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Tag Archives: Hollywood
Ever question if LA has a real theatre community? A true sense of camaraderie? Doubt no more. Last night, members of the cast from the Sierra Madre Playhouse production of The Joy Luck Club swarmed to the Fountain Theatre to support friends and colleagues in our California Premiere of Hannah and the Dread Gazebo. After the performance, members from both companies gathered in our upstairs cafe to celebrate and congratulate each other.
It was fitting that the visit happened on Labor Day, the national observance of the value of work. For people who work in the theatre, there is a fervent dedication to the art form and a palpable cord of goodwill between artists.
The bond between the Joy Luck and Hannah casts — both with Asian actors — began when the company of Joy Luck sent a funny and warm-hearted good luck video from the Sierra Madre Playhouse to the Hannah group days before its opening at the Fountain.
The Hannah company replied, posting their own video to the Joy Luck cast.
Happy opening night to the cast and crew of Joy Luck Club at Sierra Madre Playhouse (Victor S Chi Shar Liu Christine Liao Tim Dang Yee Eun Nam Lee Chen-Norman Grace Shen Christopher Chen and everyone) !!!!! — ❤ the cast of Hannah and the Dread Gazebo at East West Players and Fountain Theatre 🎭🥰👏👏👏👏💐
Posted by Jully Lee on Saturday, August 24, 2019
Last night, cast members from The Joy Luck Club were at the Fountain supporting their fellow players. The Hannah cast will soon do the same. Theatre can be a competitive business. It can also be a haven for friendship and support.
Enjoy these photos from last night’s visit.
Los Angeles County Department of Arts and Culture has awarded The Fountain Theatre a 2019-20 Organizational Grant in the amount of $20,900 to support the creation and implementation of the new staff position of Development/Outreach Associate to increase the infrastructure of the organization, expand fundraising and broaden community outreach.
“This new position will enable the Fountain to further its organizational growth,” says Co-Artistic Director Stephen Sachs. “We are grateful to the County of Los Angeles for its ongoing partnership with the Fountain for more than twenty years.”
The mission of the Los Angeles County Department of Arts and Culture is to advance arts, culture, and creativity throughout LA County. It provides leadership, services, and support in areas including grants and technical assistance for nonprofit organizations, countywide arts education initiatives, commissioning and care for civic art collections, research and evaluation, access to creative pathways, professional development, free community programs, and cross sector creative strategies that address civic issues. All of this work is framed by its longstanding commitment to fostering access to the arts, and the County’s Cultural Equity and Inclusion Initiative.
Creation myths and family histories meld in a wildly theatrical, startling new comedy that explores what it means to walk the edge between cultures. The Fountain Theatre, in association with East West Players and with generous support form the S. Mark Taper Foundation, presents the California premiere of Hannah and the Dread Gazebo by Jiehae Park. Los Angeles Drama Critic’s Circle Award-winner Jennifer Chang (Vietgone) directs for an Aug. 17 opening at the Fountain Theatre in East Hollywood, near Koreatown, where performances continue through Sept. 22.
Set in NYC and Korea in the winter of 2011, just before the death of Kim Jong Il, Hannah and the Dread Gazebo takes Hannah’s Korean American family on a surreal, funny and heartbreaking adventure back to their roots in South and North Korea and the forbidden Demilitarized Zone that divides them.
“The play is a funny-tragic look at what it means to be caught in between,” says Park. “The characters are striving to reconcile the contradictions of their immigrant lives: North/South, past/future, coming/going.”
Thirty-something Hannah, played by Monica Hong (Ivanov at the Mint Theater in NYC, Please Stand By at Actor’s Playpen in LA), is two weeks away from becoming a board-certified neurologist when she receives a FedEx box from her grandmother with two things inside: a 100% bona-fide-heart’s-desire-level wish — and a suicide note. Hannah’s father (Hahn Cho, recently seen on TV in For the People, Magnum P.I., Swedish Dicks) and mother (Elaine Kao — upcoming feature film Paper Tigers, recurring on Netflix’s No Good Nick) have already moved back to South Korea to be near Grandma at the Sunrise Dewdrop Apartment City for Senior Living, which sits right on the edge of the DMZ. Meanwhile, Hannah’s slacker brother, Dang (Gavin Lee, whose credits include Blood, written and directed by Robert Allan Ackerman, and a recurring role on Fox’s The Orville) bonds over music with a student activist played by Wonjung Kim (Korea Musical Award for Best Actress, Ovation nominee for The Last Empress in L.A). In this strange and wonderful play that is a mix of unexpected whimsy, delightful comedy, profound despair and more than a little bit of magic, actress Jully Lee (Ladies at Boston Court, tokyo fish story at South Coast Rep) appears in many forms.
Helping make that magic happen is the Magic Castle’s Dominik Krzanowski, who will create original illusions for the production.
Hannah and the Dread Gazebo premiered at the 2017 Oregon Shakespeare Festival in Ashland, where the Mail Tribune called it “blisteringly original, acerbically funny, powerfully dramatic and deeply thought provoking… If you’re keen to have your mind expanded by an evening of theater that is not going to be comparable to anything you’ll see anytime soon, Hannah and the Dread Gazebo is a good place to start.”
Last week, the American Theatre Critics Association announced that Hannah has been selected as one of three finalists for its prestigious Francesca Primus Prize, sponsored by ATCA and the Francesca Ronnie Primus Foundation.
“I saw the world premiere in Ashland and was completely charmed by the play,” says Fountain Theatre co-artistic director Stephen Sachs. “I was enchanted by its whimsical, dreamlike surprises, and truly moved by its poignant revelation of a grandmother, mother and daughter relationship. Once the lights came up and the performance was over, I knew I wanted to present it at the Fountain.”
Sachs continues, “The Fountain is committed to diversity and inclusion, which makes this first-time partnership with East West Players very meaningful. It’s an invigorating sharing of resources, artists and audiences benefiting both companies and the communities we serve.”
“We are honored to partner with the Fountain on this production,” agrees East West Players artistic director Snehal Desai. “EWP first did a reading of the play in 2013, also directed by Jennifer Chang. The Fountain is a theater whose work and mission I have always admired; this seemed like the perfect project for our two companies to collaborate on, with its mix of humor, theatricality and timeliness.”
The creative team for Hannah and the Dread Gazebo also includes scenic and video designer Yee Eun Nam, lighting designer Rebecca Bonebrake, sound designer/composer Howard Ho, costume designer Ruoxuan Li and props designer Michael Allen Angel. The production stage manager is Bryan P. Clements.
Jiehae Park’s plays include peerless (Yale Rep premiere, upcoming in NY at Primary Stages), Hannah and the Dread Gazebo (Oregon Shakespeare Festival), Here We Are Here (Sundance Theater-Makers residency, Berkeley Rep’s Ground Floor, Princess Grace Works-in-Progress @ Baryshnikov Arts Center), The Aves (McCarter Spotlight Series) and contributions to Wondrous Strange (Humana/Actor’s Theatre of Louisville). Her work has been developed through the Soho Rep Writer-Director Lab, The Public’s Emerging Writers Group, p73, Playwrights Horizons, NYTW, Atlantic, Old Globe, Dramatists Guild Fellowship, Ojai, BAPF, CTG Writers Workshop, Banff Playwrights Lab, ACT New Strands, and Ma-Yi Writers Lab. Awards: Leah Ryan, Princess Grace, Weissberger, ANPF Women’s Invitational; two years on the Kilroys List. Commissions: Playwrights Horizons, Yale Rep, Geffen, OSF, Williamstown, MTC/Sloan. Residencies: MacDowell, Yaddo, Hedgebrook, McCarter/Sallie B. Goodman. She is a NYTW Usual Suspect, Lincoln Center New Writer in Residence, former Hodder Fellow, and current New Dramatists. As a performer recently: Ripe Time/Naomi Iizuka’s adaptation of Haruki Murakami’s Sleep (BAM Next Wave, Yale Rep); Celine Song’s Endlings (A.R.T.). She was a staff writer on season one of Marvel’s Runaways and currently teaches Playwriting at Princeton University. BA, Amherst;
Jennifer Chang won the 2019 LADCC award for excellence in direction for her work on the Los Angeles premiere of Qui Nguyen’s Vietgone. She was a 2018 Drama League New York directing fellow and was the assistant director for the Broadway world premiere of Bernhardt/Hamlet by Theresa Rebeck starring Janet McTeer. Ms Chang’s multi-disciplinary work has been honored with Ovation, LA Weekly and the Stage Scene LA awards, among others. She is a founding member of Chalk Repertory Theatre where she served as artistic producing director and produced, directed and acted in numerous plays over the course of eight seasons. Upcoming directing credits include Where the Mountain Meets the Moon at South Coast Repertory and The Time of Your Life at Antaeus Theatre Company. Select directing credits include Death & Cockroaches by Eric Reyes Loo (Chalk Rep at Circle X/ Atwater Village Theatre); 53% Of by Stephanie Del Rosso and Birds of North America by Anna Moench for the Wagner New Play Festival; Animals Out of Paper at East West Players (Los Angeles Times “Critics Pick”); Edith Can Shoot Things and Hit Them for Artists at Play (GLAAD Media Award and Ovation-nominated); and Residence Elsewhere, commemorating the 75th anniversary of Executive Order 9066 at the Japanese American National Museum. She is very active in the development of new plays with the Geffen Playhouse, Chance Theater, Circle X Theatre Company, EST/LA, Playwrights Arena and East West Players.
The Fountain Theatre is one of the most successful intimate theaters in Los Angeles, providing a creative home for multi-ethnic theater and dance artists. The Fountain has won hundreds of awards, and Fountain projects have been seen across the U.S. and internationally. Recent highlights include all-star readings of Ms. Smith Goes to Washington and All the President’s Men at Los Angeles City Hall and the inclusion of the Fountain’s Citizen: An American Lyric in the Music Center’s Our L.A. Voices festival at Grand Park. The Fountain’s 2018 productions of The Chosen and Arrival & Departure each enjoyed months-long sold out runs and was named a Los Angeles Times “Critic’s Choice.” The company’s West Coast premiere of Martyna Majok’s Pulitzer Prize-winning play Cost of Living, was named to the Los Angeles Times’ “Best of 2018” list. Its current production, Daniel’s Husband, was named a Los Angeles Times “Critic’s Choice” and is enjoying an extended, sold-out run.
As the nation’s premier Asian American theater organization, East West Players produces artistic work and educational programs that foster dialogue exploring Asian Pacific Islander (API) experiences. Founded in 1965, at a time when APIs faced limited or no opportunities to see their experiences reflected outside of stereotypical and demeaning caricatures in the American landscape, EWP not only ensures that API stories are told, but works to increase access, inclusion, and representation in the economy.
VIDEO: Cops and students share stories in Fountain Theatre’s new outreach program ‘Walking the Beat’
When my parents met and fell in love, their favorite book was Eric Sevareid’s “Not So Wild a Dream.” They felt the phrase captured the promise of their bond, and had the words inscribed inside their wedding rings. For me, the Fountain Theatre is also not so wild a dream. Twenty-nine years ago today, Deborah Lawlor and I opened our doors. Our desire was to create a home. A sanctuary on Fountain Avenue where artists and audiences can gather to engage in the life-enhancing rhapsody of live art. Nearly three decades later, after hundreds of productions, thousands of artists and hundreds of thousands of patrons, that desire has proven itself to be not so wild a dream.
Serving Los Angeles for twenty-nine years and still going strong. Changing the world seventy-eight seats a time.
by Stephen Sachs
If our beloved Samuel French bookstore were a play, its shocking violent demise this week makes the ending a tragedy. A tragic drama not wrought by a fatal flaw of the store’s own making. The tragic flaw exposed here is our own. The fate of Samuel French bookstore reveals a deeply disturbing character defect of our city, our country and our culture.
According to police, the store was broken into and seriously vandalized on Monday night, March 4th following a confrontation with several unidentified male customers who tried to intimidate one of the store employees. The police have closed the store pending their investigation and to protect the staff’s safety. The shop will not reopen. Ever.
Samuel French bookstore had already announced it was closing at the end of this month. Yet another casualty of e-commerce, book sales at the store have been steadily declining. Over 80% of Samuel French’s retail sales are now made online. Still, the sudden announcement of the store’s imminent closure caught us all by surprise and shook our LA theatre community to its core. News of Monday night’s vandalism drives a dagger into our heart. The loss of Samuel French bookshop is a death in the family.
For decades, as a once-upon-a-time actor and now a director/playwright and overseer of a theatre company, each time I walked into the bookstore on Sunset Blvd I breathed a deep sigh of reverence and gratitude, like stepping into a sanctuary. I experienced a spiritual and physical healing when I walked into Samuel French bookstore. The smell of its books was aromatherapy. The brick walls, the catacomb of shelves, the stacks of books, large and small, piled in corners like paper pillars. One enters Samuel French bookstore to be lost and found. To lose oneself reading a script on a calm afternoon, to find oneself as an artist through what one found in its pages. The vandalism of Samuel French bookshop, to me, is a desecration of a sacred place.
The Studio City bookshop on Ventura Boulevard closed in 2012. Now, our beloved store on Sunset Boulevard is gone forever. Closed early. Due to violence.
We have no one to blame but ourselves.
Like the art form it celebrated, Samuel French bookstore engaged in a daily battle for its own survival against online technology. Why leave your home when you can download a book? A bookstore is much like a theatre. A live experience. Physically walking into a book store, interconnecting with fellow human beings, holding an actual book in your hand, turning its pages – these are visceral sensations no e-book can duplicate. A book store and a local theatre create community. A place to meet, to gather, to interact. Both a theatre and a book store are places of worship, both serving an art form greater than themselves.
In my opinion, the Samuel French bookstore didn’t just die in the war against online retailing, we killed it. We made our choice. Eight out of ten plays are now bought online. We choose digital over paper. This is the Amazon-era. We click-shop. Our goods are now delivered to our door. We barely need to get up off the couch. The fault, dear consumer, is not in our stars, but in ourselves.
Once again, Los Angeles has proved we are not New York. Last October, Drama Book Shop, the legendary 100-year old independent bookstore in Manhattan that has one of the largest selections of plays in the country, announced it was closing. The rent was too high. It didn’t take long for the city and its artists to leap into action. By January, it was announced that Lin-Manuel Miranda and three of his “Hamilton” collaborators purchased the Drama Book Shop. The quartet is currently working with the City of New York to find an affordable space for the store.
“The store is a gem and a cultural institution in New York, and we want to make sure it’s saved,” said Julie Menin, the mayor’s media and entertainment commissioner.
Where is the public statement from the mayor’s office in Los Angeles advocating to save or relocate Samuel French bookshop? Aye, there’s the rub. In Los Angeles, there is no Lin-Manuel Miranda.
We do have Nicki Monet. A platoon of local theatre artists led by actress/producer Nicki Monet launched a petition campaign to protest the store’s closing. The petition collected more than 7,000 signatures. Now violence has struck. Who knows what now will happen? Music conglomerate Concord Music, which purchased the store, said it would be willing to support a new L.A. store “with favorable pricing and payment terms.” We shall see.
In the bookshop’s final hours, Monday night’s vandalism exposes perhaps the most disturbing truth of all. An unsettling truth about ourselves and the temperature of today. The boiling social and political bile of this nation, fanning the flames of hatred and racism and division, ignited on Sunset Boulevard Monday night. Abuse and intimidation in the bookshop by day led to violence and physical destruction in the darkness of night. A depressing reminder of who we are as a people and where we are plummeting as a nation. This is who we have become. Of course, the defacing of a theatre book store in Los Angeles pales when compared to the uncountable acts of fatal violence and hatred executed every day nationwide. Yet Monday night’s act hurts me deeply because it is a symptom of a larger hurt, a greater ill in our country. Shakespeare warned us not to drink the Kool-Aid of anger and hatred. As he warns in Measure for Measure, “Our natures do pursue a thirsty evil; and when we drink, we die.”
In any tragic story, anagnorisis is the moment when the main character discovers his/her true nature, recognizes the truth about his or her true self. I am willing to stay for the Third Act of this play, if there is one. Hopefully, this dramatic story ends with a cathartic spiritual renewal of resurrection.
Stephen Sachs is Co-Artistic Director of the Fountain Theatre in Los Angeles.