by Terri Roberts
In this final segment of our Conversations with Black Artists series, we talk with director Shirley Jo Finney, and actors Gilbert Glenn Brown and Theo Perkins. We are grateful to all of the wonderful performers and creatives who have been so generous with their time and shared their thoughts about issues around race and their relationships with the Fountain Theatre. We hope you have enjoyed getting to know them a little better, as well.
Shirley Jo Finney
Director: From the Mississippi Delta, Central Avenue, Yellowman, The Ballad of Emmett Till, Heart Song, In the Red and Brown Water, The Brothers Size, Citizen: An American Lyric
1. When/how did you first come to the Fountain Theatre?
My first directing job at the Fountain was in1997, with From the Mississippi Delta by Endesha Ida Mae Holland.
2. How has your experience been working here?
I find the Fountain Theater supports their artists.
3. What Fountain shows that you’ve worked on hold particular meaning for you, and why?
All of them. Each of the shows are socially relevant and have impacted my artistic awareness as well as my expansion as a human being. It is the creative journey with the actors that hold the most meaning for me and not a particular show.
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?
Not so much.
For me, the emergence of BIPOC is a continuation of the Civil Rights Movement of the 60’s and 70’s. That movement changed laws and stopped a war. The cultural and black arts movement of that time laid the foundation for the raised fist we are experiencing now. I am a child of that time and my foundation as a creative was shaped by that time. It is the work I am called to do. Each generation is defined by their time.
5. Why is Black History Month important
It brings a microscopic lens of awareness to a culture that historically has been erased. There would not be a need for a month if it were an intricate part our education system.
6. What’s next for you? Any upcoming projects?
I hope many more active and healthy years!
I have adapted creatively during “the time of Covid.” It has opened up a whole new world of Zoom lectures discussing my journey and body of work as a director. I also am relishing the world of Zoom productions using the “mashing” of stage and digital to create story.
Gilbert Glenn Brown
Actor: Direct From Death Row: The Scottsboro Boys, In the Red and Brown Water, The Brothers Size, The Painted Rocks at Revolver Creek
1. When/how did you first come to the Fountain Theatre?
My very first audition and show with Fountain Theatre was early on when I first arrived to Los Angeles from NY and that was Scottsboro Boys.
2. How has your experience been working here?
My experience at the Fountain in one word… community. Truly the closest experience I’ve had in LA to a NY theatre experience. I feel that a sense of community in theatre is necessary. I enjoy being part of it, and the Fountain is able to foster that to an incredible degree,
The commitment to presenting productions that not only entertain, but transform, educate, and energize is so key. It breaks down walls, opens eyes and allows dialogue. The Fountain does that extremely well. I consider the Fountain my LA theatre home.
3. What Fountain shows that you’ve worked on hold particular meaning for you, and why?
I have to say that every single show I’ve had the honor of being a part of at the Fountain has been transformational for me. Every opportunity I’ve had to step onto that stage and look out into that small, yet giant, space, has changed me and allowed me to grow as an artist and as a human being. As an artist, that’s what you want – because if it moves you in that way, it will no doubt move the audience as well.
I have had the opportunity, at the Fountain, to be directed by some of the best: the incredible Shirley Jo Finney, the wonderful Simon Levy and the late, legendary Ben Bradley.
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?
Honestly, it has reinforced my conviction to continue doing exceptional, meaningful work as an artist. The projects I gravitate toward speak to the conditions of the world and ask the important questions, then set the stage for dialogue to occur.
There is a space for entertainment, for laughter, for fun – all that and more are a part of life and living. They exist even in classic tragedies, as they do in everyday issues and everyday life – but the responsibility of looking at all sides, of presenting the pleasure and the pain, falls on the artist. The unrest has always been there. The causes for that unrest have always been there. It’s just that now, due to social media/technology, that unrest is being broadcast and streamed 24/7 in real time and in living color. That doesn’t make it any easier, but it does make it more apparent.
Look at George Floyd, or the Capitol riots! Watching those events happen, live, presents the opportunity to either step up and be an active participant, or just sit back and watch. And that is something the Fountain stands on: Yes, of course, sit back. Please watch what’s happening. Go ahead and be uncomfortable by what you see on stage. Let it sink in, and let it transform you in some way. Let that experience provoke discussion, challenge your way of thinking or the way you see the world. That is the amazing opportunity that theatre presents.
5. Why is Black History Month important?
Black History? Well, I’ve been educated and enlightened to see that it’s not just “Black” History or just a month. It’s really World History. It’s really American History. The truth is that much that exists now wouldn’t exist at all without Black input, and, for that matter, without the input of many other cultures, races, religions, etc. America is an amalgamation of all that’s been added to the mix. There really shouldn’t be a limit to the reality of the impact that any culture has had on life in America. If we were to really embrace that truth, that inclusivity, what would, or could, America be?
6. What’s next for you? Any upcoming projects?
Right now I’m working on the CW/DC show Stargirl. I will be seen as Martin Luther King Jr. opposite Jennifer Hudson in the Aretha Franklin biopic Respect, due out this August. And I’m always creating, writing and being part of projects that address what I see is missing from the world.
Theo Perkins
Actor: In the Red and Brown Water, The Brothers Size, Raise Your Voice – Vote!
1. When/how did you first come to the Fountain Theatre?
Shortly after graduating from UCLA, I received an audition for In the Red and Brown Water. This was my first introduction to the Fountain Theatre.
2. How has your experience been working here?
Transformative. The intimacy of the space really expanded my approach to performance in amazing ways. I’m proud to say the Fountain Theatre is my theater home.
3. What Fountain shows that you’ve worked on hold particular meaning for you, and why?
This is tough one. Each production is close to me to this day. I’d say, In the Red and Brown Water. Not only did it introduce me to Tarell McCraney’s work, but I also gained a tribe of amazing humans, all of whom I still talk to today.
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?
Well, I believe it served as a reminder of how important it is to have diverse voices in our theaters. Not only in terms of playwrights, but in all departments. The events of this summer shined a light on the years of inequity within our community. And it has pushed us all to do and to be better.
5. Why is Black History Month important?
It’s an intentional acknowledgment of the undeniable contributions African-Americans have made in this country. It’s a reminder that our history should be honored. And studied. And used to inspire younger generations.
6. What’s next for you? Any upcoming projects?
During the quarantine, I wrote and produced a film project that will come out this Spring. Look out for it! Also excited to re-launch Elizabeth Youth Theatre Ensemble’s social justice program, Walking the Beat, both in New Jersey and in Los Angeles at the Fountain Theatre. Both productions will actually be virtual.
“Neighbor is not a geographic term. It is a moral concept,” he said. “When I was the rabbi of the Jewish community in Berlin under the Hitler regime, I learned many things. The most important thing that I learned under those tragic circumstances was that bigotry and hatred are not ‘.the most urgent problem. The most urgent, the most disgraceful, the most shameful and the most tragic problem is silence.”
