Robert Schenkkan’s powerful new political thriller Building the Wall, now playing to sold-out houses at the Fountain Theatre, will open Off-Broadway at New World Stages for a limited run May 12 to July 9th. The New York production will feature Tamara Tunie (“Law & Order: SVU”) and James Badge Dale (“13 hours”, “The Departed”), directed by Ari Edelson.
“We are thrilled Robert’s play will increase the national conversation on these issues by making its New York debut, ” says Fountain Co-Artistic Director Stephen Sachs. “I am very proud that the Fountain Theatre has lead the charge by launching the world premiere of this urgent new play.”
The Fountain Theatre opened the National New Play Network Rolling World Premiere of Building the Wall on March 18, directed by Michael Michetti and starring Bo Foxworth and Judith Moreland. The production has earned rave reviews and is still playing to sold-out houses. The current run continues to May 21.
Judith Moreland and Bo Foxworth in “Building the Wall”, Fountain Theatre
“This announcement comes from the core of our artistic mission at the Fountain,” says Sachs. “We are dedicated to developing and producing new plays that are later seen in theaters across the country and around the world.” Examples include Athol Fugard’s Exits and Entrances, which premiered at the Fountain and opened Off-Broadway at Primary Stages, Citizen: An American Lyric by Claudia Rankine, and Sachs’ own Bakersfield Mist, now being produced worldwide after a 3-month run on London’s West End.
Jenny O’Hara and Nick Ullett in “Bakersfield Mist” at the Fountain Theatre
It has travelled around the world and it is now coming home. Just in time for the holidays.
Bakersfield Mist by Stephen Sachs, the Fountain’s smash hit comedy that went on to see productions around the world including London’s West End, will return to the Fountain for a limited 4-week engagement beginning Nov. 19. Sachs will again direct, with Jenny O’Hara (Transparent, The Mindy Project) and Nick Ullett(As the World Turns) reprising the roles they created.
Inspired by true events, Bakersfield Mist is the story of Maude Gutman, an unemployed, chain-smoking ex-bartender living in a run-down California trailer park, who believes the painting she bought in a thrift store for $3 is really an undiscovered masterpiece worth millions. When stuffy New York art expert Lionel Percy arrives to evaluate the work, the result is a fiery and often hilarious debate over class, truth, value and the meaning of art.
“Stephen’s play has enjoyed success around the country and the world, so when Jenny and Nick became available, we jumped at the chance to bring it back,” says producer Simon Levy. “We live in such stressful times, and this play offers the perfect antidote — it’s very funny, yet also thought-provoking. Just in time for the holidays.”
Bakersfield Mist premiered at the Fountain in June, 2011, garnering glowing notices including a “Critic’s Choice” review in the Los Angeles Times which exclaimed “It’s exhilarating in the extreme when a world premiere play strikes rich on every conceivable level.” The production was hailed a “Go!” in the LA Weekly and a “Critic’s Pick” in Backstage. It played to sold-out houses for more than six months, rivaling only Sachs’ own Central Avenue as the most successful world premiere of a new play in the Fountain’s 26-year history. Bakersfield Mist opened on London’s West End starring Kathleen Turner and Ian McDiarmid for a 3-month run.Vanity Fair called Sachs’ play “Not to be missed… tackles large creative questions with well-timed zingers,” The Times of London found it to be “thoroughly entertaining… put a smile on my face and kept my brain buzzing for a good while afterward,” The New York Times labeled it “clever… a battle of wits,” and it received the 2012 Elliot Norton Award for Best New Play. In the U.S., Bakersfield Mist has been produced by Orlando Shakespeare Theater in Florida and in an extended run at the Olney Theatre in Maryland, where it is Helen Hayes Award-recommended and was lauded “5 Stars… provocative, fast-paced and cleverly funny” by DCMetro. The play is currently running in Chicago in a Jeff Award-recommended production at the Timeline Theatre which has been praised as “Highly Recommended” by the Chicago Sun-Times and “the perfect evening of theatre” by Chicago Theatre Review. Bakersfield Mist is now being produced in regional theaters across the country; it has been translated into other languages and is being performed around the world, including in Iceland, Sweden, Germany, the Czech Republic, Poland, Scotland, Australia and Canada.
Set design for Bakersfield Mist is by Jeffrey McLaughlin; sound design is by Peter Bayne; props and set dressing are by Terri Roberts; and the fight director is Edgar Landa. The production stage manager is Emily Lehrer; associate producer is James Bennett; and Simon Levy and Deborah Lawlor produce for the Fountain Theatre.
Stephen Sachs’ other plays include Dream Catcher, Citizen: An American Lyric (adapted from the internationally acclaimed book by Claudia Rankine), Heart Song (Fountain Theatre, Florida Stage), Cyrano (LA Drama Critics Circle Award, Best Adaptation), Miss Julie: Freedom Summer (Fountain Theatre, Vancouver Playhouse, Canadian Stage Company, LA Drama Critics Circle award and LA Weekly award nomination for Best Adaptation), Gilgamesh (Theatre @ Boston Court), Open Window (Pasadena Playhouse, Media Access Award for Excellence), Central Avenue (PEN USA Literary Award finalist, Back Stage Garland award, Best Play), Sweet Nothing in My Ear(PEN USA Literary Award finalist, Media Access award, NEA grant award), Mother’s Day, The Golden Gate (Best Play, Drama-Logue) and The Baron in the Trees. He wrote the teleplay for Sweet Nothing in My Ear for Hallmark Hall of Fame which aired on CBS starring Marlee Matlin and Jeff Daniels. Sachs co-founded The Fountain Theatre with Deborah Lawlor in 1990.
The Stephen Sachs hit play Bakersfield Mist, which enjoyed a 7-month sold-out run in its world premiere at the Fountain in 2011, is now earning marvelous reviews in Sweden as ‘Ingen Konst’ (“No Art”) starring Peter Flack and Marie Kuhler Flack. Sachs has been invited to Sweden to attend a performance of his play in the city of Orebro, outside Stockholm. He will be there November 5 – 10.
“I’m thrilled to be going to Sweden,” exclaimed Sachs. “Of course, the play is being performed there in Swedish so I’m eager and curious to see how audiences in another country are responding to these characters and the material.”
Marie Kuhler Flack and Peter Flack (Sweden)
After first opening at the Fountain Theatre starring Jenny O’Hara and Nick Ullett, Bakersfield Mist was produced in a select number of theaters around the US as part of an exclusive Rolling World Premiere with the National New Play Network (NNPN). The UK production recently ran for 3 months this summer in London on the West End starring Kathleen Turner and Ian McDiarmid. The play is now being translated into other languages and being produced around the world. It will soon be published in the United States by Dramatists Play Service and be produced in regional theaters nationwide.
Stephen Sachs with Peter Flack and Marie Kühler Flack at the Duchess Theatre, London.
The Orebro production in Sweden is a hit and getting wonderful reviews: “The acting is dynamic and the lines bounce with a vitality that is next to perfect. An entertaining comedy with a serious undertone. A wonderfully human comedy …”
Sachs met the two Swedish actors, who are also husband and wife, when they came to see the London production of the play on the West End.
“It’s the dream of every playwright to have a play that is enjoyed in countries around the world,” says Sachs. “I’m delighted to see that now happening with Bakersfield Mist.”
“And it all started here at the Fountain Theatre.”
‘Bakersfield Mist’ at the Fountain Theatre (2011)
Rehearsal/Trailer of ‘Ingen Konst’ in Sweden (2014)
The Fountain Theatre continues to broaden and expand its Board of Directors with the addition of longtime Fountain Family member Patricia Oliansky. Not only does Pat bring many years of Fountain love and support to the Board, she also offers a wide range of experience and professional expertise.
Patricia Oliansky holds a B.A in History from Hofstra College and a M.A in Ancient Near Eastern History from UCLA.
Board affiliations: Los Angeles Mozart Orchestra (Founding President – 8 years); Friends of Sundays Live (Founding President – 6 years); Southern California Library for Social Studies and Research (member- 5 years); California Dance Institute (member – 2 years); and the Women’s Reproductive Rights Assistance Project or WRRAP (current member – 2 years). Tasks with these organizations include: Board formation, volunteer development, grant writing, budgets, design, event planning and fundraising.
Pat was a docent at the Los Angeles County Museum of Art for 20+ years and is currently a docent for the Los Angeles Museum of the Holocaust. She has archaeological field experience in Los Angeles (La Brea Tar Pits), England, Wales, Turkey, Georgia and Armenia. Having been co-editor for a professional journal on Mesopotamia, she is currently helping to edit two site reports for professional UCLA friends.
Pat was involved in a single foray into the theatre: she co-produced Dario Fo’s Orgasmo AdultoEscapes from the Zoo at the Fremont Centre Theatre. An evening of monologues starring Francesca Fanti, the show won uniformly rave reviews and two awards at the Valley Theatre League in 1998: one for Francesca and one for the production of an evening of one-acts.
On the home front, Pat’s partner for 32 years has been Peter Barna. They each have 2 grown children and have one grandchild. Pat hails originally from New York and Peter from Budapest, Hungary.
Stephen Sachs and Patricia Oliansky at ‘Bakersfield Mist’ in London.
“I am thrilled and delighted to have Pat join our Board,” exclaims Fountain Co-Artistic Director Stephen Sachs. “I was recently in London opening the West End premiere of Bakersfield Mist — a play created and produced at the Fountain in 2011. I was at our first preview performance in London. There I am at the Duchess Theatre, 5,400 miles away from the Fountain. And who is there in the audience that night? Cheering us on and bringing us good wishes? Pat Oliansky. That kind of loyalty, love and support is priceless and deeply, deeply appreciated.”
Welcome aboard the Board, Pat! See you at the Broadway opening? Fingers crossed.
When Stephen Sachs was a student at Agoura High, he won a national high school writing award and was offered several writing scholarships. He turned them all down. Why? “I wanted to be an actor,” he answered a bit sheepishly.
He became one in the 1980s, but it’s the old story. As reality set in, he began to direct, write plays and help run theatre companies. He was a manager at Ensemble Studio Theatre, worked behind the scenes at Stages in Hollywood, and with Joan Stein and Suzie Dietz at the Canon Theatre in Beverly Hills. Until he got a phone call “out of the blue” from Deborah Lawlor, another independent theatre producer.
Deborah Lawlor and Stephen Sachs
Lawlor had met Sachs at Stages when she rented space there, and was impressed by him. While recuperating from a serious auto accident in New York, she decided that, if she survived, she would do what she’d always wanted: have her own theatre. She called Sachs and asked him to run it with her. That was 1990. You might say that the rest is history, but not so fast…
“I was just starting to develop as a playwright and director,” Sachs said. “Deborah had a dance background. She was part of the avant-garde dance scene in New York in the 1960s and 70s. The Judson Dance Theater, Café Cino, the whole thing. Her idea was to create an artistic home for theatre and dance artists.”
As a wise friend once told me, we tend to enter our lives through the back door. Looking around for a suitable space, Lawlor and Sachs were shown a funky building at 5060 Fountain Avenue in Hollywood and fell in love with it. They named it the Fountain for the street it sat on, but also, Lawlor said, “I liked the idea of a fountain of work…”
“We opened our doors on April Fool’s Day 1990—the perfect day to start a theatre company,” said Sachs, “and we’ve been there ever since. Los Angeles being such a diverse city, we wanted to do work that would give voice to a variety of communities.”
Which is how the theatre’s association with Flamenco dance began.
Flamenco dancer Maria Bermudez
“Through Deborah,” specified Sachs. “Shortly after we opened she asked, ‘Have you ever seen a Flamenco concert?’ I said no and she said, ‘Come with me.’ We got in the car, drove up to Santa Barbara and she introduced me to Roberto Amaral, a well respected Flamenco teacher and choreographer. I saw my first Flamenco concert and was blown away. ‘We’re going to do that at The Fountain,’ Deborah said. And now we’re the foremost regular presenters of Flamenco in Los Angeles.
“When we started it was just Deborah, me and the building. We plugged in a couple of phones, drove down Western Avenue and bought a couple of desks. We had to assemble them ourselves. We made our own programs on a manual typewriter. It was all very small, very modest.”
In many ways, it still is. “But from the beginning,” added Sachs, “we felt we were on to something. We did The Golden Gate, a play I had adapted from a charming novel by Vikram Seth about yuppies, gays and straights living in San Francisco—romantic and fun, beautifully written, and entirely in verse. It was like 30-somethings meet Shakespeare. We did it up in San Francisco, so right out of the gate, our work was being noticed. It’s just been a slow kind of gentle growth ever since.”
While next year will mark their 25th year in business at the same address in a virtually unchanged environment, and they have a lot to show artistically for the past quarter century, big profit is not one of them. Lawlor has delivered financial support when needed, while Sachs has delivered a stream of noteworthy plays, becoming that unusual creature: a playwright and director with his own sandbox. Together, they’ve built a loyal audience and done work that has brought them recognition and has traveled pretty far afield.
Sachs has had 11 of his plays produced during that time, many of them at the Fountain, quite a few elsewhere—from The Pasadena Playhouse to Toronto, from Chicago’s Victory Gardens to Vancouver. A quick Google search offers an impressive list of directing and playwriting credits.
Rochelle (Pamela Dunlap) finds release through dance in ‘Heart Song’.
Currently, his play Heart Song, which recently premiered at the Fountain and is about the transformation of a middle-aged Jewish woman “separated from her tribe and very much alone,” is filling up houses at Florida Rep. His 2012 two-hander, Bakersfield Mist, about the encounter of a celebrated art dealer with a woman in a Bakersfield trailer convinced she owns a major work of art, opens in June at The Duchess Theatre in London’s West End. It features Kathleen Turner and Ian McDiarmid.
“There’s been something special about this play from the start,” said Sachs. “I directed the world premiere at the Fountain and was on the 101 freeway driving to my first production meeting, when I had a call from my agent telling me the script had been optioned for New York. I had to pull over!”
Bakersfield Mist received three other productions around the country as part of the National New Play Network (NNPN), an organization of theaters of which The Fountain is a member. It was founded in 1998 with the intent of giving new plays more than one production.
“They do this thing called ‘rolling world premieres,’ ” Sachs explained, “guaranteeing at least three productions of a new play. Sweet Nothing In My Ear, another play of mine that premiered at the Fountain, went around the country through NNPN and then was made into a Hallmark movie with Marlee Matlin and Jeff Daniels. A new version of Strinberg’s Miss Julie that I wrote was produced that way as well. We want to continue doing more of that.”
Bakersfield Mist had productions at Wellfleet Harbor Theatre in Cape Cod, New Rep in Boston, the New Jersey Rep and was optioned by Sonia Friedman, a major New York and London producer. “They’d never seen a production of it,” said Sachs. “They read that script sent by my agent and optioned it for London and New York. Now they control the U.S. rights.”
Ian McDiarmid and Kathleen Turner in the London production of “Bakersfield Mist”
In 2004, the Fountain drew the attention of no less a playwright than South Africa’s Athol Fugard, who chose the tiny Fountain for the world premiere of an exquisite and very personal two-character play: Exits and Entrances. It was followed by the U.S. premiere of Fugard’s The Blue Iris, The Train Driver, Victory and the West coast premiere of Coming Home.
When asked how many productions the Fountain puts on per year, Sachs answered: “Trick question. We’ll announce four, but actually do two or three. Our productions tend to extend and run for a while which is a nice problem to have. So we announce four and see how it goes.”
Productions are no longer pegged to specific dates, but to seasons — Spring, Summer, Fall, Winter — allowing for greater flexibility. Sachs and Lawlor threw out the old model of rigid slots when they found themselves closing hits because they had committed to a new show on a given date. With just 80 seats to sell, they had to think more creatively. “We changed everyone to a flexible pass and we’ve never looked back. This allows us to keep a hit going. It also allows our subscribers the flexibility to come at their convenience—a good thing when decisions today tend to be so last-minute.”
So is the small physical plant a plus or a minus?
“It’s a question we’ve been wrestling with for years,” Sachs acknowledged, “a tug between ambition and what is right for the company. We even explored Hollywood quite a bit, looking to find maybe a second space or larger building, thinking, boy, how much bigger we could be. Yet talking with Fugard about this, he said, ‘Don’t. Don’t do it.’ Maybe he’s right…”
“The Train Driver” by Athol Fugard
So here’s the dilemma: Awards and recognition are certainly not lacking, but breaking even—let alone making money—is a perennial struggle. The staff has ballooned to six people: Lawlor and Sachs, producing director Simon Levy, tech director Scott Tuomey, associate producer James Bennett and head of subscriptions Diana Gibson. The budget has “a little more than doubled” since they opened their doors. It does not easily enable profit.
“There are times when I wish we had more seats, a bigger stage,” said Sachs, “but there are plenty of examples out there of smaller theatres that have gone on to larger buildings and have regretted it or have lost something in the move; suddenly the focus becomes the real estate and maintaining the overhead.
“I don’t ever want to lose the magic of this intimate space. It makes for such a visceral experience. But after almost 25 years, there’s also a question of growth. We can’t become stagnant or complacent and we do want to continue building forward. You don’t want to sell your soul and you don’t want to lose what makes this theatre special.”
Lawlor concurred. She’s writing a play for which she’s received a grant and acknowledged that “our losses have decreased; we may even show a tiny profit this year.”
“Expanding fund-raising; exploring the possibility of adding 19 seats to our existing space. Not easy,” said Sachs, “but we can do that under the 99-seat Equity Waiver and 19 seats could make a difference. Other than that, we’re looking to expand our exposure across the country and having more of our work done at other theatres.”
So the funky Fountain remains the-little-theatre-that-could, on its funky street with its broken sidewalk, its postage-stamp parking lot, and widely enjoyed by many people who apparently have found out that they really, really like what it has to offer.
Bakersfield Mist was created and produced at the Fountain Theatrein Los Angeles where Sachs is co-artistic director. The Fountain production, the first in a rolling world premiere supported by the National New Play Network‘s Continued Life of New Plays Fund, was a smash hit, earning rave reviews and running seven months including three extensions.
Inspired by true events the play asks vital questions about what makes art and people truly authentic. It won the 2012 Elliot Norton Award for Best New Play.
In the play, Maude (Turner), a fifty-something unemployed bartender, has bought a painting for a few bucks from the thrift store. Despite almost trashing it, she is now convinced it’s a Jackson Pollock worth millions. But when world-class art expert, Lionel Percy (McDiarmid), flies over from New York and arrives at her trailer park home in Bakersfield to authenticate the painting, he has no idea what he is about to discover.
In a press statement, Turner commented, “The shock and humor of diametrically opposed cultures with the transformative power of art – pure joy.” McDiarmid added, “I liked the idea and comic potential of two passionately opinionated cultural opposites engaged in a life-changing battle for the soul of a great painter.”
Nica Burns, co-producer of the play with Sonia Friedman Productions, Darren Bagert/Martin Massman and Chris & Kelbe Bensinger, added, “When we were lucky enough to hear Kathleen Turner and Ian McDiarmid read the play for us, the chemistry between these two great stage actors was thrilling. It has been eight years since Kathleen stunned London audiences with her extraordinary award winning performance in Who’s Afraid of Virginia Woolf? This is a fantastic role for her return to the London stage.”
Turner, who is currently appearing in the title role of Mother Courage at Washington DC’s Arena Stage (through March 9), has previously appeared onstage on Broadway in Cat on a Hot Tin Roof, Indiscretions, The Graduate, Who’s Afraid of Virginia Woolf? and High. Other stage credits include The Killing of Sister George (Long Wharf Theatre, New Haven) andRed Hot Patriot: The Kick Ass Wit of Molly Ivins (Philadelphia Theater Center, LA’s Geffen, and DC’s Arena Stage).
McDiarmid, who is best known for his role as Darth Sidious/Emperor Palpatine in the “Star Wars” film series, has worked extensively in the theatre, including an 11-year stint when he was joint artistic director of London’s Almeida Theatre. He appeared there in Brian Friel’s Faith Healer, subsequently winning a Tony Award for reprising the role on Broadway in 2006. Other theatre acting credits include Life of Galileo for the RSC, Timon of Athens at Chicago Shakespeare Theatre, The Emperor and Galilean at the National Theatre and Henry IV at the Donmar Warehouse.
The play will be directed by Polly Teale, joint artistic director of Shared Experience, for whom she has directed Jane Eyre, Brontë, After Mrs. Rochester, Bracken Moor, Mary Shelley and Speechless, amongst others. She co-directed War and Peace in a co-production for the National Theatre and Mill on the Floss. “Brontë” has been adapted as a feature film for Film Squared/Pathé.
Playwright Stephen Sachs
Playwright Stephen Sachs is co-artistic director of the Fountain Theatre in Los Angeles. His other plays include Heart Song (Los Angeles 2013, Florida Rep 2014), Cyrano (LA Drama Critics Circle Award for Best New Play, Ovation Award nomination), Miss Julie: Freedom Summer (LADCC and LA Weekly Award nominations), Gilgamesh (Theater@Boston Court), Open Window (Pasadena Playhouse, Media Access Award), Central Avenue(PEN USA Literary Award Finalist), Sweet Nothing in my Ear (PEN USA Literary Award Finalist, Media Access Award), Mother’s Day, The Golden Gate (Best Play Award, Dramalogue) and The Baron in the Trees. He wrote the teleplay for “Sweet Nothing in my Ear” for Hallmark Hall of Fame which aired on CBS, starring Marlee Matlin and Jeff Daniels.
The London production will run at the Duchess Theatre, May 10through August 30. The design team includes scenic designer Tom Piper, lighting designer Oliver Fenwick and sound designer Jon Nicholls. Bakersfield Mist is produced in the West End by Nica Burns, Sonia Friedman Productions, Darren Bagert/Martin Massman and Chris & Kelbe Bensinger.
Bakersfield Mist is a work of fiction. Although based on actual events, the characters and events in the play are fictionalized and are not intended to accurately depict or resemble any actual person or event, living or dead. Names, characters, places and incidents have been changed for dramatic purposes.
Shhhh … it’s still a secret. But big news is coming later this week on the London opening of the hit comedy/drama Bakersfield Mist by Stephen Sachs. The all-star cast for the London production will be announced this week, as well as the director, venue and production dates. Tickets will go on sale immediately.
First created and launched at the Fountain Theatre in 2011 starring Jenny O’Hara and Nick Ullett, Bakersfield Mist tells the story of Maude Gutman, a middle-aged lady who bought a painting in a thrift store for three bucks. She’s now convinced it’s a long-lost Jackson Pollock masterpeice worth millions. The play unfolds when a world-famous art expert from Manhattan arrives at Maude’s trailer park door to appraise whether her painting is, in fact, authentic. The world premiere was a smash hit at the Fountain, running for 7 months and extended three times.
South African playwright, actor and director Athol Fugard describes the time Nelson Mandela was released from prison in 1990 as “a period of euphoria that was the most extraordinary experience of my life.”
He says he was also convinced he would be the country’s “first literary redundancy.”
“My life had been defined by the apartheid years,” he says. “Now we were going into an era of democracy … and I believed that I didn’t really have a function as a useful artist in that anymore.”
But as President Mandela gave way to Thabo Mbeki and later Jacob Zuma, Fugard’s disappointment set in, and it did not take him long to realize his voice was still needed. He says he isn’t sure his comments will be welcomed though, “because amongst armchair liberals, the notion that South Africa is now a happy democracy and that Nelson Mandela did it all, is very widespread.”
On his plays:
Continuing its 12-year relationship with Athol Fugard, The Fountain Theatre celebrates the master playwright’s 80th birthday with the U.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.
“The Blue Iris” (US Premiere, 2012, Fountain Theatre)
The Blue Irisis 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.
Fugard started writing plays in his mid-20s, and this year, five decades later, at least six are being performed in the U.S. and U.K. He says he’s surprised to see there’s still so much interest in his work.
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.
“The Train Driver” (US Premiere, Fountain Theatre, 2010)
This year, the Signature Theatre in New York is hosting Fugard as its first international residency playwright and showing three plays from various periods of his career. He says it’s given him a chance to look back over the 50 years that span the writing of the first play he directed, Blood Knot, and the last play he says he will direct, The Train Driver, which had its US Premiere at the Fountain in 2010 and just opened in NY Aug. 14.
Fugard describes the two plays as “the bookends of an arc that essentially defines myself as a playwright,” though he assures his fans this does not mean he’s stopped writing.
On the people who shaped him:
As a child, Fugard says that “society was trying to make me conform to a set of very rigid, racist ideas,” and he credits his mother for making him challenge them. He says she was “endowed with a natural sense of justice and decency” and was “a simple Afrikaans woman (who) gave me my soul.” He thanks her for prompting him to “break the conditioning that was taking place on school playgrounds, in classrooms, everywhere.”
He describes his father as “a gentle man and a very beautiful man,” and also, like himself for a period of time, an alcoholic. This family dynamic shaped his plays.
“You’ll see that the strong, the affirmative, the positive voice in any of the plays I’ve written is that of a woman,” he says. “My men are, well not quite worthless, but they are certainly weak, and that reflects the reality I grew up with and what I think has in a sense shaped me.”
Athol Fugard (center) with actors John Kani (left) and Winston Ntshona at the Royal Court Theatre in London in 1973.
On working with a multiracial theater group:
In the 1950s, when so much of South African life was regulated to keep the races separate, Fugard worked with a multiracial group of actors.
“It was foolhardy and we paid prices, but it was a gesture of defiance,” he says.
He learned enough about the laws to work out situations that would allow him to work with his black colleagues.
“It raised a very, very serious issue of conscience,” he explains as he acknowledges that his punishments were relatively minor compared to what those colleagues would eventually endure at Robben Island with Mandela.
On racial prejudice:
As an observer from outside looking at the American scene, Fugard says he believes that racial prejudice and profiling is flourishing, and that underlying all the opposition that President Obama is encountering is actually “the problem is that there’s a black man in the White House.”
He says South Africa has also not overcome its apartheid legacy, and explains that the real intention of the Truth and Reconciliation Commission, set up after the end of the apartheid regime, was not achieved.
“You can’t legislate into existence an act of forgiveness and a true confession, those are mysteries of the human heart and they occur between one individual and another individual, not a panel of judges sitting asking questions, trying to test your truth,” he says.
On wisdom at 80:
When asked what wisdom he would like to impart to listeners, Fugard directed his comments to fellow 80-year-olds. He says “it’s supposed to be the age when you stop, but that is such nonsense. … I have a greater sense of adventure at this moment in my life than I ever had in the past.
“There are most probably five or six more years left in my case, but I’m going to live them up to the hilt.”
And does that mean he’ll keep writing? Of course.
“The act of witnessing is important to me, somebody’s got to tell the truth, you know what I mean?” he says.
Produced by the Royal Shakespeare Company, in an unprecedented collaboration with leading UK and international arts organisations, and with Globe to Globe, a major international program produced by Shakespeare’s Globe, it’s the biggest celebration of Shakespeare ever staged.
Almost 60 partners are coming together to bring the Festival alive. Thousands of artists from around the world are taking part in almost 70 productions, plus supporting events and exhibitions, right across the UK, including London, Stratford-upon-Avon, Newcastle/Gateshead, Birmingham, Wales and Scotland and online.
Measuring Shakespeare’s Digital Heartbeat
At myShakespeare artists and audiences interpret, recode and remix Shakespeare’s online world. It’s a creative space to share thoughts and ideas, revealing how his words, stories and characters continue to influence and reflect human life.
Why are the plays of Shakespeare still so powerful today as they were over 400 years ago? “The stuff that we care about doesn’t change,” says UK actor, musician and comedian Tim Minchin. Take a look at Tim’s video explaining what myShakespeare is all about:
From every continent, myShakespeare has commissioned a series of artists to create new work. First on the site is rapper, poet and playwright, Kate Tempestfrom Southeast London.
Check out her video rap/poem, My Shakespeare. It’s wonderful!
During the holiday season, the LA Times (aka LAT) demonstrated anew its curiously constricted view of the importance of the other LAT — LA theater.
Times theater critic Charles McNulty’s year-in-review roundup included a Top 11 list of theatrical productions, of which only two (Blackbird and Peace in Our Time) were LA-originated. Two other shows on his list, The Cripple of Inishmaan and Let Me Down Easy, were imported by LA area theaters. One Orange County production, Circle Mirror Transformation, also made McNulty’s list.
The other six shows on the list – more than half of the total – included a Canadian import McNulty saw in La Jolla (Jesus Christ Superstar), three shows he saw in New York (The Book of Mormon, The Motherfucker with the Hat and The Normal Heart), and two he saw in London (Luise Miller and One Man, Two Guvnors). McNulty also wrote a separate year-end essay that mentioned other shows, including four LA-originated productions, but they didn’t appear on his Top 11 list.
Whenever a critic tries to cover more than one geographical area in a year-end theater assessment, especially if traveling among the areas involves crossing not only continents but also oceans, I wonder how the critic could possibly have seen enough of the contenders in any one of the areas to make reasonably comprehensive judgments. To be fair to McNulty, it’s true that he wrote that these were the shows that “had me clapping loudest at home and abroad” – not that these were necessarily the best shows in the 2011 theatrical world or even in these particular cities.
Even so, a lot of readers probably assume that the chief LA Times critic reviews or at least sees most of the better LA shows. But it ain’t necessarily so.
I looked up the record of what McNulty wrote about in 2011, courtesy of one of the databases at the LA Public Library. I found 52 reviews of individual theater productions within LA and Orange counties (plus one review at Long Beach Opera and a RADAR L.A. commentary that included brief comments on several shows).
It’s no surprise that he reviewed Center Theatre Group shows more often than those of any other company – a total of 13 in 2011. The surprise about his CTG coverage is that only two of those 13 were at CTG’s flagship venue, the Mark Taper Forum. Four were at CTG’s largest theater, the Ahmanson, while seven were at CTG’s smallest venue, the Kirk Douglas. McNulty wrote about eight productions at Geffen Playhouse and seven at South Coast Repertory. He covered five shows at Broad Stage (all of them imports).
So 33 of his 52 individual theater reviews in Los Angeles and Orange counties took place at those four companies, which are more or less regarded as the “1%” of LA theater by many of the “99%” who work elsewhere in the vast LA theater terrain.
McNulty also spent time in the major San Diego theaters, reviewing five shows at La Jolla Playhouse and four at the Old Globe (plus one at San Diego Rep, which he later re-reviewed when it came to LA).
Oddly enough, McNulty largely avoided one of our major theaters, the Pasadena Playhouse, even though 2011 was the year when it rebounded from bankruptcy. McNulty reviewed only one of the playhouse’s productions, Dangerous Beauty. He ignored the return of the playhouse’s Sheldon Epps as a director in Blues for an Alabama Sky (it opened the same night as the Mark Taper Forum’s Vigil – but McNulty didn’t review Vigil either).
Although 2011 was the year when A Noise Within moved from Glendale to larger digs in Pasadena, McNulty wrote only about the company’s opening show (Twelfth Night) in the new theater, not about the final season of three (better) productions in the former space or the new theater’s second show.
"Small Engine Repair" at Rogue Machine
He didn’t write about any of the four 2011 shows that won the top production honors at last year’s Ovation Awards ceremony (A Raisin in the Sun, Kiss Me Kate, Small Engine Repair, Jerry Springer: the Opera), nor has he has ever written (in his six years at the Times) about Troubadour Theater Company, which won the “best season” Ovation for the second time in three years.
He reviewed no 2011 shows at most of the companies that make up the middle tier of Equity-contracted LA theaters – the Colony, International City Theatre, East West Players, Theatricum Botanicum, Independent Shakespeare, the Falcon, Ebony Rep, Theatre West, Native Voices – nor did he write about anything at the larger musicals-only companies such as Musical Theatre West. He reviewed one production each at Reprise, REDCAT and the Skirball, plus the only Getty Villa production that was open for review in 2011. He wrote about one show each at the larger Pantages and Montalban theaters and at the Hollywood Bowl, as well as Cirque du Soleil’s Iris.
On the small theater (99-Seat Plan) level, he reviewed eight productions, including two at Boston Court and one each at six other venues. That’s eight out of the 371 productions that used the 99-Seat Plan in LA County in 2011, according to tentative figures from Actors’ Equity. Continue reading →