginary” was published by Fence Books in 2015].
When you heard about this award, did you think, I’m buying an island and we’ll have our institute!
No, I think that it’s the kind of thing we’ll have to work toward getting funding for. Not even the MacArthur money can put something into the world like that. I really believe that the culture can change the way we think. Right now we have a media culture, television culture, pop culture that still moves forward on many assumptions around whiteness that we all know to be erroneous and hurtful. I think that this institute could begin to make products — books, give talks, present readings, make art — that shifts the understanding into a place that reflects an actual reality rather than the constructed realities around whiteness.
Tell me a little about the aesthetics underlying your work.
Stephen Sachs, Claudia Rankine, Shirley Jo Finney
I’m committed to an interdisciplinary investigation of cultural dynamics. The reason I will forever identify as a poet is because I think poetry is the one genre that privileges feelings. And so no matter what I’m working on, I’m also interested in the impact of the reality with the human psyche. So for me, the work has to bring the reality up against the experience of the reality. And all of my work is how do you get that to be apparent, and apparent in language? The felt experience. For example, right now we know that 60% of African Americans and Latinos live in communities where you have toxic-waste sites. Now that’s a fact. But how do I get that to be a lived experience inside a work of art? That’s the challenge as a writer and as an art-maker. How do you get the piece of art to enact a discussion that feels plausible inside your own living room? Right now I’m working on a play that draws from “Citizen.” The real challenge is how do you bring the kinds of conversations around race that happen at 7 o’clock over the dinner table onto the stage? So that when you go to the theater to see it, you know you’ve had that conversation.
So that there’s a kind of recognition.
There has to be recognition. One has to step into the moment as a lived experience. Even if the circumstances seem foreign, the experience needs to connect as a known realm on the emotional level.
Philip Solomon, Thomas Silcott “The Painted Rocks at revolver Creek”
The Fountain Theatre has been honored with 23 awards of excellence from StageSceneLA for productions in its 2015-16 season. Fountain productions awarded were the west coast premiere of Athol Fugard’s The Painted Rocks at Revolver Creek, the world premiere of Dream Catcher by Stephen Sachs, the Los Angeles premiere of My Mañana Comes by Elizabeth Irwin, and the west coast premiere of Tennessee Williams’ Baby Doll.
Since 2007, Steven Stanley’s StageSceneLA.com has spotlighted the best in Southern California theater via reviews, interviews, and its annual StageSceneLA Awards.
The Fountain has been honored with the following awards this 2015-16 season:
YEAR’S BEST INTIMATE THEATERS The Fountain Theatre
OUTSTANDING PRODUCTION, DRAMA (INTIMATE THEATER) The Painted Rocks At Revolver Creek
OUTSTANDING PRODUCTION, COMEDY-DRAMA (INTIMATE THEATER) My Mañana Comes
Dick Motika, Caron Gonzales, Jerrie Whitfield, Edward Gonzales
Sometimes, when you have something special, you just want to share it. That was the feeling last night, when Fountain Board members Dick Motika, Jerrie Whitfield, Dorothy Wolpert and her husband, Stanley Wolpert, invited their friends and colleagues to a special-added private performance of Baby Dollat the Fountain. The VIP guests enjoyed their own exclusive performance and then chatted with the company in a catered reception upstairs in our charming cafe.
It was a relaxed evening of nice food, good wine, stimulating conversation and a riveting production of a steamy, powerful play. The invited guests relished meeting the actors after the performance. Many gathered outside on the balcony to savor the Hollywood night air.
In attendance were Adam Mortanian, Ashley Bowman, Audrey Stein, Bonnie and Arthur Nijst, Brian Getnick, Cala Bowdra, Dale and Don Franzen, Dan Greenberg and Susan Steinhauser, Ed and Caron Gonzales, Gary and Rebecca Drucker, James Benge, Jane and Howard Matz, Jessica and Demetrius Martinez, Kathy and Jack Smith, Krista and Ron Sanders, Lisa Nevins and Kent Caldwell-Meek, Mark and Leah Drooks, Natalie Bergeson, Paul Moskowitz, Ruth and Bonnie and Stuart Wolpert, Ryan and Margaret Cutrona, Sheri Leiwand, Shoshana Bannett, Steve Thomas, Thelma and Elliot Samulon.
Our heartfelt thanks to Dick, Jerrie, Dorothy and Stanley for hosting this very special evening.
The Fountain Theatre is now casting a 3-week development workshop for Freddie, a new project by Deborah Lawlor that combines theatre, dance and music to tell the unforgettable true story of a legendary dancer.
STORYLINE: Based on a true story. Greenwich Village, 1964. Freddie Herko was a brilliant 28 year-old ballet dancer of extraordinary charisma and talent haunted by dark self-destructive demons. A fiery denizen of Andy Warhol’s Factory, Herko became more eccentric, unpredictable and self-destructive. While dancing in his NY apartment to Mozart’s Coronation Mass, Herko leapt out the window and fell to his death five stories down. The project “Freddie” chronicles the friendship between Freddie and Shelley, the naive young woman caught under his spell who desires to be a dancer. By fusing theatre, music, dance and video, the project will capture the explosive spirit of a passionate artist and a turbulent era.
Director: Frances Loy Writer: Deborah Lawlor Producer: Stephen Sachs Co-Producer: Simon Levy Associate Producer: James Bennett Casting Director: Frances Loy
Dates: 3-week rehearsal period in October, culminating in 3 public performances. Exact dates to be determined based on artist availability.
SPECIAL NOTE: This is a 3-week developmental workshop of a new theatre piece combining theatre, dance/movement and music. To explore and discover how the text intertwines with dance/movement. It will culminate in 3 public performances. This project is supported, in part, by a grant from the National Endowment for the Arts.
Roles: [FREDDIE] 20 to 30 years old, male. Charismatic, dynamic, tortured soul. Must have strong training and experience in classical ballet. [SHELLEY] 20 to 25 years old, female. Naive, innocent, excitable, light quality. Must have strong training and experience in classical ballet. [GLORIA/DIANE DI PRIMA/MARGARET/BABY JANE] 30 to 50 years old, female. Seeking versatile actress to play multiple roles. Grounded, motherly quality. Flirtatious and exuberant. Must have some training in classical ballet. [TINA/ONDINE] 30 to 40 years old, female. Darkly mystical and mysterious. Must have some training in classical ballet. [ANDY/JOHNNIE/GEORGE/EDDIE] 20 to 40 years old, male. Seeking versatile actor to play multiple roles, including aloof to friendly to intimidating to gregarious. Must have some training inn classical ballet. [BILLY/RALPH/SERGIO] 20 to 40 years old, male. Seeking versatile actor to play multiple roles, including gregarious Italian and down-to-earth dependable. [JIMMY WARING/ROTTEN RITA] 40 to 50 years old, male. Two roles: sober, sage “mentor” type plus lightly effeminate with strong comedy skills. [PETE/ONDINE/ARTHUR] 30 to 40 years old, male. Seeking versatile actor to play multiple roles: from opera nut who holds forth to straight, strong and dependable husband of Shelley.