Recently, we shared video with you of our cleared-out parking lot getting re-paved. With that job completed, we were ready for the big, exciting deliveries: the trussing and the stage.
Trussing is the aluminum support structure around the perimeter of the stage from which lighting and sound equipment are hung. The outdoor stage – which is larger than its indoor counterpart – is composed of individual modular units like those used in open-air productions that can be easily broken down, stored, and then re-assembled as needed.
Both are now in place, so viola! The outdoor stage is ready to go!
So what’s next? Lights and sound equipment. The set. The actors. Tech. And then…you, dear friends! We cannot wait to see you again. Tickets for our inaugural outdoor stage production, the LA premiere of Branden Jacobs-Jenkins An Octoroon, are on sale now. The New York Times hailed An Octoroon as “this decade’s most eloquent theatrical statement on race in America today.” Don’t miss it! Call the box office at 323/663-1525 or visit our website at http://www.fountaintheatre.com to reserve your seats under the stars.
Check out the video below and watch how it all came together:
Terri Roberts is a freelance writer and the Coordinator of Fountain Friends, the Fountain Theatre’s volunteer program. She also manages the Fountain Theatre Café and outdoor concessions.
The Fountain Theatre is now casting roles for its Los Angeles Premiere of the Obie Award-winning play, An Octoroon, by Branden Jacobs-Jenkins. The production will launch the new Outdoor Stage at the Fountain Theatre. Judith Moreland directs.
Rehearsal Dates: 5/12/2021 – 6/10/2021
Preview Dates: 6/11/2021 – 6/16/2021
Opening Date: 6/18/2021
Closing Date: 9/19/2021
Performance Schedule: Fridays – Mondays 7pm
30 to 45 years old, Black/African American male. A frustrated contemporary playwright. Probing, idealistic, quick-witted, mocking. Puts on whiteface to make sense of Boucicault’s 19th century melodrama, playing both the cartoonish white villain (M’Closky) and the white hero (George) who falls in love Zoe. Seeking a skilled versatile actor who moves well. Strong sense of comedic timing a must.
30 to 45 years old, male. Native American, Asian, Middle Eastern or South Asian. Seeking fearless versatile actor to don blackface to play older slave Pete (offensive caricature —think Stepin Fetchit) and Paul (cartoonish pickaninny-type slave child—think Alfalfa from Our Gang). Actor must find the humanity in these disturbing stereotypical characters.
25 to 35 years old, female. Caucasian, Biracial, or multi-racial. White in appearance, Zoe is The Octoroon (person 1/8th Black by descent) of the title. Raised as a white-passing free woman but legally a slave. Educated, kind-hearted, dutiful, loyal – yet filled with self-loathing. Treated as though she has no mind of her own and no right to make her own decisions. Seeking classically-trained actress to bring heart to Zoe’s tragic journey.
30 to 40 years old, Caucasian female. A fading Southern Belle. Self-absorbed, privileged, spoiled, a wealthy plantation heiress vying for George’s affection. Actress must have strong comic timing.
35 to 50 years old, Black/African American female. House slave on the plantation, new at the job. Brash, unfiltered, no-nonsense, opinionated. A gossip. A slave, yet her language is modern. Must have strong comic timing.
35 to 45 years old, Black/African American female. Long-time house slave on the plantation. Wise, responsible, dry, with a sly sense of humor. Knows her place, as well as where the bodies are buried. A slave, yet her language is modern. Must have strong comic timing.
25 to 30 years old, Black/African American female. Pregnant domestic slave. Jaded, cynical. Not afraid to call things out with her own realistic spin, stand up for herself, or use her fists if she needs to. Yearns to run away, even though she is pregnant. A slave, yet her language is modern. Must have strong comic timing.
An Octoroon is a play about a play. A modern-day Black playwright is struggling to find his voice among a chorus of people telling him what he should and should not be writing. He adapts his favorite play, The Octoroon by Dion Boucicault, a 19th-century melodrama about illicit interracial love written seven years after Uncle Tom’s Cabin. The Black Playwright quickly realizes that getting white, male actors of today to play evil slave owners will not be easy. So, he decides to play the white male roles himself – in whiteface. What ensues is an upside down, topsy-turvy world where race and morality are challenged, mocked and savagely intensified. A highly stylized, theatrical, melodramatic reality is created to tell the story of an octoroon woman (a person who is ⅛ black) named Zoe and her quest for identity and love. Racial stereotypes are brutally satirized. Funny and profoundly tragic, Branden Jacobs-Jenkins’ An Octoroon is a whirlwind of images and dialogue that forces audiences to look at, laugh at, and be shattered by America’s racist history. Winner of the OBIE Award for Best New American Play.
JOIN US IN THE CREATION OF NEW WORK THROUGHOUT THE MONTH OF APRIL
The Fountain Theatre is thrilled to participate in The Dramatists Guild’s annual End of Play Initiative. Throughout the month of April, Dramatists across the U.S. are committing to completing one new theatrical work. Whether it be a new play, song, score, screenplay or revised draft of an existing work in progress – End of Play is here to help you achieve your goals through community support and encouragement.
Beginning April 1, DG will offer a variety of programming designed to motivate and inspire, including silent writing retreats, workshops, and readings.
In collaboration with the Southern California DG Region, The Fountain Theatre will host four of these events:
Silent Writing Retreats Saturdays April 3, 10, and 17 from 9am-10:30am.
Playwrights around the U.S. (and the world) will come together for a full focused hour of writing, followed by some time to chat, share, and network. All are welcome!
Readings of New Works
May 1st 5pm-6:30pm
To celebrate the fruits of our labor, The Fountain will present excerpts from works created as a result of End of Play.
You do not need to be a member of the Dramatist Guild to participate in any of the End of Play events.
To register for the Silent Writing Retreats and/or information regarding the readings, click here
Theirs is a unique relationship unlike any I have witnessed in my thirty-five years of creating theater.
They have been paired for decades. They have worked, travelled, and partied together, side by side, for so long they seem to share the same mind while, at the same time, remaining two distinct personalities. Like brothers, they love each other and sometimes piss each other off. Both are married, have families. Now, after logging in countless years of career ups and downs, together and individually, they each are bathing in a dizzying moment of public acclaim and professional success. It makes my heart glad.
Troy Kotsur is an extraordinary actor who happens to be Deaf. Paul Raci is hearing, a child of Deaf parents, fluent in American Sign Language, and a powerful veteran performer. For years, they have been linked on stage – an actor who signs and an actor who speaks – creating mesmerizing blends of sign language and voice on stage, dazzling deaf and hearing audiences in Los Angeles and in regional theaters across the country. I have known and loved both for a long time. We have created new plays together at the Fountain Theatre. My soul sings to now see them bask in the warmth of a bright day in the sun, each in his own light.
Troy co-stars in “CODA,” a touching coming-of-age dramedy about a young girl in conflict with her Deaf parents and brother as she attempts to pursue singing. In January, it received top honors at the 2021 Sundance Film Festival. It ignited a bidding war, setting a record when the worldwide distribution rights were picked up by Apple Studios for $25 million — the highest sum ever for a film premiering at Sundance.
Paul has a supporting role in the film “Sound of Metal.” The movie – and Paul’s performance –has been gobbling up accolades and awards since its release. The film has been nominated for six Academy Awards, including Best Picture and, in a life-changing nod to Paul’s work, Best Supporting Actor.
It fills me with joy that each are enjoying a moment of triumph at the same time. And it makes sense. When they played brothers on stage in the world premiere of my play “Cyrano,” they were called upon to become the same person. In this Deaf spin on the classic romantic story, Paul portrayed Chris, the hearing sibling who spoke and ASL-interpreted for his lovelorn Deaf brother Cyrano (Troy). Hands and voice became one. After our acclaimed run at the Fountain, we travelled to New York Theatre Workshop for a special performance. We then brought the play to Mixed Blood Theatre in Minneapolis.
Troy and Paul later co-starred in a Deaf West production of David Mamet’s “American Buffalo” that opened in Los Angeles and then toured other cities.
The relationship between a Deaf actor and their hearing counterpart who “voices” for them on stage is tricky and delicate. It demands respect on both sides, with the understanding that it is the Deaf actor who dominates, who must lead the way. The “voice actor” partners with the Deaf actor to help make the performance accessible to hearing audiences – but the focus must be on the Deaf actor’s performance. This kind of unique inter-dependence between artists requires that each much surrender a degree of their autonomy. That can be hard. All kinds of feelings come up. A trust and respect must develop between them. It also demands a level of skill that the average person cannot comprehend.
Paul and Troy are men with big hearts, strong opinions, and powerful personalities. They are both blessed with their own unique skills. Most valued by me, they share a vital trait: the capacity to love. They are each kind and compassionate men and longtime actors, deeply talented, who have paid their dues.
In this year following a long period of despair, the recent triumphs of Troy Kotsur and Paul Raci are a spiritual shot in the arm. There is reason to rejoice. Every once in a while, the good guys come out on top.
Stephen Sachs is the Artistic Director of the Fountain Theatre.
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.
On March 12, 2020, we were forced to shut down our hit production of the world premiere of HUMAN INTEREST STORY due to the COVID pandemic. One year later, after an unimaginable period of closing our doors, we are poised to launch our game-changing Outdoor Stage this summer.
Winner of the Obie Award for Best American Play, Jacobs-Jenkins’ landmark play has earned ecstatic reviews nationwide. The New York Times hailed it as “this decade’s most eloquent theatrical statement on race in America today.” The Guardian declared it “brilliant” and “extraordinary.”
An Octoroon is a radical, incendiary and subversively funny riff on Dion Boucicault’s once-popular 1859 mustache-twirling melodrama set on a Louisiana plantation. A spectacular collision of the antebellum South and 21st-century cultural politics, An Octoroon twists a funhouse world of larger-than-life stereotypes into blistering social commentary to create a gasp-inducing satire.
“I’m proud the Fountain will introduce this bold play to Los Angeles audiences on our new outdoor stage,” states Fountain artistic directorStephen Sachs. “It could not be timelier. The moment has come for our nation to confront its own racist history. Branden uses satire to get to the dark core of American slavery and the racial stereotypes that continue to plague this country today.”
Earlier this year, the Fountain received approval from the City of Los Angeles to install the outdoor stage for the purpose of safely presenting live performances and other events during the pandemic. Construction is set to begin this month, with the opening of An Octoroon slated for June.
Before that can happen, a number of tasks remain on the Fountain’s to-do list to inaugurate the outdoor venue. The first step is to repave the parking lot, where the stage will be installed. Lighting, sound, and video equipment will be loaded in. New chairs will be positioned according to COVID guidelines to accommodate 84 viewers. The entire site will meet all safety requirements for artists and audience members.
“Everything now depends on the COVID numbers,” says Sachs. “Once they drop to a level where the County Department of Public Health allows a gathering outdoors of one hundred people, with safety guidelines in place, we’re good to go.”
The new outdoor performance area is made possible, in part, by the generous support of Karen Kondazian, the Vladimir and Araxia Buckhantz Foundation, Rabbi Anne Brener, Carrie Chassin and Jochen Haber, Miles and Joni Benickes, and the Phillips-Gerla Family.