The company of Human Interest Story celebrate Opening Night.
The opening night of the world premiere of a new play at the Fountain Theatre is always an event to celebrate. Such was the case on Saturday, February 15, with the official launch of Human Interest Story, written and directed by Stephen Sachs. A sold-out house gave the powerful and timely new play a standing ovation, and then gathered upstairs in our charming cafe for a catered reception with the company.
In the play, 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.
early reviews have been laudatory. Theatre Notes has hailed the Fountain production as “Astonishing” and On Stage Los Angeles declares it “A Must See.”
The Fountain Theatre is pleased to announce that it has been awarded an Arts and Humanities grant from the Ahmanson Foundation in the amount of $50,000, doubling the amount awarded to the Fountain by the Foundation last year. The Ahmanson Foundation strives to enhance the quality of life and cultural legacy of the Los Angeles community by supporting non-profit organizations that demonstrate sound fiscal management, efficient operation, and program integrity.
“We are deeply grateful to the Ahmanson Foundation for its continued partnership and support,” states Fountain Co-Artistic Director Stephen Sachs. “This grant will allow us to enhance our ability to serve the Los Angeles community.”
The Ahmanson Foundation directs its giving toward the areas of the arts and humanities, education, human services, and health and medicine. The foundation’s grants in these areas are largely dedicated toward capital projects that support the nuts-and-bolts-type needs of non-profits. The vast majority of the foundation’s philanthropy is directed toward organizations and institutions based in and serving the greater Los Angeles area.
The grant award reflects the success of The Fountain Theatre’s ongoing campaign under the guidance of Director of Development Barbara Goodhill to increase the levels and broaden the sources of contributed giving to the organization. Today’s announcement follows last month’s news of a $40,000 award from The Wallis Annenberg Foundation to the Fountain for general operating support.
“This generous award from the Ahmanson Foundation is another extraordinary endorsement and affirmation of The Fountain’s continued growth and prestige within Southern California’s cultural landscape and the funding community, ” states Goodhill.
A packed house of passionate theatregoers, donors and guests, friends and family, and the invited press enjoyed Saturday night’s Opening performance of our California Premiere of Hannah and the Dread Gazebo by Jiehae Park. A collaboration between the Fountain Theatre and East West Players, the audience reflected a lively engagement from the communities of both companies.
Following the performance, guests enjoyed a catered reception upstairs in our charming cafe. The delicious Korean cuisine was served by Kimbap Paradise, with Korean beer provided by Lotte Beverage America.
Post-show blues. It’s a common phrase among theatre folk.
As we close the final performance of the Fountain Theatre’s arts education program, Walking the Beat Hollywood, as panels are struck and lights come down, as kids head safely home to their families, and cops return to patrolling the streets, the phrase takes on new meaning. In the context of Walking the Beat Hollywood, the phrase alludes not only to the malaise that accompanies the end of an affecting production, but also to the image of an LAPD uniform.
Walking the Beat Hollywood is a theatrical residency for high school students across Los Angeles and the police officers who patrol their neighborhoods. Together, students and officers devised a piece of theatre they titled “A Wall is Just Another Door,” about community policing informed by their personal experiences. During the show, performers begged the question in a rap battle, “When you see me in my uniform what do you see?” The question asks us all to challenge the assumptions we make and to acknowledge our biases, disadvantages, and privileges.
I have often been told that if I want to make a change in the world, I’m in the wrong business. I’ve heard that political theatre preaches to an audience that is already in agreement. This assumes that the audience attending theatre is of the same ilk. And yet, after Walking the Beat Hollywood I have never been more convinced that theatre changes lives.
Perhaps that is because the theatrical community that created and witnessed Walking the Beat Hollywood was not typical. (Walking the Beat Hollywood challenged convention as soon as the doors opened.) Development offices at theatres all over the world work hard to gather demographic information about their audiences. As a result, we know that theatrical audiences are largely white, liberal, affluent, and over 50. Working for a theatre festival during college, I was tasked with reviewing and digitizing hard-copies of audience surveys. One respondent answered the race and ethnicity question: “Really white.”
This respondent’s answer still makes me laugh. However, it’s also true and has far-reaching and troubling consequences. The ambition to democratize theatre can paradoxically become pretentious and self-serving. This is when theatre-makers become white-saviors. “Democratizing” can often look more like condescending to a group of people those in power ostensibly want to “uplift.” This is tokenism. The antidote to this kind of practice is recognizing that individuals are individuals and not representatives of a group. They are people of worth and power. Walking the Beat Hollywood succeeded in democratizing theatre precisely by self-consciously circumventing that goal.
It would be untrue to claim that the regular homogeneity of most theatrical audiences was unrepresented at Walking the Beat Hollywood. But largely this audience and this cast were unconventional. In fact, the ensemble worked hard to disrupt and challenge convention. Their tools in dismantling systems of oppression were their own stories. The ensemble gave generously of themselves and as a result moved their audience.
Melina Young and Barbara Goodhill welcome guests to “Walking the Beat” at LACC.
Angela Kariotis, a visionary theatre-maker, teaching artist, and WTBH playwright writes, “Telling a story is simple, but not easy. Easy and simple are not the same thing… We never think we have any stories. But then all of a sudden, they come tumbling out because we cracked open the door a little. And here they are all demanding, demanding to be told.” That demand imbued Walking the Beat Hollywood with honest urgency. Sitting inside the Caminito Theatre, the call for truth was palpable and stirring. My father wept as he listened to each student’s identity poem and so did I. I already knew and loved these kids and by the end of the performance I think he did too.
When I handed one of the students her final pay check, she looked at me with a telling pout and said, “I don’t want this one.” When I asked her why, she said “because it means it’s the end. And I don’t want to say goodbye to everyone.” Her reluctance was evidence of love. Sixteen strangers—ten kids and six cops—became friends.
Theatre. Changes. Lives.
I saw these kids change. I saw them grow. Many students started this process shy. Many didn’t. Some are still shy and some still aren’t. But I know that they know their worth. I know that they proclaimed their worth in front of an audience eager to bear witness to it. That is genuinely important.
Sure, this was a production focused on cops and kids coming together to discuss the problems of community policing. But the final performance did not offer a solution. Rather, it highlighted human beings of different experience coming together to listen to one another.
I return to the idea of post-show blues. How did Walking the Beat Hollywood change our proverbial uniforms? If only for an evening, we have been armed with an open mind and with the impulse to listen.
I want to challenge theatre-going audiences to continue the legacy of this performance. Be silent and be moved. Listen. After all, “Listening is an act of love.”
Jane Anderson reads message from Co-Artistic Director Stephen Sachs
The beautiful hilltop home of playwright/screenwriter Jane Anderson and author/producer Tess Ayers was the lovely location on April 14 of a special gathering of VIP donors and Fountain Friends supporting our Southern California Premiere of Daniel’s Husband. The funny and poignant new play by Michael McKeever on gay marriage is currently playing at the Fountain Theatre to rave reviews, heralded as Critic’s Choice in the Los Angeles Times.
After enjoying wine and hors d’oeuvres prepared by Alligator Pear Catering, the group assembled to hear director Simon Levy speak about his vision for the play.
“There is a commitment to tell these stories on our Fountain stage,” said Jane Anderson, reading a letter from Co-Artistic Director Stephen Sachs, who was in New York that evening. “Stories of struggle in the gay community as they fight for the most fundamental of all human rights: to be who we are and love whom we choose. In these dark, hateful times, Daniel’s Husband invigorates us with this one simple truth: love is worth fighting for.”
Cast members from Daniel’s Husband then read selections from the play.
The entertaining event, hosted by Jane Anderson and Tess Ayers, was a delightful success. Attending were Oscar Arslanian, Bill Brochtrup, Diana Buckhantz, Denis Cagna, Carrie Chassin, Deborah Culver, Tim Cummings, Ken Debie, Jose Fernando, Richard Gallegos, Jackie Goldberg, Barbara Goodhill, Ron Guzman, Jochen Haber, Karen Kondazian, Simon Levy, Ed Martin, Carlos Medina, Jenny O’Hara, Nick Ullett, Don and Suzanne Zachary, Jason and Allison Zelin.
2018 intern Saif Saigol (center) with Fountain staff.
Know a college student looking for a paying job this summer? A young person who likes theatre and enjoys working in a crazy, eccentric theatrical environment? Search no further. The Fountain is the place.
The Fountain Theatre is now accepting applications to hire one Development Intern for 10 weeks this summer between June 1 – August 25. It is a full-time position (40 hours per week for 10 weeks) that pays $570 per week.
The Los Angeles County Board of Supervisors established the Arts Internship Program to provide undergraduate students with meaningful on-the-job training and experience in working in nonprofit arts organizations, while assisting arts organizations to develop future arts leaders. This is our sixth year participating in the program and we’ve had great luck with our summer interns. Each one has been incredibly helpful, has learned a great deal, and became part of our Fountain Family. We are still in contact with all of them.
2016 Arts Intern Victoria Montecillo with Director of Development Barbara Goodhill
Student eligibility for internship positions is limited to currently enrolled undergraduate college students who reside or attend college in Los Angeles County. Students must have completed at least one semester of college by June 1, 2019 or will complete their undergraduate degree between May 1 – September 1, 2019 in order to be eligible to participate. Students who have already earned a BA, BS or a higher degree are not eligible.
The Development Intern will work closely with the Director of Development to create and launch new fundraising and grant writing campaigns. The intern will assist in targeting and contacting new funding sources, creating and implementing new fundraising materials, assist in individual contribution programs, and facilitate special events for donors and community partners. Under professional guidance, he/she will learn and develop grant writing skills to create and submit new grant proposals to major foundations.
The intern candidate must have basic computer and word-processing skills (PC, Word, Excel, Internet), good communications skills and pleasant phone manner, organizational skills, be detailed oriented, and have the ability to multi-task in an intimate office environment. A sense of humor and a willingness to learn many aspects of theatre management. She/he should be self-motivated and have the ability to take initiative when required. She/he should also have a passion for theatre. Excellent writing and editing skills. An ability to work effectively both independently and cooperatively. Creativity, enthusiasm for learning, and an outgoing friendly demeanor.
It’s the end of August – the time of year that’s defined by back-to-school sales, the switch from iced coffee to hot coffee, and that one last outing with white pants before Labor Day comes and goes. For me, this week signifies the end of my internship with The Fountain and my first experience living in LA. It occurred to me today that this time next year – for the first time ever – I won’t be preparing to go back to school, and I am reminiscent of my summer at The Fountain and all I have learned.
For the past 10 weeks, I have worked under Barbara Goodhill, The Fountain’s Director of Development, on a variety of projects related to The Fountain’s growth and community impact. As an avid lover of theater, and all other performance arts, this was my first experience working behind-the-scenes (or upstairs, in The Fountain’s case) at one of the desks that keep arts organizations like The Fountain running. I learned the ins and outs of fundraising and grant culture, and the realities of producing art in a country that loves creativity, but hesitates to support it. While it is somewhat disheartening to see all the hoops artists must jump through before being able to express themselves, there is redemption in knowing that organizations like The Fountain, and the foundations that support it, are committed to the arts and the roles arts play in connecting communities. I was able to experience this first-hand this summer, with The Fountain’s production of Arrival & Departure.
Deanne Bray and Troy Kotsur, Arrival & Departure.
Arrival & Departure is Stephen Sachs’ latest Deaf/Hearing play, inspired by the timeless romance film Brief Encounter. It was truly incredible to witness the level of finesse and intimacy the company was able to achieve in the short time between the beginning of the summer, when rehearsals began, and opening night 6 weeks later. Arrival & Departure is a masterpiece of intimate theatre, from the way it is written to present three distinct story-lines that harmoniously blend into one, to the actors’ ability to engage each other, engage the audience, and fill the room with their presence. Beyond the triumph of Arrival & Departure as a piece of theater, it was particularly meaningful for me to be able to interact with the Deaf community, who graciously opened their arms to us hearing folk and put in the labor to educate and accommodate us. It can only be described as powerful to sit in that theatre for 90 minutes, without one interpreter in sight, and watch Deaf and hearing actors alike (while sitting next to Deaf and hearing audience members alike) reveal their deepest emotions and vulnerabilities, whether through Spoken English, ASL, or movement. It is art in its rawest form, and really makes one wonder why all theater doesn’t strive for this level of accessibility and nuance. If you haven’t yet seen Arrival & Departure, get your tickets ASAP!! It’s a must-see.
One of my projects this summer was working with The Fountain’s Outreach Coordinator, Dionna Daniel, on various efforts to open our doors to the community. It was especially rewarding to give back to the community by way of arts education for LA’s youth. It was because of efforts like these several years ago that my eyes were opened to the magic of theater as a young student, and I’m honored to play a part in providing that experience for others.
Too often, I think, theatre and the arts are viewed as hobbies or simply a source of entertainment. This narrative fails to address that the arts play a unique role in fostering our ability as humans to feel empathy and be creative. In our increasingly polarized and divisive world, these qualities could not be more important. I’ve learned first-hand that is is essential for students to be exposed to the arts at a young age. The Fountain contributes to a movement that brings theatre to underserved groups and students, bridging the gap between communities and giving kids the tools to think outside the box. It was inspiring to be a part of this, and interact directly with some of the students served by The Fountain.
My time at The Fountain has taught me many things, from knowing how to dissect a 501(c)(3)’s 990-Form, to helping coordinate special events, to interacting with Hollywood managers and agents. The looming future of my career in the arts is now slightly less tinged with panic, and driven instead by excitement and confidence. I cannot thank The Fountain enough for welcoming me into their family, teaching me the ways of intimate theatre in Los Angeles, and giving me the tools to take command of my own career.
The Fountain Theatre is very pleased to announce that it has been awarded a grant from the David Lee Foundation in the amount of $32,000 to support and enhance the budget of the world premiere of its new deaf/hearing production, Arrival & Departure, which will combine American Sign Language and Spoken English. Written and directed by Stephen Sachs and starring Deaf actors Deanne Bray and Troy Kotsur, the new play opens July 14.
The David Lee Foundation aims to support, enhance and promote Los Angeles area professional theater. It offers monetary grants to encourage the production of plays and musicals that might otherwise be overlooked because of financial considerations. Grants are given to supplement cast sizes, set and costume budgets, orchestras and rehearsal time.
“This magnificent award will allow The Fountain to bring Arrival & Departure to our stage with the full vision intact,” affirms Fountain Theatre Director of Development Barbara Goodhill. “It is also a beautiful affirmation of the merit of this beautiful play and the importance of the community it serves and illuminates.”
With ever increasing costs accompanied by decreasing aid to the arts, theater companies large and small are being forced to work with fewer and fewer resources. As a result the live theater appears to be shrinking before our eyes. Few theaters can consider a play with over four actors and anything more than the most rudimentary of sets and costumes. More often than not we are greeted upon entering the theater with a bare stage, a chair and a program that lists one or two actors. While this may well be artistically satisfying in some cases, it has resulted in the neglect of many great works simply because of their size. The David Lee Foundation seeks to change that.
David Lee regularly directs and writes for major regional theaters, including the L.A. Opera, Pasadena Playhouse, Two River Theater Company, Papermill Playhouse, Williamstown Theater Festival, Encores, Reprise and the Hollywood Bowl. A nine-time Emmy Award winning director, writer and producer for television, David was co-creator/director of “Wings”and “Frasier”, a writer and producer for “Cheers” and a director for “Everybody Loves Raymond.” 19 Emmy nominations, Directors Guild Award, Golden Globe, Producers Guild Award, Ovation Award, British Comedy Award, Television Critics Association Award (three times), the Humanitas Prize (twice) and the Peabody.
Set in New York City, Arrival & Departure is a re-imagined modern-day deaf/hearing stage adaptation of the classic 1945 British film, Brief Encounter. A deaf man and a hard-of-hearing woman, married to different people, meet accidentally in a NY city subway station. A friendship develops over time, escalating into a passionate love affair that both deny themselves to consummate. An unforgettable love story inspired by one of the most beloved romantic movies of all time. A fast-moving innovative new production blending sign language, spoken English, open captioning and cinematic video imagery.
The Fountain Theatre is delighted to welcome attorney Lois R. Fishman to its Board of Directors. Lois brings her sharp intelligence, wealth of experience, and passion for theatre to our growing Fountain Board.
“The energy at the Fountain is contagious,” says Lois. “The intimate setting involves the audience in a way impossible in a large space. I was drawn to the evident humanity of the directors and cast. How did a small theater in Hollywood become a favorite home for Athol Fugard? This was worth looking into! And then I was seduced by the intelligent mix of programming, speaking to audiences about our times through the voices of established and new playwrights. From Tennessee Williams Night of the Iguana, to Tarell Alvin McCraney’s Brother/Sister plays, I love how the Fountain reflects the rich and complex composition of LA and invites us to share our stories and experiences. And then to meet the casts afterward in a cozy café setting is always such a thrill. On top of it all, I have been a fan of flamenco dance since my high school days and love that the Fountain has created a home for this art form.”
Lois is a lifelong theater goer with a collection of playbills dating back to the 1970s. A child of suburban New York, she grew up attending Broadway musicals, plays at Lincoln Center and downtown, and opera at City Center. While a college student at Yale, she studied drama history with Richard Gilman, ushered at the Yale Dramatic Association and shared subscriptions to Yale Rep and Long Wharf Theater. Favorite Yale theater experiences: the August Wilson plays directed by Lloyd Richards, the early plays of Wendy Wasserstein, anything by Athol Fugard.
Lois began her career in Washington D.C. at the National Endowment for the Arts and later worked as a writer and consultant to many arts and humanities organizations in the capital, before plunging into independent film and radio production, contributing free-lance pieces to NPR and working on the 13-part dramatic series “Faces Mirrors Masks.” She was the Executive Director of Americas Film Festival, the first DC-area festival of films from Latin America and served on the program committee for Women Make Movies and the DC Film Fest.
After moving to Los Angeles to start a new career as a lawyer in 1993, Lois completed the training program of the Arts Leadership Initiative and joined the Board of Odyssey Theater, her first introduction to the exciting small theater scene in LA. Highlights of that period include productions of The Caucasian Chalk Circle and The Rose Tattoo, among others. To lend support to an old friend, she also served for a few years on the Board of Santa Barbara Theatre where she first met Stephen Sachs.
Lois R. Fishman with Barbara Goodhill at ‘The Chosen’, Fountain Theatre
After marrying her husband Henry Fetter and moving from west LA to Hollywood in 2001, Lois eagerly sought out the small theatre scene in her new neighborhood and found Fountain Theatre through friends, including Diana Gibson who formerly ran the box office.
Lois is a Phi Beta Kappa graduate of Yale University (B.A., magna cum laude, honors with exceptional distinction in psychology) and holds a J.D. degree from Georgetown University Law Center and a Master of City Planning degree from the University of California, Berkeley where she was a Regents Fellow. Lois retired from The Walt Disney Company as Assistant General Counsel where she advised on distribution of films and TV programs via new media platforms. Lois currently has a solo law practice in mid-Wilshire area serving clients in the creative sector and non-profit organizations. She also teaches as adjunct professor at the Fowler School of Law, Chapman University, Orange, CA and has experience as a guest instructor at Loyola Law School, San Andreas University of Buenos Aires, Argentina and Mykolas Romeris University in Vilnius, Lithuania, among other institutions.
For six years she was a member of the Board of Trustees of Inner City Law Center, a legal services organization in Los Angeles, and was previously President of the Los Angeles Copyright Society, on whose board she served for eight years. Lois is active with the Yale Alumni Schools Committee, interviewing applicants for admission to Yale College, with Los Angeles Giving Circle, and with MOSTe, a mentoring and college access organization working with middle and high school girls from various LA public schools.
“Lois is not only expertly qualified to help guide the Fountain as a board member,” says Co-Artistic Director Stephen Sachs. “She is also a wonderful person. We are fortunate to have her expertise and goodwill.”
A select group of Fountain Theatre donors gathered at the lovely Sherman Oaks home of Director of Development Barbara Goodhill last night to meet the director and cast of our upcoming production of Chaim Potok’s The Chosen. The stage version of the beloved classic of modern Jewish literature opens at the Fountain January 20th.
The party first noted the Friday evening with Shabbat blessings led by Rabbi Jim Kaufman, followed by a delicious dinner. After welcoming comments by Co-Artistic Director Stephen Sachs and director Simon Levy, the four-member cast read a selection of short scenes from the script. The actors are Jonathan Arkin, Alan Blumenfeld, Sam Mandel, and Dorian Tayler.
The invited group of VIP guests included Mrs. Sue and Rabbi James Kaufman, Jacqueline Schultz, Robert and Carol Haymer, Marianne Weil, Harold Shabo, Marsha and Mark Novak.
Interested in joining our family of Fountain donors? Contact Barbara Goodhill, Development Director at (323) 663-1525 ext. 307 or email@example.com.