Tag Archives: Fred Koehler

You Have Changed Me Forever: Remembering ‘The Normal Heart’

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Tim Cummings, Bill Brochtrup, “The Normal Heart”, Fountain Theatre, 2013.

by Tim Cummings

“Hello, you don’t know me. I hope you get this message. Sometimes, when you try to send a message to someone you’re not ‘friends’ with on Facebook, it gets blocked, or you have to ‘approve’ it. I hope you’ll approve this message if it gets to you.

 I saw The Normal Heart on Saturday night, and haven’t slept well since. My father died of AIDS in 1995. I was 15. Except he didn’t die of AIDS, he died of ‘cancer.’ Except we all knew it was AIDS because he was gay and had been sleeping around with men for years. We were a Catholic family, and so shame was tantamount to pretty much everything, especially my dad’s secret life. There were a lot of years after he died where Thanksgiving and Christmas and birthdays and anniversaries were lonely days, hollow days where not much was said and my sister and I would sit with our mom around the table and stare at our food.

Watching you on stage, the frustration and rage, it was so palpable it cracked me open, like an egg, and I feel like I can feel again. Except now I feel a lot of rage too. I feel like the rage is taking its revenge, saying, “You ignored me for 20 years and now I own you.” I feel like you brought it into my life. It was like you were breaking barriers up there. I could feel how uncomfortable the audience was at times. Like they were afraid of you. I was too, I guess, but also relieved. I don’t know what you are doing up there, or how you manage to live the role several times a week, but I want you to know that you have changed me forever. More than the play. More than the production. YOU.

I didn’t know who Larry Kramer was before the other night, but I’ve been reading up on him and watching videos on YouTube. He wanted to change things and wake people up and he could only do it by shattering everyone around him that wouldn’t listen. He’s lucky someone like you can interpret his intentions. I will probably see the show again before it closes. For now, I’m figuring out what to do with these feelings. Like, how do I forgive my dad? How do I talk to my mom, after all these years, about what really happened? How many more people out there are just like me, waiting for something to come along and break them open? Too many innocent men died. For nothing. I think I might take boxing lessons.”

In the summer of 2013, I was 40 (and a half) years old and really taking stock of my life, as one is wont to do at 40 (and a half). I had been in Los Angeles exactly a decade at that point, and reflecting on my career as an actor: roles won, roles lost, characters deeply inhabited, their skins later shed like a snake once a show ended, reviews, awards, pounds gained and dropped again, friends made and later lost, the worry over male pattern baldness. That summer, I contemplated the possibility that the ‘acting thing’ was more of a hobby than a profession. Things had changed drastically after I moved from New York to LA. In NY, I was working on Broadway, making a living acting. I was on a good trajectory there.

Where I grew up, and in my time, theater had always felt like a great act of rebellion, a middle-finger held up high to everything normal and expected and accepted. Thespians were teased and bullied, but I prided myself on being subversive, anathema to their pack mentality and bougie normality. Theater was punk af. In LA, however, acting suddenly felt like trying to be part of the popular kids again. Clique mentality. I wanted no part of it. How will I succeed if I have no interest in playing by the rules? I’ve always hated rules. I didn’t want to be hot or muscular or skinny or alpha or tan or…commercially viable in any way. I didn’t want to do things the way they were supposed to be done. I desired to shave my head, ring my eyes with racoon-black eyeliner, cover my body in tattoos, pierce every part of me, paint like Pollock, join a band. I contemplated whomever managed to pull off “LA success” with bitter disdain and a kind of squishy envy. That’s okay—I’m not above being human. Actors are not superheroes, despite the way the media depict them and fame & fortune define them.

I happened to be perusing the labyrinthian interwebs that summer when I discovered a breakdown for The Normal Heart, Larry Kramer’s seminal 1985 agit-prop manifesto about AIDS in the early-to-mid 1980s and how he and his friends banded together to create GMHC (Gay Men’s Health Crisis). The Fountain Theatre in Hollywood was set to produce, overseen by one of the theatre’s founders and Co-Artistic Director, the outstanding Stephen Sachs. The play hadn’t been done in LA in about twenty years, and though it had been given a slick, starry revival on Broadway a few years prior, it felt, perhaps, like something that sunny, surfery Southern California had no right to consider. It’s my (arguably harsh) opinion that LA has always felt too granola (read: passive) for the righteous anger of stories birthed in New York City by New Yorkers.

Nonetheless, The Fountain had a reputation for mounting plays with a social justice bend, and Kramer’s behemoth was certainly no exception. I drafted a cordial email to the casting director asking to be seen. (I’m a firm believer that if you want something done, you do it yourself, and immediately. In other words, I wasn’t going to ask the manager to ask the agent if I had been submitted and then wait around, to neither receive a response nor an appointment time.) When casting responded to my inquiry I assumed the team would want to see me for the role of Bruce Niles, the strapping gay ex-marine. At 6’2” , broad-shouldered, and north of 200lbs, I figured it was the only role they’d consider me for. Instead, they asked me to prepare the role of Ned Weeks, the play’s antagonistic protagonist. Ned is molded out of the playwright himself, the pejorative Larry Kramer. It was the true story of him and his friends, after all, and he was going to tell it his way. It’s a colossal script, with a role as immense as Hamlet, and on nearly every page it elucidates Ned’s pushiness, outspokenness, and righteous anger.

How does an audience go on a journey, and root for, a disagreeable character?  Continue reading

Fountain Theatre Wins 26 Awards from StageSceneLA For Excellence in 2013-14

The Fountain Theatre has gobbled up 26 Theater Awards from Stage SceneLA for our acclaimed 2013-14 productions of The Normal Heart, My Name is Asher Lev and The Brothers Size. StageSceneLA editor Steven Stanley announced the winners this week after seeing and reviewing 268 productions from September 1, 2013 through August 31, 2014. The overall awards list is long and there are multiple winners in many categories.  All of it demonstrating, as Steven Stanley affirms, that “theater in Los Angeles and its surrounding communities is alive and thriving and quite often simply as good as it gets. “

These 2013-14 Fountain productions received the following awards:

The Normal Heart 

Tim Cummings and Bill Brochtrup in 'The Normal Heart'.

Tim Cummings and Bill Brochtrup in ‘The Normal Heart’.

  • Production of the Year – The Normal Heart
  • Best Director, Drama – Simon Levy
  • Best Performance, Lead Actor – Tim Cummings
  • Best Performance, Lead Actor – Bill Brochtrup
  • Best Performance, Featured Actress – Lisa Pelikan
  • Best Performance by an Understudy – Ray Paolantonio
  • Best Performance, Featured Actor – Matt Gottlieb
  • Best Performance, Featured Actor – Fred Koehler
  • Best Performance, Featured Actor – Stephen O’Mahoney
  • Memorable Performance, Featured Actor – Dan Shaked & Jeff Witzke

My Name Is Asher Lev

Jason Karasev, Anna Khaja and Joel Polis in 'My Name Is Asher Lev'.

Jason Karasev, Anna Khaja and Joel Polis in ‘My Name Is Asher Lev’.

  • Best Production, Drama – My Name is Asher Lev
  • Best Director, Drama – Stephen Sachs
  • Best Performance, Lead Actor – Jason Karasev
  • Best Performance, Featured Actor – Joel Polis
  • Best Performance, Featured Actress – Anna Khaja
  • Best Costume Design – Shon LeBlanc
  • Best Lighting Design – Ric Zimmerman 
  • Best Scenic Design – Jeff McLaughlin 

The Brothers Size

Gilbert Glenn brown  and Matthew Hancock (photo by Ed Krieger)

Gilbert Glenn Brown and Matthew Hancock in ‘The Brothers Size

  • Best Director – Shirley Jo Finney
  • Best Ensemble Cast, Drama
  • Best Choreography, Play – Ameenah Kaplan
  • Memorable Lighting Design – Pablo Santiago
  • Best Scenic Designer – Hana S. Kim

Multiple Productions: 

  • Sound Design/Composer of the Year – Peter Bayne, The Brothers Size, The Normal Heart
  • Best Props Design – Misty Carlisle – Asher Lev, Brothers Size, Normal Heart

Our thanks to Steven Stanley and StageSceneLa for this acknowledgement.  We appreciate and applaud his enthusiasm and support for theatre in Los Angeles.   

For the complete list of StageSceneLA Award winners click here.

Production photos by Ed Krieger

 

 

Fountain Theatre Earns Nine LA Weekly Theater Award Nominations for Excellence in 2013

Tim Cummings and Bill Brochtrup in 'The Normal Heart'.

Tim Cummings and Bill Brochtrup in ‘The Normal Heart’.

The Fountain Theatre has been nominated for nine LA Weekly Theater Awards for its acclaimed 2013 productions of The Normal Heart and Heart Song.  

  • Revival Production of the YearThe Normal Heart
  • Direction – Simon Levy, The Normal Heart
  • Leading Female Performance – Pamela Dunlap, Heart Song
  • Leading Male Performance – Tim Cummings and Bill Brochtrup, The Normal Heart
  • Supporting Female Performance – Lisa Pelikan, The Normal Heart
  • Supporting Male Performance – Verton R.Banks, Matt Gottlieb, Fred Koehler, The Normal Heart

Zombie Joe’s Underground will host the 35th annual L.A. Weekly Theater Awards on April 7 at Exchange LA. The awards honor what the paper’s committee of critics have deemed the best work performed in theaters of 99 seats or less in the 2013 calendar year. 

"Heart Song"

Pamela Dunlap in “Heart Song”

Click here for the full list of nominees. 

Fountain Mail: “One of the most important evenings of theater I’ve had in many, many years”

Stephen O'Mahoney, Tim Cummings

Stephen O’Mahoney, Tim Cummings

Dear Fountain Theatre,

I was going to write a hardcopy letter but decided to use this route instead. Please, if you think it appropriate, pass my comments along to all of the cast members.

As you know, I was in the audience last Friday. Somehow or other I had missed seeing this play up until now. It was and is a very important play in the history of g/l/b/t rights and the AIDS epidemic. As someone who joined his local gay rights organization in Seattle one week to the day after the beginning of the Stonewall riots, I have been very involved with the movement since then. However, given the passage of time, some of my memories of that awful period in my life and the life of this country had dimmed. The superb job you did on the play brought that whole awful period back to me with stunning clarity. I left the theater an emotional mess.

While I am sure that I took away a different experience from others in the audience last Friday, I was happy to see younger people there. Hopefully they came away with some inkling of what we went through then. I had forgotten, over time, the maddening denial of governmental officials as well as members of the press that anything was going on that needed attention. One of the important aspects of that period that the play brought to life was the pain we all felt as our friends died with frightening suddenness. All of these emotions were brought to the audience in a very palpable way.

Tim Cummings and Bill Brochtrup

Tim Cummings and Bill Brochtrup

I do not want to single out any performer more than another for praise as everyone contributed to the effectiveness of the evening. I must say though that Tim Cummings certainly brought all the passion and anger of his character to life very effectively. Bill Brochtrup was a great foil to that anger. His progression in the disease was very effective, especially the makeup he wore at the end of the play. Having had several close friends die of the disease, when he appeared towards the end his appearance caused me to suddenly remember that yes, that was exactly what my friends looked like. Stephen O'Mahoney's portrayal of a closeted gay person wanting to come out but unable to because of his job and background hit the right note. Matt Gottlieb's portrayal of a man trying to be supportive of his brother but also constrained by his professional responsibilities also rang true. Fred Koehler's anguish at the end over his job as well as what was happening in his life as part of the GMHC was heartbreaking. Lisa Pelikan's anger at what was happening and her inability to get anyone to do anything about it rang true. Dan and Jeff and Verton's rolls as important supporting characters were just right for their roles. In short I want to say thank you to all of you. The cast of course are deserving on praise but also the director and the rest of the crew for provided me with one of the most important evenings of theater I've had in many, many years.

I come in to Los Angeles frequently for cultural events as there is nothing here in the desert to equal the quality of what I can see in Los Angeles. This evening was well worth the late-night drive back to Palm Springs. You all are to be commended for doing an outstanding job.

Thank you.

Andrew F. Johnson, Palm Springs, CA 

The Normal Heart Now to Dec 15th (323) 663-1525 MORE 

NEW VIDEO: Acclaimed LA Production of ‘The Normal Heart’ at the Fountain Theatre

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Enjoy this new promo video for our acclaimed production of The Normal Heart by Larry Kramer. Our exclusive Los Angeles revival directed by Simon Levy has earned rave reviews, overwhelming audience response, and has been extended to December 15th by popular demand.

This promo video was created by our friends and colleagues at the Gay & Lesbian Alliance Against Defamation (GLAAD).  GLAAD amplifies the voice of the LGBT community by empowering real people to share their stories, holding the media accountable for the words and images they present, and helping grassroots organizations communicate effectively. By ensuring that the stories of LGBT people are heard through the media, GLAAD promotes understanding, increases acceptance, and advances equality.  

GLAAD’s LGBT Los Angeles theater site shares info on plays that bring LGBT characters and plotlines to life that insure accurate depictions of LGBT people and issues.

The Fountain Theatre production of The Normal Heart has been hailed “brilliant” and “outstanding” and a “must-see”. It is highlighted as a Critic’s Pick and is Ovation Award Recommended. Broadway World exclaims, “This production at the Fountain Theatre certainly exemplifies that great theatre is alive and well in Los Angeles.”

The cast features Verton R. Banks, Bill Brochtrup, Tim Cummings, Matt Gottlieb, Fred Koehler, Stephen O’Mahoney, Ray Paolantonio, Lisa Pelikan, Dan Shaked and Jeff Witzke.

MORE 

Extended to Dec 15th! (323) 663-1525 Get Tickets Now!

Post-Show Talkback on AIDS Prevention at ‘The Normal Heart’ This Thursday Oct 17

LAUSD HIV AIDS logo

Special Guests from LA Unified School District HIV/AIDS Prevention Unit to Discuss AIDS and Young People

This Thursday, Oct. 17, immediately following the 8 p.m. performance of The Normal Heart at The Fountain Theatre, guest speakers Timothy Kordic, Project Manager of the LAUSD HIV/AIDS Prevention Unit, and Nancy Ramos, Positively Speaking Facilitator, will host a special talkback with high school students and audience members about the reality of AIDS in 2013 and living with/preventing the disease. Director Simon Levy will moderate the discussion.

The Normal Heart is Larry Kramer’s groundbreaking drama about public and private indifference to the onset of the AIDS crisis, and one man’s fight to awaken the world to its urgency. The title of the play is taken from a line in a poem by W.H. Auden.

The Fountain Theatre is committed to reaching as many high school and college students as possible with the show. According to Advocates for Youth (www.advocatesforyouth.org), a national organization that champions efforts to help young people make informed and responsible decisions about their reproductive and sexual health, almost 40 percent of new HIV infections in the United States occur in young people ages 13 to 29. This generation is also the first one to have never known a world without AIDS.

“I think it is important to educate our youth on the effect HIV had in the past and why the AIDS movement historically gained so much traction early on,” says Kordic. “It now needs to be put into perspective for this generation why the fight is not over.”

Special $12 student tickets are available for the Oct. 17 performance only. (Student discount is regularly $25.) The talkback is included in the ticket price. Mention “LAUSD” when calling to make reservations in order to get the reduced price. Adult tickets are $34.

The Normal Heart is directed by Simon Levy and features Verton R. BanksBill BrochtrupTim CummingsMatt GottliebFred KoehlerStephen O’MahoneyRay Paolantonio, Lisa PelikanDan Shaked and Jeff Witzke.

NORMAL HEART AIDS Walk flyer

MORE INFO

Smash Hit ‘The Normal Heart’ Extends to Dec 15 at Fountain Theatre

Tim Cummins, Bill Brochtrup in 'The Normal Heart'.

Tim Cummins, Bill Brochtrup in ‘The Normal Heart’.

“This production at the Fountain Theatre certainly exemplifies that great theatre is alive and well in Los Angeles. “

– Broadway World

The Fountain Theatre’s exclusive L.A. revival of The Normal Heart, which received extensive critical acclaim and has been playing to sold-out houses, will extend through Dec. 15. The Normal Heart is Larry Kramer’s groundbreaking drama about public and private indifference to the onset of the AIDS crisis, and one man’s fight to awaken the world to its urgency. Although it first premiered in 1985, the play was so ahead of its time that many of the core issues it addresses — including gay marriage, a broken healthcare system and, of course, AIDS — remain strikingly relevant today.
Verton R.Banks, Stephen O'Mahoney, Fred Koehler

Verton R.Banks, Stephen O’Mahoney, Fred Koehler

In its “Pick of the Week” review, the LA Weekly calls the Fountain revival “A deeply moving production… performed by a deeply committed ensemble.” BroadwayWorld says, “Critic’s Pick… directed with meticulous detail …. The Fountain Theatre knocks [it] out of the Park.” EDGE Los Angeles raves, “Passionate and powerful… the Fountain’s thoughtful and moving production of this classic qualifies as a must-see,” and LAist finds The Normal Heart to be “A strong, smart, character-driven play… a theatrical triumph for all involved, and a must-see for all theatre lovers.”

In 2000, The Normal Heart was named “one of the 100 greatest plays of the 20th century” by the Royal National Theatre of Great Britain. The Fountain Theatre production marks the first time the play has been seen in Los Angeles in over 16 years.

The Normal Heart is directed by Simon Levy and features Verton R. Banks, Bill Brochtrup, Tim Cummings, Matt Gottlieb, Fred Koehler, Stephen O’Mahoney, Ray Paolantonio, Lisa Pelikan, Dan Shaked and Jeff Witzke.

Performances continue at the Fountain Theatre through Dec, 15.  For reservations and information: 323-663-1525 www.FountainTheatre.com.

PHOTO SLIDESHOW: The Normal Heart 

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PHOTO SLIDESHOW: Opening Night Party for ‘The Normal Heart’ at Fountain Theatre

Tim Cummings

Tim Cummings

The Fountain Theatre’s thrilling and explosive LA revival of Larry Kramer’s The Normal Heart officially opened on Saturday, September 21, to a thunderous and heartfelt standing ovation. The Normal Heart continues to Nov 3rd. 

After the Opening Night performance, a catered reception was held upstairs in the Fountain cafe. The audience, cast and company enjoyed food, drink and the intoxicating buzz of knowing they just shared a truly extraordinary experience.

Enjoy These Snapshots from the Opening Night Party! 

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The Normal Heart  Now to Nov 3 (323) 663-1525  MORE

Fight of Passion and Fury Not Over for ‘The Normal Heart’ Actor Tim Cummings and Director Simon Levy

Tim Cummings and Bill Brochtrup in "The Normal Heart"

Tim Cummings and Bill Brochtrup in “The Normal Heart”

by Dale Reynolds

The HIV/AIDS crisis has slipped from the consciousness of the American public in the last decade or so, as fewer and fewer white folk die from it (or are newly infected) and as GLBT acceptance has become more mainstream.  But back in the mid-1980s, when panic over the disease was the norm (Where’d it come from?  Who’s responsible?  How do you catch it???), the conservative government of Ronald Reagan was accused of insufficiently helping the thousands of (mostly) gay men, blacks, intravenous drug users, and hemophiliacs who were infected, grew seriously ill, and subsequently died.

Verton R. Banks, Stephen O'Mahoney and Fred Koehler in "The Normal Heart." Photo by Ed Krieger.

Verton R. Banks, Stephen O’Mahoney and Fred Koehler

There was so much fury in the left-leaning communities, including the most-affected ones — sexually-active gay and bisexual men — that groups such as AIDS Coalition to Unleash Power (ACT UP) with its “Silence=Death” slogan and Gay Men’s Health Crisis (GMHC) were formed. They protested government policies and anti-gay religious leaders, along with a general apathy from the confused public.

Larry Kramer

Larry Kramer

To Oscar-nominated screenwriter Larry Kramer (Women in Love), a gay man who is himself HIV+, this was unacceptable, so he helped form the clamorous and aggressive ACT UP and wrote a definitive play on the crisis, The Normal Heart  (1985), which is now having its first revival in Los Angeles since 1997 at the feisty 99-seat Fountain Theatre.

Kramer, an angry and difficult man who still doesn’t mind excoriating the conservatives who wouldn’t help at the beginning of the crisis, was recently quoted in Parade magazine:  “I’ve always felt that our government has allowed [AIDS victims] to die, literally, and…Dachau was where the [Nazi] government was doing just that … [with] Jews and gays and gypsies, a lot earlier than anyone knew.”

The Normal Heart is being directed by Simon Levy, a heterosexual who lived in San Francisco during the AIDS crisis, and stars Tim Cummings, a gay man, as Ned Weeks, a surrogate for the playwright.  Cummings came of age after the hysteria had largely disappeared.  But both men were in a decidedly militant mood when interviewed for this article.

For Levy, the crisis is still with us, in the USA especially among African Americans (44% of all new infections in 2009), as well as concentrations of the disease in Africa and Southeast Asia, but it’s become buried in the collective unconsciousness.  “Thirty million people, world-wide, have died from HIV/AIDS in the last 30+ years, and 1.7 million currently die from it each year [as of 2011], with 2.5 million new infections, [so] I picked [this script] because it’s a great American play, a seminal gay and AIDS play, and a great political/love story.  Its agitprop message blends nicely with its real characters.”  And his continued activism?  “Well, I grew up in San Francisco and had a lot of gay friends, from college and around the area, so when the HIV/AIDS crisis hit San Francisco, it took a lot of these friends.”

Tim Cummings and Simon Levy

Tim Cummings and Simon Levy

According to Levy, “This play helps us understand the origins of the crisis when the Reagan Administration wouldn’t acknowledge it or put money into slowing it down.  They were evil.  Larry Kramer is a fighter and a leader in this army of resistance.  He still fights for better health care and more dignity for underserved communities.”

For Cummings, “I knew about the AIDS crisis first hand, studying at Tisch [School of the Arts/New York University] during the early 1990s.  We learned early about the value of condoms [as] ACT UP’s “Silence = Death” campaign was everywhere. There was extraordinary fear about having sex with other men, and even though it was under control at the time, there was a lot of caution and worry in the air.”

Believing that “great art reflects the universal, not just the particular,” Levy wanted to direct Normal Heart since a year ago, when he had seen “this fantastic production of it at the Arena Stage in Washington, DC, and I knew that I had to do it here. It took seven months of negotiations with Larry Kramer’s and producer Daryl Roth’s people to get the rights for LA, but Kramer’s angry voice was important in 1985 and remains so.  The crisis is not over.”

Cummings learned of the project early.  “I already knew the play, and when I heard about it on the grapevine, and saw it on Breakdown Services, I wrote to Raul Staggs [the casting director] asking for an audition.  I had a couple of other play auditions out of town, and was on hold for some job offers, but I turned them down in order to play Ned — it was that important to me.”

Levy acknowledges that he and producers Deborah Lawlor and Stephen Sachs had a short list of actors they wanted to play the lead, including Cummings. “I called around and asked other directors for suggestions, and Tim was highly recommended.  I’d seen him at Rogue Machine Theatre in The New Electric Ballroom and its director, John Perrin Flynn, said that Tim Cummings was ‘one of the best actors in Los Angeles.’  I have well-honed instincts on acting and actors and I agreed.”

Lisa Pelikan and Tim Cummings

Lisa Pelikan and Tim Cummings

The play follows a gay activist, Ned Weeks, who has become enraged at the deliberate indifference of city, state and federal officials, as well as the blindness of some leaders in the gay community. He’s motivated to become an activist, with personal as well as political ramifications for him.  The play allows director and actors much anguish to feed upon for their characterizations.

While Cummings, son of an Irish fireman and built like one, is totally open about his sexuality (still somewhat problematical in Hollywood, if not New York), Levy never asked those auditioning about their sexual or emotional orientations, nor of their HIV status:  “They’re actors first in our eyes.  Besides, I like to create a ‘sacred circle’ for the cast, into which they can be themselves in order to create a full-bodied character.” As to his actors’ responses during the auditions, many knew this play and had wanted to do it — as it was relevant, on whatever level, to their own lives.

Cummings used Joseph Campbell’s idea of “the hero’s journey” for Ned’s progress — what Weeks goes through from beginning to end mirroring the mythology of any hero’s path.  “It was a ‘eureka’ kind of moment for me, demanding attention and change.  I love that the idea means there is something mythical and heroic about his journey, which elevates the play.”

In addition, Cummings thinks that the notion of Ned’s exploration mirrors the struggles the audience will have gone through themselves, or maybe have regretted not having gone through. “The play’s crisis is Weeks’ rite of passage.  In taking on a hostile — or at the very least, indifferent — government, Ned has to stand alone to be that clarion bell on the truth of the situation.  He will stand up, be counted, and walk away as an advocate for human rights.”

All this fits into the actor’s and director’s activist consciences, especially Levy’s:  “My job as an artist is to awaken — or reawaken — the public to important social and political issues.  My mission is to help people remember what’s right.”

Kramer’s screed of a play is what Levy describes as “a political thriller: ‘How did HIV/AIDS get is name?  and why was the government so hostile in helping those stricken?’  His play is a tornado, but Larry’s main message is about love.”

And hate, too. Kramer told Parade in the recent interview, “Life is very fragile. It’s very difficult for us, no matter how secure we think we are. Everybody who goes into a voting booth and votes against [gay people] hates us. We have been hated for so many centuries. You would think somewhere along the line we could’ve learned how to fight back.”

Tim Cummings and Bill Brochtrup

The Fountain is well-known for its provocative and up-to-date productions on a wide variety of recent minority-themed topics:  Heart SongIn the Red and Brown Water, the deaf-specific version of Cyrano de BergeracOn the Spectrum (about characters with autism), as well as a series of American premieres of plays by South African writer Athol Fugard.  The leaders at the Fountain have reached out to ethnically-and–politically-diverse audiences who don’t normally attend relatively expensive theater.

“If we don’t learn these lessons of intolerance,” Levy says, “history will repeat itself.  So reaching this newer generation of young people about this subject is imperative.  We must never repeat these mistakes.”

Dale Reynolds writes for LA Stage Times.

The Normal Heart  Now to Nov 3  (323) 663-1525   MORE

PHOTO SLIDESHOW: Tech Weekend for ‘The Normal Heart’ at the Fountain Theatre

Tim Cummings and Stephen O'Mahoney

Tim Cummings and Stephen O’Mahoney

Tech weekend is that magical time for any production when the technical elements of set, lights, sound, costume and video are layered in to add the many vibrant dimensions they bring.  It can also be a slow, tedious time for actors as cues are meticulously created by the design team and director. The key components to any successful tech weekend are patience, good humor, and plenty of donuts. 

Enjoy these snapshots from our tech rehearsals this weekend. Our upcoming Los Angeles Revival of The Normal Heart by Larry Kramer opens this Saturday night, Sept 21st. Directed by Simon Levy, the play features Verton R. Banks, Bill Brochtrup, Tim Cummings, Matt Gottlieb, Fred Koehler,  Stephen O’Mahoney,  Ray Paolantonio, Lisa Pelikan, Dan Shaked, and Jeff Witzke. 

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The Normal Heart  Sept 21 – Nov 3  (323) 663-1525   MORE