Tag Archives: Maleni Chaitoo

Conversations with Black Artists, Part II

By Terri Roberts

Here, in the second part of our series of conversations with Black artists who have frequently worked with the Fountain Theatre, we talk with actor and director’s assistant Erinn Anova, as well as actors Karen Malina White and Victoria Platt. More conversations to come. Stay tuned!

Erinn Anova

Actor: Central Avenue, Direct From Death Row: The Scottsboro Boys, Cyrano. Assistant to the Director: The Ballad of Emmett Till, In the Red and Brown Water

1. When/how did you first come to the Fountain Theatre?

I first came to the Fountain as the understudy for “Angel” in Central Avenue. Shirley Jo Finney had just directed me in Blues for an Alabama Sky in Northern California, and I’d recently moved to LA. She knew I was a huge jazz fan, and suggested I audition for the new play she was directing: Central Avenue. That play was so good! It went on for six months, so even as an understudy I had plenty of shows.

2. How has your experience been working here?

Great! I gained amazing friendships, and I’ve learned so much! I’ve had the opportunity to work with world-class playwrights, actors and designers. When I moved to New York, the Fountain was one of the few LA theatres that people have actually heard of. Overall, the Fountain feels like home – the quirks, the magic, the consistency. I just love it.

3. What Fountain shows that you’ve worked on hold particular meaning for you, and why? 

They have all been great, but I’m going to have to go with two, for very different reasons.

First, Cyrano. It was such a gift for me, as a hearing person, to be immersed in the deaf community. In this whole new world, I learned about deafness and its power, about language and somatics, and about life. It changed me.

As far as acting goes the whole cast was amazing, but sharing scenes with Troy Kotsur (Cyrano) was something-other-else. It’s what I imagine working with another genius, Charlie Chaplin, would be like, and I’m not exaggerating. I also have to shout out Stephen Sachs for casting me – a dark brown, short-haired black woman (someone not always so “visible” in Hollywood) as the love interest, Roxy. The fact that there was never even a conversation about it was even sweeter. 

Finally – very few people know this, but now’s as good a time as ever to share – a few years after Cyrano closed, and after some mysterious symptoms appeared, I was diagnosed with both hearing loss and an auditory processing disorder. It made so much of my life make sense, and now I wear hearing aids in both ears. That was a very scary time, and folks have no idea how badly regulated the hearing aid business is (that’s another story.) But because of Cyrano, I had people to reach out to. Maleni Chaitoo, one of the deaf actors, helped me tremendously with her knowledge and resources to navigate that journey, and I will always be grateful for her warm welcome into the hard of hearing/deaf community. Cyrano was a blessing.

Next, In the Red and Brown Water. For that show there was no “official” casting person – it was me! I was assisting Shirley Jo, and I believe James Bennett or Stephen gave me a general rundown of how to work the casting websites, and I was off and running. Of course, Shirley Jo gave me parameters of what to look for, but I am very proud of the amazing actors that I personally picked to come in for auditions. There were a few I even fought for: Diarra Kilpatrick, Maya Lynne Robinson, Stephen Marshall, Gilbert Glenn Brown, Justin Chu Cary and Simone Missick. Along with Iona Morris, Theo Perkins, Peggy Blow, and Dorian Baucum, this was one of the most phenomenal casts I’ve ever seen. They, along with Shirley Jo’s brilliant and elevating direction, made Tarell Alvin McCraney’s play fly. And they all turned out to be wonderful people, too! It’s been a joy to see everyone continue to shine bright in theatre, television, and film, and it’s even more of a blessing to be a part of the IRBW “family.”

One more: Direct From Death Row: Scottsboro Boys. This show has special meaning for me because Ben Bradley cast me in it. Rest in peace, Ben. Also, Mark Stein, who wrote it, and my brother, Harley White, Jr., who wrote the music, were nominated for the Pulitzer Prize.  They lost out to some musical called Hamilton.

4. Last summer’s civil unrest brought an increased focus on racism, both in general and within the theatre world. We also saw the emergence of the BIPOC movement. How have these issues impacted you and your work in the theatre?  

My work has been impacted by the fact that that these conversations about racism are just now happening in the theatre world. At some point I stopped investing time and interest in pursuing work in “mainstream” theatres. As my grandmother would say, “Go where you’re wanted, honey.” I started in theatre very young (age 12) and in my naivete, I think I mistook the magic and camaraderie of theatre as a place where kindness and respect for humanity were built in. Often they are not. Some of my worst racial experiences have happened at theatres.  No place is perfect, but I appreciate that the Fountain has always been interested in producing plays, supporting playwrights, and hiring actors from various cultures, with different abilities, and with numerous points of view — including BIPOC. It’s unique.

5. Why is Black History Month important?

It’s American history.

6. What’s next for you? Any upcoming projects?

I’m currently producing a documentary based on a study done by the University of California. It’s about racial disparities in marijuana arrests and the cannabis industry, and it’s called When The Smoke Clears. I’ve ot two national commercials that should start airing this spring. And I found a fantastic illustrator, so my children’s book, Pretty Bun, will finally be published this summer!   

Karen Malina White

Actor: The Ballad of Emmett Till, Citizen: An American Lyric, Runaway Home

1. When/how did you first come to the Fountain Theatre?

I had auditioned for The Ballad of Emmet Till when it was being produced by The Goodman Theatre in Chicago. I was beat out by the one and only Deidrie Henry (Yellowman, Coming Home at the Fountain.) But a friend called me out of the blue to invite me to a reading of it at the Fountain. I was so excited! I hadn’t heard of the Fountain at that time but rushed and hoped I could get inside to hear the reading. I so loved the play and felt an enormous attachment to it. When I got there I saw both the playwright, Ifa Bayeza, and Oz Scott, who directed the Goodman production. I loved the new configuration with five actors playing all the parts, which was not the case in the Chicago production. Oz introduced me to Ben Bradley. Time moved on and that same friend, John McDonald. reached out to say that Ben Bradley was scrambling to find me to audition. So grateful and honored to have been a part of that life changing and bonding production.

2. How has your experience been working here?

Working at the Fountain is wonderful. It’s home now, and Stephen, Simon and Debra, the designers , (technical director) Scott Tuomey, and you, Terri, make every experience a joy!

3. What Fountain shows that you’ve worked on hold particular meaning for you, and why?

The Ballad of Emmett Till, because it was my first and because of the tragic circumstances surrounding it as well as the eternal friendships that came out of that experience. Finally working with Shirley Jo Finney, too.

4. Last summer’s civil unrest brought an increased focus on racism, both in general and within the theatre world. We also saw the emergence of the BIPOC movement. How have these issues impacted you and your work in the theatre?  

I’m a company member of Antaeus, and we have been having some amazing conversations and taking major actions to be inclusive and reflect the most accurate picture of the best of America. It’s now a conscious decision to have our productions reflect inclusiveness and racial equity. We are looking forward to the work.

5. Why is Black History Month important?

Because it’s American History. African American History. So much of us know about the history of the dominant culture but not enough of other cultures. We have to remedy that.

6. What’s next for you? Any upcoming projects?

I have been fortunate enough to be working on The Proud Family reboot with Disney Plus Channel. Coming soon to the streaming service.

Victoria Platt           

Actor: Cyrano, Building the Wall, Natural Shocks (staged reading)

1. When/how did you first come to the Fountain Theatre?

I can’t recall the very first production I saw. It was waaay back. But it was late ‘90s that I started coming to see productions there. Victory, In the Red and Brown Water, Emmet Till, The Brothers Size to name a few. The first production I was in was Cyrano.

2. How has your experience been working here?

It’s always wonderful. Simon Levy and Stephen Sachs hold this work with great care and respect. Every production I see at the Fountain is inspiring, thought provoking, and well produced. Hard to find all those elements simultaneously.

3. What Fountain shows that you’ve worked on hold particular meaning for you, and why?

Everything I’ve done at the Fountain has been important. That’s what they do there – important, meaningful work. Natural Shocks brought gun violence and violence against women to the stage. I love that Stephen chose to give the play four voices instead of the one it was written as. Cyrano was an incredible experience because I was reunited with Troy Kotsur (we performed together in Pippin at the Mark Taper Forum) and it was a co-production with Deaf West (as was Pippin.) I learned ASL for Pippin and kept it up, so the opportunity to use ASL on the stage again, to bring theatre to hearing and deaf audience members, and to work again with Troy was a trifecta of awesomeness for me. Building the Wall though was probably the most poignant for me because of the content. Seeing how it all played out in the real world was a testament to the prophetic words of Robert Schenkkan. It was an honor to tell that story at that time. After each show I spoke with audience members who were not just impacted by the work but were compelled to action. That is one of the blessings of all the productions at the Fountain. They not only educate, and enlighten but inspire. Good theatre is supposed to do that.

4. Last summer’s civil unrest brought an increased focus on racism, both in general and within the theatre world. We also saw the emergence of the BIPOC movement. How have these issues impacted you and your work in the theatre?  

The issues that have emerged for some recently, have always been present within the BIBOC (Black Indigenous Bodies of Culture) community. I’m grateful to George Floyd and the countless others who shed their blood to shine a light on the injustices BIBOC have been experiencing for centuries. I’ve encountered more people willing to have real conversations about race, socio-economics and frankly all the ‘isms. And finally, the hard conversations are being had. I was accepted into Communal Consultations – a program created and run by My Grandmother’s Hands author Resmaa Menakem, which will deal with healing ancestral and racialized trauma. This training will allow me more insight into how I can use my work as an artist to bring more awareness and healing to people of all bodies.

5. Why is Black History Month important?

Unfortunately, Black History month is important because there is still grave inequality and oppression. People in Black bodies are still being murdered for no reason except being Black, and with no consequences. Black History Month is one of the necessary actions that highlight how people in Black bodies have contributed to the fabric of this nation; not just the fringe of it. In too many arenas, Black History Month is used as a performative practice, but sometimes even performative practices make their way past the ego and into the soul.

6. What’s next for you? Any upcoming projects?

For the past year I’ve been blessed to have recurring guest star work on NCIS, Good Trouble and Days of Our Lives. I’ve also been working as a motion capture (mocap) performer on a video game by 2K productions, which has yet to be named but due for release later this year. I can also be seen in A Cold Hard Truth, a film by Charles Murray (Luke Cage, Sons of Anarchy), now streaming on multiple platforms, and A Hard Problem, a film I also co-starred in, will release this March.

Terri Roberts is a freelance writer and the Coordinator of Fountain Friends, the Fountain Theatre’s volunteer program. She also manages the Fountain Theatre Café.

Staged Reading of ‘Cyrano’ Soars at New York Theatre Workshop

'Cyrano' at New York Theatre Workshop

‘Cyrano’ at New York Theatre Workshop

The Fountain Theatre and Deaf West Theatre brought their lyrical and romantic  deaf/hearing updated-version of Cyrano to New York last Monday, April 29, for a special staged reading at the acclaimed New York Theatre Workshop. The staged reading was performed for a full house of NY theater producers and invited VIP’s for the purpose of solidifying interest in a possible New York production.

Four original cast members were flown in from Los Angeles: Troy Kotsur, Paul Raci, Victor Warren and Al Bernstein.  The rest of the ensemble was cast with local New York actors Matt Biagini, Robert De MayoSamira Wiley, John McGinty, Puy Navarro, James W. Guido, Alexandria Wailes, Richard Dent, and original cast member Maleni Chaitoo who happens to now live in NY.

The company rehearsed with director Simon Levy for only three days. Our thanks to our friends at Primary Stages for providing their rehearsal studios to the Cyrano company. Also in attendance at rehearsals were playwright Stephen Sachs, Deaf West Artistic Director David Kurs, Fountain Producing Artistic Director Deborah Lawlor, DWT Founder Ed Waterstreet and his wife, actress Linda Bove.

The highly regarded New York Theatre Workshop is the Tony-winning company dedicated to developing new plays and musicals.  Over their 30-year history, they have launched many acclaimed productions and have transferred several to Broadway, including Rent, Dirty Blonde, Homebody/Kabul, Peter and the Starcatcher, Once, and more. The Cyrano staged reading was held Monday in the NYTW upstairs rehearsal hall. An invited list of producers and VIP guests attended, including representatives from New York Theatre Workshop, The Public Theater, Manhattan Theatre Club, Primary Stages, 59E59 Theatres, Broadway director Jeff Calhoun, and more. The actors performed Cyrano entirely memorized and off-book and cleverly incorporated the use of captioning and video design on a large TV flat screen monitor.

Our sincere and heartfelt thanks to our Cyrano donors who contributed to our fundraising campaign and made this very important New York opportunity possible: Phillip Baron, Cal Bartlett, JB Blanc, Eve Brenner, Carlease Burke, Johnny Clark, Kyle Colerider-Krugh, Cathy Colloff, Debra Conklin, James Conley, Kimberly Cyzner Family, Lorraine Danza, Timothy Davis-Reed, Fred Dean, Donna Duarte, Susan Duncan, Michael Edwin, Mark Freund, Amy Frost, Heidi Girardoni, Jane Gordon, Gaby Gross, William Dennis Hurley, Trice Koopman, Ken LaZebnik, Robert Leventer, Dennis Levitt, Ruth Linnick, Betsy Malloy, Caitlin Marcus, Donne McRae, Susan Merson, Mills, Michelle Montooth, Joel Moreno, Russell Nore, Jenny O’Hara, Susan Oka, Z. Oppenheim, Patricia Parker, Cynthia Paskos, Patty Paul, Terry Paule, Sharon Perlmutter, Ralph Pezoldt, Allison Pickering, Lawrence Poindexter, Priscilla Pointer, Bill Pugin and The Sign Language Company, Terri Roberts, Mark Routhier, Rita Schneir, Sandy Schuckett, Susanne Spira Survivors Trust, Suanne Spoke, Marjorie Throne, Eileen T’Kaye, Zoltan & Dorcas Tokes, Andrede Toledo, Tate Tullier, Jessica Turner, Nick Ullett, Heidi Girardoni, Carol Watson, Marianne Weil, William Wilk. We could not have done it without you!

What happens now? We’ll see what the future holds for our unique, thrilling and moving ASL/spoken English version of Cyrano. In the meantime, enjoy these snapshots of the rehearsal process and the staged reading!

‘Cyrano’ in New York 

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PHOTO SLIDESHOW: Fountain Theatre Sweeps Los Angeles Drama Critics Circle Awards

Fountain Theatre wins Best Season Award.

Fountain Theatre wins Best Season Award.

On Monday night, the Fountain Theatre won 7 LA Drama Critics Circle Awards:

  • Best Season 2012 – El NogalarCyranoThe Blue IrisIn the Red and Brown Water
  • Best Production – Cyrano
  • Best Director – Simon Levy, Cyrano
  • Best Director – Shirley Jo Finney, In the Red and Brown Water
  • Best Lead Performance – Troy Kotsur, Cyrano
  • Best Ensemble – In the Red and Brown Water
  • Best Writing (Adaptation) – Stephen Sachs, Cyrano

Fountain Theatre Sweeps with 7 Awards on the Gala Night

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Photo Slideshow: ‘Cyrano’ Closing party

Snapshots from our party celebrating the magical sold-out run of the world premiere of Cyrano after the final performance on Sunday, July 29th.

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‘Cyrano” Cast Members Are “Sexy” in ASL Music Video

Actors Chip Bent and Maleni Chaitoo, two cast members from our smash hit production of Cyrano, got together on their own time and created this ASL Music Video, “Sexy and I Know It”.  Check it out!

Celebrity Weekend at ‘Cyrano’

This past weekend brought film/TV actors Lea Thompson, Tara Samuel, and film director Joe Sargent to the Fountain Theatre to enjoy the world premiere production of Cyrano, now extended to July 8th.

Lea Thompson can be currently seen on the ABC Family TV series Switched at Birth. She starred in her own TV series Caroline in the City and starred opposite Michael J. Fox in the Back to the Future movies.

Tara Samuel co-starred on the TV series Sue Thomas: FB Eye. Joe Sargent is an Emmy-winning TV and film director, including the deaf-themed TV movies Sweet Nothing in my Ear and Love is Never Silent.

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Cyrano   Now to July 8th   (323) 663-1525    More Info

“Cyrano” Video: What Really Goes On in the Women’s Dressing Room?


Cyrano Extended to July 8th (323) 663-1525  More Info

Slideshow Photos: “Cyrano” Q&A Talk Back with Audience

On May 10, the cast and company of Cyrano enjoyed a Q&A Talk Back with the audience immediately following the performance. Joining the cast was director Simon Levy, playwright Stephen Sachs , and ASL Masters Tyrone Giordano and Shoshannah Stern. The cast answered questions from the audience on a wide range topics, including a discussion of the themes of the play, the rehearsal process, the ASL translation of the script, and the joy of performing the play as an actor.

A wonderful time was had by all, and the excited conversations continued in the theatre long after the official Q&A was over.  Enjoy the photos!

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Cyrano  Now to July 8th! (323) 663-1525  More Info   Buy Tickets

Smash Hit “Cyrano” Extends to July 8th!

Rave Reviews! Critic’s Choice in the Los Angeles Times!

Troy Kotsur and Erinn Anova

The Fountain Theatre and Deaf West Theatre have announced a four-week extension of Cyrano, a signed/spoken adaptation of “Cyrano de Bergerac” that has been re-set in modern-day Los Angeles. The Fountain/Deaf West co-production will continue Thursdays through Saturdays at 8 pm and Sundays at 2 pm through July 8.

Written by Fountain Theatre co-artistic director Stephen Sachs (Bakersfield Mist) and directed by Simon Levy, Cyrano stars Deaf West actor Troy Kostsur in the title role as a brilliant deaf poet hopelessly in love with Roxy, a beautiful hearing woman. But Roxy doesn’t understand sign language and instead loves Chris, his hearing brother. Can Cyrano express his love to Roxy with his hands? Or must he teach Chris to woo her, to “speak his words” for him? American Sign Language (ASL) becomes the language of love in this new spin on a classic love story.

Troy Kotsur and Paul Raci

Over a dozen reviewers have weighed in, earning Cyrano a score of “100% Sweet” on Bitter Lemons, the website that aggregates reviews of Los Angeles theater. “CRITIC’S CHOICE… inspired and inspiring! —Los Angeles Times; “CRITIC’S PICK…clever and deeply moving… bridges the gap between [deaf and hearing] worlds with poignancy and a huge dose of humor.” — Back Stage; “Skillful and impressive… terrific performances.” —LAist; “5 STARS… a poignant, inventive, riotously funny and marvelously satisfying masterpiece!”—Santa Monica Daily Press; “Nothing short of amazing… a dazzling accomplishment.” —Talkin’ Broadway; “A gem… fascinating on so many levels.” —Buzzine; “Superlative… an evening not to be missed.” —StageHappenings; “GO! [a] glorious swirl of words floating around the stage.” —LA Weekly; “An extraordinary production of a terrific play” —Latin Heat; “A sheer and exceptional pleasure.” —LifeInLA.

Cyrano continues through July 8 at The Fountain Theatre. For reservations and information, call 323 663-1525 or click here.

photos by Ed Kreiger

“Cyrano”: CRITIC’S CHOICE in Los Angeles Times!

Review: A refreshing take on ‘Cyrano’ at Fountain Theatre

Troy Kotsur and Erinn Anova (photo by Ed Krieger)

by Philip Brandes

Texting and email may have replaced quill and ink in “Cyrano” — Stephen Sachs’ contemporary re-envisioning of Edmond Rostand‘s classic drama — but the problematic nature of communication remains a constant. If anything, the theme gains new dimension and impact through the collision of hearing, deaf and online cultures in this inspired and inspiring adaptation’s debut co-production from the Fountain Theatre and Deaf West Theatre companies.

Performed simultaneously in spoken dialogue and American Sign Language by a mixed ensemble of hearing and deaf actors, Sachs’ moving adaptation transposes Rostand’s archetypal heroic outsider into a gifted coffeehouse poet whose inferiority complex is rooted in his deafness rather than his perfectly normal nose. Troy Kotsur excels as this modern Cyrano, who fears that talking with his hands poses an unbridgeable gulf between himself and Roxy (Erinn Anova) the hearing-only poetry fan he worships from afar. Learning that his beloved is in turn infatuated with his rock musician brother, Chris (Paul Raci), who has always been his “voice” in the hearing world, Cyrano returns the favor by composing romantic texts and emails to Roxy on Chris’ behalf (smartly rendered in videography by Jeffrey Elias Teeter).

Sachs’ adaptation skillfully maps Rostand’s principals to their updated versions. Torn between pride and loneliness, Kotsur’s Cyrano resists identifying with either the hearing or deaf communities — or the modern world, for that matter — and evokes the heartbreaking weight of the realization that self-sacrificing vicarious passion is not all it’s cracked up to be. Raci is by turns hilarious and poignant as clueless loser Chris, and Anova invests Roxy with the sensitivity and sense of isolation she unknowingly shares with Cyrano.

The few arguable limitations here lie in adhering a bit too faithfully to some creakier aspects of Rostand’s original (particularly the opening brawling sequence), but the performances quickly catch fire in Simon Levy’s well-paced and precisely focused staging. Besides offering a refreshing take on a classic, the signed/spoken presentation offers hearing folks the opportunity to appreciate sign language’s unique emotional expressiveness.

Cyrano Now – June 10 (323) 663-1525  More Info  Buy Tickets