Greetings! I am Dionna Michelle Daniel and I am excited to announce that I have joined The Fountain Theatre as the new Outreach Coordinator. At The Fountain, I will be focusing on educational programming and community engagement.
In May, I graduated from the California Institute of the Arts with a Bachelor of Fine Arts in Acting and a minor in Creative Writing. I am coming to the Fountain after a month-long run at the Edinburgh Fringe Festival of my new play Gunshot Medley. Gunshot Medleystretches across the Antebellum American south through present day to weave a rich history of the Black-American experience, blending poetry and song to respond to the historical expendability of Black bodies and the lives lost to hatred, racism, and police brutality. At the Fringe it received four 5 out of 5 star reviews and ultimately became a crowd favorite.
While at The Fountain, I will also be working as a youth instructor teaching creative writing at the Boyle Heights Arts Conservatory through CAP. Building a nurturing community for young artists and educating students is one of my personal missions, so I am excited to embark on helping expand The Fountain’s educational program, Theatre as a Learning Tool.
Theater that is rooted in social activism has always been a passion of mine. I believe that art, especially live performance, has the potential to dramatically change hearts and minds. Theater has the ability to plant the seeds of empathy, inquiry, and discussion. From those seeds, real social change begins.
‘Citizen: An American Lyric’ at the Fountain Theatre
by Josh Gershick
Citizen: An American Lyric, the play, takes its title and text from a book of prose poetry by Claudia Rankine, finalist for 2014 National Book Award in Poetry and winner of the National Book Critics Circle Award in Poetry, among other plaudits. Writing in the New York Times last June, after six black women and three black men were shot to death by a self-avowed white supremacist at a Bible-study meeting at the historic Emanuel African Methodist Episcopal Church in Charleston, SC, Ms. Rankine said, “Though the white liberal imagination likes to feel temporarily bad about black suffering, there really is no mode of empathy that can replicate the daily strain of knowing that as a black person you can be killed for simply being black: no hands in your pockets, no playing music, no sudden movements, no driving your car, no walking at night, no walking in the day, no turning onto this street, no entering this building, no standing your ground, no standing here, no standing there, no talking back, no playing with toy guns, no living while black .”
The play – “a fast-moving collage of colliding events, fragments, vignettes and streams of consciousness”-is deeply compelling. Here, a chat with Stephen Sachs, co-artistic director of the Fountain Theatre and the playwright who brought Citizen to the stage.
JOSH GERSHICK:Citizen is a beautiful piece of theatre, addressing persistent racism head on. Talk about theatre’s (and this play’s) ability to move, transform, agitate and uplift an audience.
STEPHEN SACHS: In 2014, when Claudia’s book was being published, Michael Brown was killed in Ferguson, MO. I had been looking for a theatre protect that would add a unique voice to the national conversation about race in America. Racism is embedded in the fabric of our country and its founding.
We may all be created equal, but we certainly are not perceived that way by each other. I wanted to make a statement that would open the eyes, minds and hearts of audiences in unexpected ways. Quite by accident, I was caught by a review of Citizen in a national newspaper. The title immediately grabbed me. When I actually got the book, it flashed in my mind that this was the voice I was looking for. What makes the book-and the theatre piece – unique is that they expose and illuminate the sometimes unintended and unconscious acts of everyday racism. Subtle, insidious, soul crushing-the little murders we commit daily. Micro-aggressions between friends and co-workers at the market, in the office and on the subway. What we say, how we think, what we do. White privilege and dominance have been so deeply [ingrained] in this country. The play makes you see it, feel it, and think about it. Isn’t that what art is supposed to do?
JOSH GERSHICK: You’ve said you’d like theatre-goers to come away with a new awareness of how they themselves might perpetuate racism. A white theatre-goer cannot, in my view, see this piece without confronting his or her own attitudes: ideas. But what is the takeaway for audiences of color, who are on the receiving end of racism?
STEPHEN SACHS: A dramatization of white dominance. A truth-telling. We had a full mix of white and black audience members throughout the run at the Fountain Theatre. Black patrons had a wide range of reactions to the play: the laughter of recognition, gasps, silence, tears. The unease of, “I can’t believe you’re really saying that,” and the delight of “I’m so glad you are.” And because it’s all about exposing and revealing hidden (and not so hidden) racism, the piece carries the call of giving voice and speaking out.
JOSH GERSHICK: The run was clearly a success. (Mazel Tov on your Stage Raw Award!) What’s next for the play?
‘Citizen’ at Pure Theatre in Charleston, SC.
STEPHEN SACHS: The play now is beginning its future life around the country. I’m proud that Citizen is beingperformed in Charleston this June, in a theatre just four blocks away from the Emanuel African Methodist Episcopal Church, to mark the one-year anniversary of the shooting there. On June 17, when we reflect on that national tragedy, the play will be there. This is deeply meaningful to me. This is why we do what we do. This is who we are. A New York production is also in the works.
JOSH GERSHICK: I think of LA theatre, 99-seat theatre, as an incubator, a cradle, a hothouse and a glorious lab for bringing forth new, compelling work-Citizen, for example and revisiting work that remains seldom produced, such as the work of Alice Childress. What percentage of new work launched at the Fountain Theatre goes on to regional stages and to NY?
STEPHEN SACHS: The Fountain Theatre is a home for artists and audiences to gather together in an intimate setting to share stories that illuminate what it means to be a human being, with the goal that new plays are then seen in theatres across the country and around the world. We may be small in size, but we’re large in heart and dedication and purpose.
Kathleen Turner in ‘Bakersfield Mist’, West End, London.
Quite a number of new plays created, developed and launched at the Fountain have now been produced across the U.S.and around the world. Sweet Nothing in Ear has been performed around the country and was made into a TV movie starring Jeff Daniels and Marlee Matlin. What I Heard About Iraq has been performed internationally, winning the Fringe First Award at the Edinburgh Fringe Festival. Our world premiere of Athol Fugard’s Exits and Entrances was produced around the country, then opened Off-Broadway at Primary Stages in NYC, then went overseas to the Edinburgh Festival. Bakersfield Mist, performed in theatres across the country, ran for three months on the West End in London, starring Kathleen Turner, and is now being produced in regional theatres throughout the country and translated into other languages and performed worldwide. The list goes on and on.
JOSH GERSHICK: Recently a New Yorker said to me, “Oh, is there theater in Los Angeles?” True, actors, writers & directors typically make their living here in TV, film & digital platforms, but we have amazing theatre-and most abundantly and energetically, intimate theater.
STEPHEN SACHS: Los Angeles still fights for its right to be called a “theatre town,” even though-and this may surprise you-more theatre is produced in LA than any other city in the world. More than New York or London.And according to a recent report, Los Angeles is also home to more working artists than any other city in the United States. The national profile of theatre in Los Angeles has never been higher. More and more new plays created here are being produced nationwide. Still, the myth is that LA theatre is somehow less serious and that LA actors do theatre only to be seen by casting directors in “the industry,” and not for the art of the work. This simply is not true. It’s a lie. And much of the most satisfying work and the most challenging new plays are being done in LA’s intimate theaters. Larger theaters can no longer afford to take artistic risks, so all that adventurous, artistic energy is humming in the intimate theatre community. The spirit behind it, the force to create, has transformed the cultural landscape of Los Angeles.
Josh Gershick is a playwright, filmmaker and author. This post originally appeared in The Dramatist, the national magazine for The Dramatist Guild.
Continuing its 12-year relationship with Athol Fugard, The Fountain Theatre celebrates the master playwright’s 80th birthday with theU.S. premiere of his newest play. Directed by Stephen Sachs and starring Morlan Higgins, Julanne Chidi Hill and Jacqueline Schultz, The Blue Iris opens at the Fountain on August 24, with low-priced previews beginning August 18.
Described by Time magazine as “the greatest active playwright in the English-speaking world,” Athol Fugard celebrated his 80th birthday on June 11, but the prolific writer shows no signs of slowing down. On June 28, The Blue Iris premiered at The National Arts Festival in his native South Africa to rave reviews. “Vintage Fugard… riveting theatre that will evoke whispering echoes in the heart long after the show has ended,” wrote Cue magazine.
The Blue Iris is set in Fugard’s beloved and desolate South African desert, the Karoo. In a burnt-out farmhouse, a widowed farmer, Robert Hannay (Higgins) and his housekeeper, Rieta (Hill) sort through the fire-ravaged debris of their lives. The discovery of a miraculously undamaged painting of a flower – a blue iris – created by Hannay’s deceased wife (Schultz) unlocks long-forgotten memories and hidden secrets. Fugard digs deep into the human heart, and the result is a love story full of tender, soul-touching and surprising revelations.
“We should be going into people`s lives, their souls, their ways of life. Everything I have written is an attempt to share secrets with you,” says the playwright.
“The Blue Iris is achingly beautiful, a heartfelt play that brings to life the tender honesty and deep complexity of human relationships,” avers Sachs. “We cherish Athol’s 12-year friendship and artistic association at the Fountain, and we’re thrilled to celebrate his 80th birthday with this remarkable work.”
The author of over 30 plays and recipient of countless accolades including the Academy Award, Obie Award, and Tony Award, Athol Fugard is best known for his plays about the frustrations of life in contemporary South Africa and the psychological barriers created by apartheid. Widely acclaimed around the world, his plays include Boesman and Lena (Obie Award, Best Foreign Play), Sizwe Bansi Is Dead (Tony Award, Best Play), A Lesson from Aloes (New York Drama Critics Circle Award, Best Play), the semiautobiographical Master Harold…and the Boys (Writers Guild Award, Outstanding Achievement) and The Road to Mecca (New York Drama Critics Circle Citation, Best Foreign Play, London Evening Standard Award, Best Play). The first white South African playwright to collaborate with black actors and workers, some of his works, such as Blood Knot, were initially banned in South Africa. In his first two post-apartheid plays, Valley Song (1995) and The Captain’s Tiger (1998), Fugard addressed more personal concerns, but in Sorrows and Rejoicings(2001) he focused on the complex racial dynamics of South Africa’s new era. In 2005 his novel, Tsotsi (1980), was adapted for the screen, winning the Academy Award for Best Foreign Language Film. In 2011, Mr. Fugard was honored with a special Tony Award for Lifetime Achievement in the Theater. Even though this prolific playwright, novelist, actor, director and teacher now lives and works in San Diego, he continues to be inspired by the dynamics in his land of birth.
Athol Fugard’s ‘The Road to Mecca’ (LA Premiere, Fountain Theatre, 2000) starring Priscilla Pointer and Jacqueline Schultz
The Fountain Theatre’s special relationship with Fugard began when co-founder/co-artistic director Stephen Sachs directed the L.A. premiere of Fugard’s The Road to Mecca in 2000. Fugard was so impressed that he offered the company world premiere rights to an as-yet-unwritten new work. When Sachs directed the world premiere of Exits and Entrances in 2004, it received recognition for Best Production and Best Director from both the Los Angeles Drama Critics Circle (garnering a total of five awards) and the Ovations (receiving a total of three awards). Mr. Sachs went on to direct acclaimed regional productions of Exits and Entrances around the country, an Off-Broadway production at Primary Stages, and the UK premiere at the 2007 International Edinburgh Festival. Since then, he has directed premieres of Fugard’s plays at the Fountain including the American premiere of Victory (two LADCC awards and four LA Weeklynominations, and named “Best of 2008” by the Los Angeles Times); the West Coast premiere of Coming Home (three LA Weeklyawards including “Ensemble” and “Direction,” LADCC award for “Lead Performance”); and the U.S. premiere of The Train Driver (three LA Weekly awards). Athol Fugard has stated that he “considers The Fountain Theatre his artistic home on the West Coast.”
Set design for The Blue Iris is by Jeff McLaughlin; sound design is by Peter Bayne; prop design is by Misty Carlisle; the dialect coach is JB Blanc; the production stage manager is Terri Roberts; and Simon Levy and Deborah Lawlor produce.
Morlan Higgins starred in Fountain Theatre productions of Athol Fugard’s Exits and Entrances, Victory and The Train Driver, as well as inShining City by Conor McPherson (LA Weekly Award), After the Fall (Ovation award for Best Production) and The Boys in the Band. Other credits: Forgiveness (Black Dahlia Theatre), King Lear (Antaeus), Dealing with Clair, Water Children, Mad Forest, The Birthday Party (The Matrix Theatre Company); Dylan (Skylight Theatre); Equus (Pasadena Playhouse), A Skull in Connemara (Theatre Tribe),Hughie (Eugene O’Neill Foundation at Tao House); and numerous other plays on local stages. Morlan has received multiple Ovation, LADCC, LA Weekly,Back Stage Garland, Drama-Logue, and Ticketholders Awards. He was nominated for the Lucille Lortell Off-Broadway Actor of the Year Award for his performance in Exits and Entrances at Primary Stages in NYC, He was nominated for a Carbonell Award for E and E at Florida Stage and received a New Jersey Tony for E and E at New Jersey Rep. He is also the recipient of Santa Barbara Indie Awards for Hughie and Victory at SBT. Morlan also plays Celtic music in the local band Staggering Jack.
Julanne Chidi Hill
Julanne Chidi Hill is a graduate of the prestigious SUNY Purchase Conservatory of Theatre Arts and Film and was classically trained at Oxford University where she studied extensively with John Barton (Royal Shakespeare Company) and Katie Mitchell (Royal National Theatre). She has worked at the McCarter Theatre, Seattle Rep, Mark Taper Forum, Stages 52, McCadden Stages Theatre, Ebony Rep and Kirk Douglas Theatre, and she most recently appeared at the Celebration Theatre in the Ovation award-winning Women of Brewster Place. Television credits include guest-starring on the Jerry Bruckheimer drama The Whole Truth (ABC) and FX series The Shield, and recurring roles on NBC’s My Name is Earl and Showtime’s Weeds. Feature films: Crank: High Voltage (as “Dark Chocolate”), Barbershop 2, and alongside Tom Everett Scott and Lee Tergesen in 2nd Take, directed by John Suits.
Jacqueline Schultz was last seen in the critically acclaimed production of Park Your Car in Harvard Yard at International City Theatre. She costarred in the West Coast premiere of String of Pearls at both North Hollywood’s Road Theatre Company and the Santa Barbara Theatre, appeared at the Pasadena Playhouse in the world premiere of Open Window, and starred in the critically acclaimed L.A. premiere of Lee Blessing’s Going to St. Ives at the Fountain (Best Actress nomination, NAACP Theatre Award), later reprising her role for the International Fringe Festival in Edinburgh. Other leading roles at the Fountain: After the Fall (Ovation Award for Best Production),The Road to Mecca; The Night of the Iguana;The Darker Face of the Earth; Fighting Over Beverley (LA Weekly Award); Duet for One(Ovation Award nomination, Best Actress); Ashes (Drama-Logue Award); The Golden Gate (Drama-Logue Award); and Orpheus Descending. Other theater credits include To Kill a Mockingbird and Awake and Sing! (International City Theatre) and Sorrows and Rejoicings (Mark Taper Forum). She has appeared at the Kennedy Center, Ensemble Studio Theatre (NY) and the Mark Taper Forum’s New Works Festival. TV credits include The Practice, ER, My Wife and Kids,7th Heaven, Crossing Jordan, Judging Amy, the HBO movie Tyson, and many more.
Housed in a charming two-story complex, the Fountain is one of the most successful intimate theaters in Los Angeles, providing a nurturing, creative home for multi-ethnic theater and dance artists. Fountain productions have won more than 200 awards for production, performance and design, with more Ovation nominations and awards than any other intimate theater in the history of the awards—and the only intimate theater to win the Ovation for Best Production five times. Fountain projects have been seen in New York, Chicago, San Francisco, Seattle, Florida, New Jersey, Minneapolis and Edinburgh. Highlights include a six-month run of Bakersfield Mist, written by Stephen Sachs, set to open in London this fall and optioned for New York; the Off-Broadway run of the Fountain’s world premiere production of Athol Fugard’s Exits and Entrances; and the making of Sweet Nothing in My Ear, also by Sachs, into a TV movie. The Fountain has been honored with a Certificate of Appreciation from the Los Angeles City Council for demonstrating years of artistic excellence and “enhancing the cultural life of Los Angeles.”