Tag Archives: gay pride

“Hope you close your faggot show.”

Pride Flag

The Pride flag flies over the Fountain Theatre.

by Stephen Sachs

Some days, our building is tagged by graffiti. That’s life in East Hollywood. Some mornings, I arrive at the Fountain front door and discover a freshly sprayed scribbling on our beige stucco facade. It happens. The scrawling is usually small and, most often, gang related. A badass in the hood staking territory. A banger bearing witness. Once inside my office, I let my Technical Director know we’ve been hit.  Then I make myself coffee. The graffiti is soon wiped away. No big deal. 

I rarely decipher the message. Gang slogans are a code I can’t break. And though the phrase is sometimes personal, about “Diablo” or “Beast”, it never directly targets the Fountain. The statement could have been sprayed anywhere, anytime. It has nothing to do with us.

This time, it did. This time, the message was personal. And it wasn’t graffiti.

Last weekend, we were forced to reschedule a performance of our hit play, Daniel’s Husband. A cast member had booked a TV gig and needed to fly up to Vancouver. This is Tinseltown, right? We’ve been to this rodeo before, many times. We know what to do. Our box office staff contacted our audience for that night and set them up for other performances.  As a precaution, we posted a sign on our front door stating that the night’s show had been cancelled. In case someone walked up.

Someone did.

The next morning, we found that a person had scrawled on our sign in black ink: “Hope you close your faggot show.”

Daniel’s Husband is a play about gay marriage. The men in the cast are gay. This hate-note was inscribed on our front wall the final weekend of Pride month, when our city and our nation celebrate equality and inclusion.

Let’s be real. This written slur from an anonymous homophobe is insignificant compared to the gay men and women beaten and killed in this country. I know that. Our nation has a savage history of discriminating “others.” Ask Native Americans.  Blacks. Mexicans. Asians. Jews. Women. Compared to the systemic prejudice our nation has inflicted on these groups, the note is a small thing, a trifle. No question. Still, it hurts, is upsetting. More so because though tiny, what larger truth does it tell? Like in a well-written play, the more specific a thing is the more universal it becomes.  

In thirty years, I can’t remember the Fountain Theatre ever being hit with a message of hate like this. Sure, every so often we’ll get a heated email of complaint from an unhappy theatergoer. The political and socially conscious nature of the plays we produce often trigger passionate responses from our patrons. That’s the point. Our artistic goal is to engage our audiences in the difficult issues of our time. A free exchange of conflicting ideas is what makes a good play and a free democracy.   

This is different. In today’s incendiary political and cultural climate, it’s not too far a leap to imagine that the individual who scrawled that vile message with a pen next time might bring a bomb or a gun.  

“Something rotten is afoot in America,” posts a gay friend of mine on his Facebook page.  In the last month alone, the word “faggot” has been hurled at him three times. “The word no longer has the power to make me want to erase myself, to spare those associated with me embarrassment. But I can’t help worrying how this climate must be affecting those who are younger and more vulnerable, especially transgender Americans who face far more dangerous threats than a nasty cliché.  Is this the America we want?”

No, it is not. But this is who we are.

Others on my friend’s Facebook page chimed in. “This happened to my son,’ says one. “It’s unbelievable what is going on. A disgrace and a return to ignorance and vile barbarism.” Another states simply, “I literally get called a faggot on the streets of LA at least once or twice a week.”

The mournful words of Paul Simon call to me in his achingly beautiful “American Tune.”

“When I think of the
Road we’re traveling on
I wonder what’s gone wrong
I can’t help it, I wonder what has gone wrong.”

The number of hate crimes in this country are on the rise. Los Angeles, in particular, reported a decade-high increase in hate crime from 2017 to 2018. Hate crimes targeting Jews and Latinos increased in California in 2018. The trigger for this bigoted hostility is no mystery. Our country’s moral leadership comes from the top.

“Things are polarized in ways we haven’t seen in recent memory,” says Jonathan Greenblatt, the Anti-Defamation League’s national director and chief executive. “People are on edge in part because they are following their leaders. When leaders at the highest levels use incredibly intemperate language and repeat the rhetoric of extremists, we shouldn’t be surprised when young people — let alone others — imitate what they see.”

Hate crimes are defined as “crimes that manifest evidence of prejudice based on race, gender or gender identity, religion, disability, sexual orientation, or ethnicity,” according to the Hate Crime Statistics Act passed by Congress in 1990. Hate crimes can be committed against people, property or society, and can include vandalism. Minor as it may be, is this gay-slurring note scrawled on our Fountain sign a hate crime? Before scoffing: What if it were a swastika?

For three decades, The Fountain Theatre has produced new plays about racism, women’s rights, gay rights, anti-Semitism, immigration. Whatever the issue, it has sometimes been lamented to us that we’re preaching to the choir. The claim is that issue-driven plays are produced for like-minded people, and those who most need to be changed by our work never see it at all. Clearly, the perpetrator of that homophobic hate-note will never step inside our theatre walls. But beyond our walls, he is out there. Somewhere. In our world, on the street, in our city, he exists. With thousands, maybe millions, like him. We, as artists, must see the world as it is before we can dream of what it can be. 

In the theater, we know what our job is. Our job “… is to hold up, as ’twere, a mirror to nature; to show scorn her image, to show virtue her appearance, and the very age its form and pressure.” Our job is to hold up a vision to America of who we are as a country. The good, the bad, and – yes – the ugly.  That’s what theater is supposed to do. That’s what the Fountain Theatre will continue to do for another thirty years.

And the Pride flag still flies over the Fountain. 

Stephen Sachs is the Co-Artistic Director of the Fountain Theatre.    

Fountain Theatre shows LA Pride with hit play, workshop, book signing and LGBT new works

FT Pride flagFor many folks throughout Los Angeles, June means the end of school, the pageantry of graduation ceremonies and the long awaited start of summer. For the more than 600,000 LGBT citizens in the Los Angeles metropolitan area, June is LA Pride Month, when the city bursts into rainbow colors and Angelenos everywhere celebrate equality and inclusion with festivals, parades and special events saluting the LGBTQ+ community.

The Fountain Theatre embraces Pride Month with a busy June that highlights several LGBTQ+ events, including the acclaimed run of a hit play about gay marriage, a discussion and book signing by a lesbian author, a workshop production of a new play by a gay playwright centered on a transgender character,  and an evening of short dramatic works by women, trans and queer performing artists in the LA community.

LA Pride Events at the Fountain Theatre

Daniel’s Husband  – The acclaimed Southern California Premiere of Michael McKeever’s funny and poignant new play on gay marriage is a bonafide smash hit, earning rave reviews everywhere and sold-out houses nightly. Extended to July 28.  More

Body Beautiful – A workshop production of Leigh Curran’s new play on love, aging and gender confusion. June 5-6, 12-13 @ 8pm. More

The Essential Guide to Gay and Lesbian Weddings – A Q&A discussion and book signing with author and film producer Tess Ayers. More

Sorority – An evening of new short works by women, trans and queer performing artists in the LA community. June 20, 8pm & 10pm. More

Interview with Actor Tim Cummings from ‘The Normal Heart’ at the Fountain Theatre

Tim Cummings and Bill Brochtrup in rehearsal for 'The Normal Heart' at the Fountain Theatre.

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

by Don Grigware

The Normal Heart hasn’t been done in years. Tell me about the play’s relevance today, from your perspective.

Tim Cummings

Tim Cummings

The play mentions gay marriage, which is relevant today: DOMA being struck down, Prop 8 being ruled unconstitutional, more and more states are voting to allow for it. The play also brings up the failures of the health care system, and those are relevant today as well. We’ve yet to see what Obamacare results in, ultimately, but I have hope. The play discusses homophobia, bigotry, closeted gays, politics, conspiracy theories, etc. Those are all relevant now. 

Suicide among LGBT youth has been tragically high, of course there’s this putrid Putin/ Russia debacle. The gay-bashing rate in NYC is currently on an alarming rise, which includes the murder of Mark Carson on May 18th, shot directly in the head after his assailant hurled anti-gay slurs at him and his companion. Right in the heart of the West Village. To be honest, I don’t think there will ever be a time this play is not relevant. It’s only a matter of who is brave enough to produce it, as it is not an easy play to do.

What about your character and how he affects the issues at hand? What are the challenges in playing him?

Tim Cummings and Bill Brochtrup, 'The Normal Heart' at the Fountain Theatre.

Tim Cummings and Bill Brochtrup, ‘The Normal Heart’ at the Fountain Theatre.

Ned Weeks goes from hesitant participant to full-blown activist and loses nearly everything along the way: his family, his friends, his love, his station in life. Ned is a fighter. A warrior. He does not understand why other people cannot fight back the way he does, and ultimately this alienates him from his community. He will do whatever it takes to wake people up and make them pay attention to this epidemic. He wants pride for the gay community, not shame, not hiding. He wants gay men to think with their hearts and minds, not their pecs and cocks.

The challenges in playing him are that his intensity, passion, Jewish intellectualism, rallying, rants about promiscuity, confrontational nature, and bursts of outrage are not things that can be handled delicately. Yet, we are in this intimate space—so it’s about striking a balance. Where can we hold back? Where do we need to go forward full throttle?

Talk a little about Lisa Pelikan and your working with her – now in 2 plays.

Tim Cummings and Lisa Pelikan in 'The New Electric Ballroom'

Tim Cummings and Lisa Pelikan in ‘The New Electric Ballroom’

A passionate perfectionist, a questioner, a force, a presence, a joy. With those mesmerizing blue eyes, to boot. Definitely an actor’s actor. Oddly enough, she is also making me take off my clothes in this, just like she did in The New Electric Ballroom. Ha.

Your participation in Ballroom was the best. I really enjoyed your performance. Was that harder to do than Heart, or easier since you are Irish and probably have lived through a lot of similar experiences in Ballroom? (Or am I all wet?)

Thanks, Don. That was a fantastic experience. Yes, I am Irish, but I tend to play Jewish men a lot, too, as I am now. I grew up in New York, surrounded by an abundance of Irish, Irish/Italian, and Jewish heritage. It comes naturally, I suppose.

What I loved about Ballroom was the transformational aspect: my character, Patsy, goes from smelly chubby fishmonger to sexy, slick, pop idol—right before the audience’s eyes. No special effects, no cutaways, no magic. Just good old fashioned in-your-face theatre. Brilliant playwriting and storytelling.

Was that harder than The Normal Heart? I don’t think anything will be harder than The Normal Heart. The role of Ned might be bigger than Hamlet. He barely leaves the action. He never stops talking. He rarely calms down. The level of stage skill—physical prowess, emotional intensity, collaborative endurance—required to play Ned assures he will likely never be conveyed by any actor that is incompetent, lazy, or timid. Larry Kramer was clever to have
written Ned the way he did.

Tim Cummings and Carmela Corbett in South Coast Repertory's 2012 production of "Eurydice" by Sarah Ruhl.

Tim Cummings and Carmela Corbett in “Eurydice” at South Coast Rep (2012).

Speak about your writing career.

I write novels, short stories, plays, screenplays, and poetry.

I released a collection called Orphans in the summer of 2011. It’s an idiosyncratic assemblage of short stories, poetry, screenplays, plays, and a film treatment. I wanted to put all the different writing forms together in one weirdly prismatic vessel, and unleash it unrepentantly onto the world. So, I did.

I have a full-length novel called Jake Curve that my agent in NYC is working on. It’s a story of a brilliant little boy who loses his identical twin to a mysterious disappearance, and how he contends with the difficulties of his family falling apart. Ultimately it is a story questioning the validity of family, and whether it is okay to leave them behind if you don’t fit in there.

My most recent play, Bully, is an exploration of this pandemic of teenagers committing suicide for being bullied for being gay. It’s a deeply polemical slaughtering of what masculinity is supposed to mean in today’s day and age. It pays homage to William Golding’s seminal masterpiece about savagery versus civilization, Lord of the Flies, probably my favorite book.

Writing or acting, if you had to make a choice?

Yikes! Can’t I conjoin them and be both? We’ll call it wricting! ‘Hi, I’m Tim, and I’m a wrictor.’

Who are your favorite actors?

Argh, this is a hard one—

Meryl Streep, Mark Rylance, Kate Winslet, Simon Pegg, Edie Falco, Sean Penn, Viola Davis, Richard Jenkins, Kristin Wiig, Gene Wilder, Jack Lemmon, Gene Hackman, Bryan Cranston, Richard Pryor, Benicio del Toro. I like people with passion. Jack Nicholson, he’s another. Gary Oldman. Cate Blanchett.

Also, many of our brilliant LA locals, like Anne Gee Byrd, Jenny O’Hara, John Getz, Hugo Armstrong. Our town is so ridiculously chockablock with talent. And no, not all of it is in the Fame and Fortune industry—it’s right there, in your face, on our small stages.

Tim b&w

Tim Cummings

Your favorite playwrights?

Tracy Letts, Maria Irene Fornes, Enda Walsh, Ruth Margraff, Arthur Miller, Tennessee Williams, Albee, Chekhov, O’Neill, Shaw.

Any role you haven’t played yet that you are yearning to play?

Jonny ‘Rooster’ Byron (Jerusalem).
Willy Loman (Death of a Salesman).
Eddie Carbone (A View From The Bridge).
George (Who’s Afraid of Virginia Woolf).
Thomas in Enda Walsh’s Misterman.
Father Brendan Flynn (Doubt).
Medea, in some awesome, twisted, all-male version.
A one-man version of The Crucible.
I’d also like to do The Pillowman by Martin McDonagh.

As I get older, I get to play increasingly interesting and substantial roles. The best is yet to come, I feel. I don’t fear or ward off age in any capacity. Bring it, I say. Look at Judi Dench, for fu**’s sake. Clint Eastwood. Bette White!

Anything else you care to add?

Looking forward to taking part in The Skylight Theatre Company’s honoring of Terrence McNally in a four-day event at the end of September called Salute. I was very honored to be asked. And, of course, I’m looking forward to The Normal Heart opening, and audiences experiencing it for its beauty and intensity. I hope it encourages conversations, think-tanks, and outrage.

Don Grigware writes his own blog and writes for Broadway World.
The Normal Heart  Sept 21 – Nov 3  (323) 663-1525  MORE