The Fountain Theatre is proud to announce that esteemed teacher, researcher, and consultant Margaret E. Phillips, PhD, has joined its Board of Directors. Her special interests are in cultural influences on organization behavior, management development in multicultural contexts, and organization diagnosis and design for sustainability.
“During my long career as an international business professor, a cross-cultural management researcher, and an organization design consultant, I have spent much of my time exploring challenging topics that incite conversation and ignite social change,” Phillips explains. “Much like the Fountain does every day using the medium of theatre. That is likely why the invitation to join the Fountain’s Board of Directors was so intriguing to me, especially coming at the time of my retirement from academia.”
Her work has been published in books and academic journals and included in compendiums of key contributions to the fields of cross-cultural management and international human resources management. Her book, Crossing Cultures: Insights from Master Teachers is a resource for teachers and trainers with proven methods for developing coping strategies and problem-solving skills in the cross-cultural arena. She co-authored the comprehensive chapter on “Conceptualizing Culture” for the Handbook for International Management Research and “Contextual Influences on Culture Research: Shifting Assumptions for New Workplace Realities” in the International Journal of Cross Cultural Management.
She has served on the governing boards of several organizations, for-profit and not-for-profit, with culturally diverse stakeholders.
“I have been a committed supporter of the Los Angeles theatre community for over 50 years,” she states. “Yet have only recently become a fan of the Fountain after experiencing the performance of Citizen: An American Lyric at Center Theatre Group’s first Block Party, and engaged with the theater after experiencing the powerful Walking the Beat this past summer. Subsequent performances and interactions with the Fountain family have allowed me to see that the values conveyed from the stage are lived in this company. This, and of course the charm and passion of the board colleagues themselves, have enticed me to join with you all as the Fountain moves toward its 30th year and beyond. I am proud and delighted to be along on this journey.”
Maggi Phillips enjoys opening night of Between Riverside and Crazy, 2019.
Dr. Phillips has been a member of the Western Academy of Management, the Academy of Management, the Academy of International Business, the International Organization Network, and the European Group for Organization Studies. She has conducted teaching exchanges and faculty workshops for several of these organizations in multiple international settings, and has made presentations and convened symposia for all, including Designing Culturally Sustainable Organizations for the 2012 EGOS meeting in Helsinki.
Dr. Phillips received her PhD in Management from the Anderson School at UCLA, an MS in Administration from the Merage School at UC Irvine, and a BA in Psychology from UCLA’s College of Letters and Science.
Dr. Phillips’ husband, Professor Mario Gerla, PhD, a pioneer in computer networks who had supervised more than 100 Ph.D. graduates during his long career, passed away in February after a prolonged battle with pancreatic cancer. Dr. Phillips has two daughters, Marisa and Cristina.
Psychologist Carl Jung introduced the word “synchronicity”, coining it to describe a “meaningful coincidence,” when unrelated events seem to happen for a reason. Synchronicity is something you feel. When, for no outward reason, the stars align and the right people come together at the right time and the result is something meaningful and long lasting.
Simone Missick, last seen at the Fountain in Citizen: An American Lyric, co-starred on the Netflix TV series Luke Cage as Misty Knight. She just signed the lead role in the new CBS legal drama pilot Courthouse.
Diarra Kilpatrick is the creator and star of American Koko, an ABC digital original series, earning her an Emmy nomination for Outstanding Actress in a Comedy/Drama Series, Short Form. She created, wrote, and starred in the comedy pilot The Climb for Amazon, and is set to star in a new comedy for Showtime opposite Keenen Ivory Wayans.
Maya Lynne Robinson, recently on stage at the Fountain in Runaway Home, is now a series regular on ABC’s Roseanne spinoff The Connors, playing the role of Geena Williams-Conner.
We asked these three dynamic actresses to share their thoughts on In the Red and BrownWater, and how theatre can form bonds that last a lifetime.
In the Red and Brown Water, Fountain Theatre, 2012.
What was it about In The Red and Brown Water that created such close ties?
MLR: For me, it stemmed from the fact that I was 3 months new in town and didn’t have a foundation/tribe yet. In the Red and Brown Water was the first project I was cast in once I moved to LA. I met these wonderfully creative and down-to-earth people and when you find those type of people, you shouldn’t let them go.
SM: I think what started at the table, with our director, Shirley Jo Finney, had a huge impact in creating a family amongst the cast and crew. To be able to discuss the play, the characters, inside and out and know that you were working with artists who took the work as seriously as you, made us all feel like we were experiencing something different and special. We knew we could trust one another onstage, and that trust helped us to build bonds as artists and as friends. But there is also a level of divine placement when it came to that production. Each of us were appointed to be there for those six plus months, for only God knows the reason, and to then be a part of each others lives. We’ve been there for each other through marriages, babies, cross country moves, and amazing work opportunities. It is just one of those special blessings, that so many of us gelled, and we found sisters and brothers, aunties and cousins in one another.
DK: I do believe [director] Shirley Jo Finney brought together a great group of not only artists but people. It was a joy playing with them and I’m grateful that we’ve s formed such loving, supportive bonds. We made a family and even though that’s common in the theater, this is a particularly special group of artists. Every one of us has continued to grow as artists and as people, I mean to the person. And I’m so, so proud of us.
What’s your favorite memory from that production?
MLR: Singing warm ups and prayer together before the show. There was something about our vibration that made me happy to do the show with these people every day for almost six months.
SM: There are sooooo many. Some of them stay in the vault. But one of them is Maya Lynne stomping her feet to get some of our other (not as rhythmically gifted brothers) on beat. She earned a nickname from that.
With whom from the cast have you most stayed in touch?
SM: All of us are on a text message chain that we connect through. This past Valentine’s Day, we all sent silly pictures to say we loved each other. I had the fortune to work with Shirley Jo four more times after that production, and she is such a special influence in my career and in my life. Our stage manager, Shawna and I have worked together again. I love that girl. Diarra and Maya Lynne are people that I talk to more often. We are all around the same age, experiencing some of the same career “firsts”, and we are always shooting each other a text of congratulations and cheering one another on. But the Red Brown family got together for a Christmas brunch, and FaceTimed with Stephen Marshall who moved to NY, so he wouldn’t be left out. We just love each other!
MLR: Whether we speak daily or once a year, we all pick up right where we left off. We have text message chains during holidays and big events. We try to have a reunion whenever possible. Half of us got together for a reunion earlier this year.
What is it about theatre — and the Fountain Theatre in particular — that creates a feeling of family?
MLR: There is a sense of family at the Fountain Theatre. From the exterior and interior style all the way to the intimacy of the spaces, the Fountain Theatre fosters closeness, authenticity and talent.
SM: Live theatre is an experience like no other. It is the artist’s equivalent to trapeze work, but the net is your fellow cast members. You are sailing through the air, with the audience there witnessing you doing emotional gymnastics, and every moment is alive and terrifying and electrifying. The intimacy of the Fountain leaves no room for hiding. You have to be vulnerable and authentic at every turn. That experience is one that creates a bond with your acting partners, because you are all there being honest and alive together.
DK:In The Red and Brown Water was a beautiful experience. I remember being in church and was particularly prayerful about opening myself up to new opportunities and challenges and ways to express myself. After service, Erinn Anova came up to me and said she was helping to cast a play at the Fountain and wanted to make sure she brought me in for it. She had seen me in something else and thought I’d be right for the lead. I so badly had wanted to work at The Fountain and with Shirley Jo. So, every step of the Red/Brown journey felt as synchronistic as that. Like it was meant to be. Like magic.
SM: I’ve managed to keep my Red Brown family close through it all. It truly was an experience of a lifetime that I will always cherish.
Darius R. Booker, Morgan Camper, and Derek Jackson in “Gunshot Medley”
by Dionna Michelle Daniel
“I feel most colored when I am thrown against a sharp white background.”
This sentence has stuck with me since the first time I read Claudia Rankine’s book, Citizen: An American Lyric. That sentence has been a jumping-off point and inspiration for the current play that I am currently developing.
I first encountered Claudia Rankine’s Citizen while a BFA at the California Institute of the Arts. That year, I was taking a class on hybrid writing with a bunch of MFA creative writers. Although I felt slightly out of place from my comfort of theater knowledge, I was determined to get my minor in creative writing. Even though Rankine’s Citizen functions as a hybrid text, at the time it wasn’t on the course reading materials. However, that didn’t stop it from being spoken about almost every other class. This was also around the time when there were the headlines of the black woman reading Citizen at a Trump rally. In the video, you see angry Trump supporters tap the woman on the shoulder, signaling that it is rude for her to not be complicit in Trump’s nonsense. It is rude for her to read. The woman’s response is one of the most epic things you will every see. She shrugs of the bitter rally attendees and continues to read her book. From that point on, it was clear to me that this book was a symbol of resistance and strength. I had to get my hands on a copy.
It’s funny how life happens. I began working at the Fountain Theatre in the Fall of 2017 and had no idea that Stephen Sachs had adapted a stage adaptation of the book. As a fan of this brilliant book and also a theatre nerd, I was excited to see this work brought to life and inhabited in the bodies of actors. I got my chance to see the performance at Grand Park on April 29th and needless to say, I was beyond moved. There is something about hearing those words spoken and coming from a black body that makes the text sink in that much deeper. The actors, all giving a beautiful performance, showed the pain & confusion that happens when constantly faced with microaggressions and systemic oppression. And when the lines, “I feel most colored when I am thrown against a sharp white background” were spoken, I was overwhelmed by the weight of this sentence. Felt the weight right in my chest.
This message of this book and the stage adaptation correlates to the work that I am trying to flesh out in my own writing. Currently, I am developing a Part 2 to my play Gunshot Medley. The second part will take place in the present day and I’ m most interested in the idea of what happens to the black psyche after being faced with the trauma of seeing so many killings of black men on our phone screens. When does it stop? When can we heal? And if we look at the black body as a vessel, how much can it hold before it snaps and breaks?
Dionna Michelle Daniel is the Outreach Coordinator at the Fountain Theatre
The stage is set for a collection of Los Angeles’ creative minds to get a moment in the spotlight. Even better, those moments will take place in Downtown, and the performances will be free.
On Friday-Sunday, April 27-29, the inaugural Our L.A. Voices: Spring Arts Festival will fill Grand Park. The happening will bring more than 30 artists and groups to the 12-acre space, where there will be live theater, dance, music and more. There will be performances as well as opportunities to buy art.
Julia Diamond, Grand Park’s interim director, said that the festival was created through a joint venture with the Music Center. The goal is to showcase a wide spectrum of the L.A. art scene, with everything from sculptors to digital artists in a family-friendly environment.
“We’re really trying to tell a big story about L.A. as a center of massive amounts of creative energy,” Diamond said.
Grand Park opened in 2012 and has played host to numerous community events, everything from the annual New Year’s Eve celebration to a book festival. Frequently local artists have been involved, but were not the focus.
This weekend, Diamond said, the artists will be thrust front and center. Festivities run from 6-10 p.m. on Friday, 1-10 p.m. on Saturday and 1-6 p.m. on Sunday.
“We’re trying to tell the biggest story that we can,” Diamond said. “It’s about making a big splash for an important part of L.A.’s identity and giving the audience a chance to come see art in one place.”
‘Citizen: An American Lyric’
Festival organizers have partnered with a number of artists and groups, among them the Fountain Theatre in East Hollywood. The theme of the festival is, “What does it mean to be a citizen?”
Aptly, the Fountain Theatre will perform Citizen: An American Lyric, an adaption of poet Claudia Rankine’s book of the same name that explores race relations and questions of citizenship in the United States. The novel was adapted by Stephen Sachs, artistic director of the Fountain, after coming across a book review in the New York Times. In the wake of the 2014 shooting death of Michael Brown in Ferguson, Mo., Sachs said that he wanted the theater to make a statement on race relations in America, and that Rankine’s words provided the proper avenue.
He described the book and the ensuing play as less of a sledgehammer and more of a scalpel, precisely dissecting racial narratives in American society to get to the core of what a citizen’s experience is like in the country. Citizen will be mounted on Friday and Saturday at 8 p.m.; each hour-long performance will be followed by a community discussion about the play and the festival.
Diamond said the play, which was previously on stage at the Fountain and the Kirk Douglas Theatre in Culver City, resonates with audiences and fits the theme of what she is trying to do with the Spring Arts Festival.
“It really became the core question of this year’s festival,” Diamond said. “Who belongs? Who is on the inside? Who is on the outside?”
Sachs said it is gratifying to have the work appear at the festival. However, he said he is disheartened that the issues that prompted the play are still relevant almost four years after Brown’s death.
“It’s very meaningful to me to have this work shared with as many people as possible,” Sachs said. “I love the idea of doing it in Grand Park in front of City Hall. I can’t think of anything more appropriate.”
The stage at Grand Park, downtown Los Angeles.
“We encourage people to come out in full force and to bring the whole family,” Diamond said. “Art is meant to bring us together and get us thinking, and there is no better way to do that than across generations.”
The Fountain Theatre’s critically acclaimed, award-winning stage adaptation of Claudia Rankine’s Citizen: An American Lyric has been chosen as the centerpiece ofOur L.A. Voices, a new festival celebrating the diversity and excellence of the arts in Los Angeles that will launch April 27-29 at Grand Park in downtown Los Angeles. A compelling play about racism in America, Citizen will represent excellence in Los Angeles theater at the multi-arts festival, with performances set for Friday, April 27 and Saturday, April 28. All performances are free to the public.
Citizen: An American Lyric was adapted for the stage by acclaimed playwright and Fountain co-artistic director Stephen Sachs from Rankine’s National Book Critics Circle award-winning book of poetry. In this intensely provocative and unapologetic rumination on racial aggression directed by Shirley Jo Finney, seemingly everyday acts of racism are scrutinized as part of an uncompromising testimony of “living while Black” in America — from the shooting of Trayvon Martin, to the tennis career of Serena Williams to the aftermath of Hurricane Katrina.
Actress Monnae Michael invites you to join her and fellow cast members — Bernard K. Addison, Leith Burke, Tony Maggio, Adenrele Ojo and Lisa Pescia — to enjoy what Stage Raw critic Myron Meisel called “a transcendent theatrical experience.”
‘Citizen: An American Lyric’ at the Kirk Douglas Theatre, 2017.
The Fountain Theatre’s critically acclaimed and award-winning stage adaptation of Claudia Rankine’s Citizen: An American Lyric has been chosen as the centerpiece of a new festival celebrating the diversity and excellence of the arts in Los Angeles. The festival, called Our L.A. Voices, will be launched April 27 – 29, 2018, in downtown Los Angeles at Grand Park.
Envisioned as an annual “best of L.A. arts festival,” this free, three-day performing and visual arts showcase will bring dance, music and theatre performances as well as visual artwork by L.A. artists to Grand Park every spring. Grand Park’s Our L.A. Voices will serve as a home for L.A. artists, underlining Grand Park’s commitment to L.A.’s creative communities.
The Fountain Theatre’s production of Citizen: An American Lyric has been chosen to represent excellence in Los Angeles theatre. The compelling play about racism in America will be the culmination of both evenings on Friday April 27th and Saturday April 28th, both performances at 8pm, serving as the centerpiece for the multi-arts festival.
Stephen Sachs’ stage adaptation of Citizen: An American Lyric by Claudia Rankine won the 2016 Stage Raw Theatre Award for Best Adaptation, declaring it “a transcendent theatrical experience.” TheLos Angeles Times hailed it as “powerful”, highlighting it as Critic’s Choice. The production was chosen by Center Theatre Group for its first Block Party celebration of intimate theatre in Los Angeles at the Kirk Douglas Theatre in 2017.
Director Shirley Jo Finney returns to direct the Grand Park outdoor production. Original cast members Bernard K. Addision, Leith Burke, Tony Maggio, Monnae Michaell, Lisa Pescia will be joined by Adenrele Ojo. The original design team — Yee Eun Nam (set and video), Pablo Santiago (lighting), Peter Bayne (sound), Naila Aladdin-Sanders (costumes) — also return with production stage manager Shawna Voragen.
“In the sprawling Los Angeles metropolis, Grand Park provides both a place and a reason for Angelenos to come together to experience the arts and each other in ways they never have before,” said Rachel Moore, president and CEO of The Music Center.
Grand Park is a 12-acre urban oasis nestled between The Music Center and City Hall. Operated by The Music Center, the park features fountains, outdoor dining, recreation, sprawling lawns and an outdoor stage. That stage will be the center platform for the Our L.A. Voices Arts Festival, highlighting the variety and high quality of L.A.-based artists and companies. The weekend-long event will feature music, dance, theatre, spoken word poetry and fine art. Food trucks will offer savory menus of LA cuisine.
Grand Park, Los Angeles.
“It’s an honor for the Fountain Theatre to be representing Los Angeles theatre at this exciting new arts festival,” beams Co-Artistic Director Stephen Sachs. “We’re proud to be partnering with the Music Center and Grand Park to celebrate the diversity and artistic excellence of our city.”
The Fountain Theatre’s stunning encore production of Citizen: An American Lyricconcluded its run as the centerpiece to Center Theatre Group’s Block Party Sunday night. After the final performance, the company gathered backstage with CTG and Fountain staff to toast their triumphant accomplishment. Take a look.
That Was The Week That Was was a satirical television show in the early 1960’s that brought focus to social and political issues of the day. The Fountain Theatre may look back on this current week, May 1 – May 7 in 2017, and brand it the same name. This week, in an unplanned juncture of synchronicity, the Fountain Theatre has two acclaimed productions running simultaneously in Los Angeles — one at its 78-seat Hollywood home on Fountain Avenue, the other at the 300-seat Kirk Douglas Theatre in Culver City — each dramatizing in mesmerizing fashion the urgent issues of race, injustice, and politics.
The Fountain’s National New Play Network Rolling World Premiere of Building the Wallby Robert Schenkkan was a smash hit the moment it opened in March at the intimate Fountain Theatre, selling out weeks in advance. Set in the near future, the powerful new drama unfolds as a man awaits sentencing in a federal prison for carrying out the orders of Trump’s national policy to round-up and detain immigrants by the millions.
Meanwhile, across town at the mid-sized Kirk Douglas Theatre, the Fountain’s acclaimed and award-winning encore production of Citizen: An American Lyric by Claudia Rankine, adapted for the stage by Stephen Sachs, is galvanizing audiences. The centerpiece of Center Theatre Group‘s inaugural Block Party celebrating intimate theatre in Los Angles, Citizen is a searing, poetic riff on race in America based on the best-selling book.
“To have these two important, meaningful productions running concurrently, one in an intimate theatre and the other in a mid-sized venue, is extraordinary,” says Fountain Co-Artistic Director Stephen Sachs. “It exemplifies who we are, what we do, and why we do it.”
Tony Award and Pulitzer Prize winning playwright Robert Schenkkan agrees. “Both Citizen and Building the Wall deal with the issue of race and the fundamental question of who is it we mean when we say, ‘We, the people,'” explains Schenkkan. “For more than twenty five years, the Fountain Theatre has been presenting exhilarating, necessary theater, wrestling with the most pressing social and political issues of the day.”
LA Stage Alliance Executive Director Steven Leigh Morris points out that this week is no anomaly. Morris notes, “That the Fountain Theatre has two productions running simultaneously — one at its home space in East Hollywood and the other at the Kirk Douglas Theatre as part of Center Theatre Group’s Block Party program — is a testament to the rigor and meticulous artistry that has been part of The Fountain tradition for twenty-seven years.”
By all accounts, this is an unforgettable week for the Fountain. We vow to continue our commitment to create, develop and produce meaningful new plays that bring to life urgent issues, week after week, for many years to come.
Lisa Pescia, Leith Burke, Bernard K. Addison, Monnae Michaell, Tony Maggio in The Fountain Theatre production of “Citizen: An American Lyric” at the Kirk Douglas Theatre. Photo by Craig Schwartz.
The journey of veteran director Shirley Jo Finney to the Kirk Douglas Theatre’s Block Party with The Fountain Theatre’s Citizen: An American Lyric began two and a half years ago, when Fountain co-Artistic Director Stephen Sachs called to ask her if she had read Claudia Rankine’s New York Times bestseller Citizen. Or maybe it began in 1997, when Finney directed her first of eight works at the Fountain. Or perhaps decades earlier when, as a recent MFA graduate of UCLA, Finney participated in Center Theatre Group’s New Work Festival at the Mark Taper Forum. Or really long before that, when Finney grew up in a segregated neighborhood and attended all-white schools where she was the only person of color.
In 2015, Sachs told Finney he was considering adapting Citizen for the stage, and that she was the right director for the project. “I read it, and I went, ‘Oh, this is my life,'” said Finney, recognizing her own experiences of “walking through and navigating those torrential waters of mainstream America when you are a person of color or ‘other,’ and what you have to swallow in order to survive.”
Citizen premiered at the Fountain in August 2015; last summer, Finney directed it again at the Spoleto Festival USA in Charleston, South Carolina, just one year after the city was devastated by a deadly assault that took the lives of nine African-Americans at Emanuel African Methodist Episcopal Church. Every performance was followed by a discussion with the audience. “We felt it was necessary while that community was still healing and that wound was oozing,” said Finney.
There will also be Stage & Audience Talks after every performance at the Douglas, where Citizen is onstage April 28 – May 7, 2017. Citizen touched audiences deeply in Los Angeles in 2015, but much has changed since then—for the cast and crew and for the audience.
Shirley Jo Finney
“As human beings we’ve been living our lives…we all evolve,” said Finney of herself and the company. “At the same time, in those two years, there has been a transformation in the collective. I’m interested to see, now, how it’s going to land with our audiences. Because what was maybe specific to a tribe has now expanded…something has been awakened, because ‘the other,’ now, is everyone.” The election, said Finney, “fractured what our belief system is about being an American and being a citizen, and what that culpability and responsibility is.” She added, “Not only do you have to say, ‘What does it mean to be a citizen?’ But also, ‘What does it mean to be a human being?'”
The re-staging at the Douglas offers an opportunity for the show to make a bigger impact in other ways as well. “My designer is excited because we have the height now onstage that we didn’t have in the [Fountain]. Our projections are going to have the impact that we wanted to have,” said Finney.
“I think it’s a healing piece with a historical narrative, and we need it at this point in time,” she concluded. “When you look at what we need as human beings, the three things, if you cut everything away, are: we need to be seen, we need to feel nurtured, and we need to feel safe. Citizen, I think, makes us aware and opens that space for that healing to begin.”
Citizen: An American Lyric is now playing at the Kirk Douglas Theatre to May 7th.