Tag Archives: Maya Lynne Robinson

These three Fountain actresses, now TV stars, stay close since forming bonds on stage

Psychologist Carl Jung introduced the word “synchronicity”,  coining it to describe a “meaningful coincidence,” when unrelated events seem to happen for a reason.  Synchronicity is something you feel. When, for no outward reason, the stars align and the right people come together at the right time and the result is something meaningful and long lasting. 

Synchronicity is what occurred with the cast of the 2012 Fountain Theatre LA premiere of Tarell Alvin McCraney‘s In the Red and Brown Water.  Magic happened not only on stage. Friendships were formed seven years ago that remain strong to this day. And three actresses from that cast — Simone Missick, Maya Lynne Robinson and Diarra Kilpatrick — are now enjoying a blossoming of their TV careers at the same time. Coincidence? We don’t think so.

Simone Missick, last seen at the Fountain in Citizen: An American Lyric, co-starred on the Netflix TV series Luke Cage as Misty Knight. She just signed the lead role in the new CBS legal drama pilot Courthouse.  

Diarra Kilpatrick is the creator and star of American Koko, an ABC digital original series, earning her an Emmy nomination for Outstanding Actress in a Comedy/Drama Series, Short Form. She created, wrote, and starred in the comedy pilot The Climb for Amazon, and is set to star in a new comedy for Showtime opposite Keenen Ivory Wayans.  

Maya Lynne Robinson, recently on stage at the Fountain in Runaway Home, is now a series regular on ABC’s Roseanne spinoff  The Connors, playing the role of Geena Williams-Conner.  

We asked these three dynamic actresses to share their thoughts on In the Red and Brown Water, and how theatre can form bonds that last a lifetime.

The race

In the Red and Brown Water, Fountain Theatre, 2012.

What was it about In The Red and Brown Water that created such close ties? 

MLR: For me, it stemmed from the fact that I was 3 months new in town and didn’t have a foundation/tribe yet. In the Red and Brown Water was the first project I was cast in once I moved to LA. I met these wonderfully creative and down-to-earth people and when you find those type of people, you shouldn’t let them go.

SM: I think what started at the table, with our director, Shirley Jo Finney, had a huge impact in creating a family amongst the cast and crew. To be able to discuss the play, the characters, inside and out and know that you were working with artists who took the work as seriously as you, made us all feel like we were experiencing something different and special. We knew we could trust one another onstage, and that trust helped us to build bonds as artists and as friends. But there is also a level of divine placement when it came to that production. Each of us were appointed to be there for those six plus months, for only God knows the reason, and to then be a part of each others lives. We’ve been there for each other through marriages, babies, cross country moves, and amazing work opportunities.  It is just one of those special blessings, that so many of us gelled, and we found sisters and brothers, aunties and cousins in one another.

DK: I do believe [director] Shirley Jo Finney brought together a great group of not only artists but people. It was a joy playing with them and I’m grateful that we’ve s formed such loving, supportive bonds. We made a family and even though that’s common in the theater, this is a particularly special group of artists.   Every one of us has continued to grow as artists and as people, I mean to the person. And I’m so, so proud of us.

What’s your favorite memory from that production?

MLR: Singing warm ups and prayer together before the show.  There was something about our vibration that made me happy to do the show with these people every day for almost six months.

SM: There are sooooo many. Some of them stay in the vault. But one of them is Maya Lynne stomping her feet to get some of our other (not as rhythmically gifted brothers) on beat. She earned a nickname from that. 

RED BROWN gals

Maya Lynne Robinson, Diarra Kilpatrick, Simone Missick, Iona Morris, 2018.

With whom from the cast have you most stayed in touch?

SM: All of us are on a text message chain that we connect through. This past Valentine’s Day, we all sent silly pictures to say we loved each other.  I had the fortune to work with Shirley Jo four more times after that production, and she is such a special influence in my career and in my life. Our stage manager, Shawna and I have worked together again. I love that girl. Diarra and Maya Lynne are people that I talk to more often. We are all around the same age, experiencing some of the same career “firsts”, and we are always shooting each other a text of congratulations and cheering one another on. But the Red Brown family got together for a Christmas brunch, and FaceTimed with Stephen Marshall who moved to NY, so he wouldn’t be left out. We just love each other!

MLR: Whether we speak daily or once a year, we all pick up right where we left off. We have text message chains during holidays and big events. We try to have a reunion whenever possible. Half of us got together for a reunion earlier this year.

What is it about theatre — and the Fountain Theatre in particular — that creates a feeling of family? 

MLR: There is a sense of family at the Fountain Theatre. From the exterior and interior style all the way to the intimacy of the spaces, the Fountain Theatre fosters closeness, authenticity and talent. 

SM: Live theatre is an experience like no other. It is the artist’s equivalent to trapeze work, but the net is your fellow cast members. You are sailing through the air, with the audience there witnessing you doing emotional gymnastics, and every moment is alive and terrifying and electrifying. The intimacy of the Fountain leaves no room for hiding. You have to be vulnerable and authentic at every turn. That experience is one that creates a bond with your acting partners, because you are all there being honest and alive together. 

DK: In The Red and Brown Water was a beautiful experience. I remember being in church and was particularly prayerful about opening myself up to new opportunities and challenges and ways to express myself.  After service, Erinn Anova came up to me and said she was helping to cast a play at the Fountain and wanted to make sure she brought me in for it. She had seen me in something else and thought I’d be right for the lead. I so badly had wanted to work at The Fountain and with Shirley Jo. So, every step of the Red/Brown journey felt as synchronistic as that. Like it was meant to be. Like magic.

SM: I’ve managed to keep my Red Brown family close through it all. It truly was an experience of a lifetime that I will always cherish.

Fountain Theatre earns 7 Stage Raw Theater Award nominations

Runaway-Home_6

Camille Spirlin and Maya Lynne Robinson, “Runaway Home”

The Fountain Theatre has earned 7 Stage Raw Theater Award nominations for our world premiere production of Runaway Home by Jeremy J. Kamps, directed by Shirley Jo Finney. The Fountain production of the funny, moving, and powerful new play about community and the power of family, set in New Orleans three years after Hurricane Katrina,  received the following Stage Raw Theater Award nominations:

  • Production of the Year 
  • Ensemble – Leith Burke, Jeris Poindexter, Armando Rey, Maya Lynne Robinson, Camille Spirlin, Brian Tichnell, Karen Malina White 
  • Playwriting – Jeremy J. Kamps
  • Leading Female Performance – Camille Spirlin 
  • Supporting Female Performance – Maya Lynne Robinson, Karen Malina White
  • Supporting Male Performance – Jeris Poindexter

The 2018 Stage Raw Theater Awards celebrate excellence on the Los Angeles stages in venues of 99-seats or under. This fourth annual edition includes productions that opened between January 1, 2017 and May 31, 2018.

The Awards ceremony is slated for Monday night, August 20, at Los Angeles Theatre Center, 514 S. Spring Street in downtown Los Angeles. 

Full list of nominees

Fountain folk celebrate the triumpant finale of world premiere ‘Runaway Home’

RUNAWAY HOME Closing Party 10

The company of Runaway Home celebrates after final performance 

There was a moment yesterday during the final curtain call of our acclaimed world premiere of Runaway Home that crystalized our expeirience throughout the entire eight-week run.  The audience leaped to their feet in an exuberent standing ovation, stomping and clapping, while the actors lovingly tossed colorful mardi gras beads from the stage. Both sides of the stage shared a joyful moment of festive celebration that captured the spirit of this funny, endearing and poignant new play. 

Following Sunday’s final performance, a lively reception was held in our upstairs cafe. The rain forcasted for the afternoon never appeared as the cast joined friends and patrons for a warm-hearted reception that included bowls of hot chili and plates of sweet potato pie. 

Enjoy these photos from the post-show party. Another splendid Fountain Theatre production completes its successful run.

 

Photos: Opening Night celebration for world premiere of ‘Runaway Home’

7Launching the world premiere of a meaningful new play is always a cause for celebration at the Fountain Theatre. Saturday night, September 16th, was a thrilling night of jubilation as we opened the beautiful, funny and powerful new play Runaway Home by Jeremy J. Kamps. This timely new work about the community of New Orleans surviving together after Hurricane Katrina runs to November 5th.

After the soaring opening night performance, the enthralled audience gathered upstairs in our cafe for a catered reception with the cast and creative team. Food from New Orleans was served, with wine and beer flowing. A truly magical evening highlighting an unforgettable theatrical experience.

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New Video: Timely new play ‘Runaway Home’ is lyrical and powerful

Previews start this Wednesday, September 13. Opens Saturday, September 16th.

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New Video: Meet the artists in our powerful and timely ‘Runaway Home’ opening Sept 16

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VIDEO: Cast in rehearsal for powerful world premiere of ‘Runaway Home’

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Next at the Fountain: Powerful world premiere ‘Runaway Home’ is a poetic mother-daughter tale set in New Orleans

RUNAWAY HOME title image

Sometimes what you’re searching for is right where you started. The Fountain Theatre presents a powerful, funny and deeply moving mother-daughter story by Jeremy J. Kamps. Multiple award-winning Shirley Jo Finney returns to the Fountain to direct the world premiere of Runaway Home for a Sept. 16 opening.

Three years after Hurricane Katrina, the unhealed wounds of New Orleans’ Lower 9th Ward continue to fester. Camille Spirlin (ABC’s American Koko, Fox TV’s Rosewood, Nickelodeon’s Marvin Marvin) stars as 14-year-old runaway Kali. Rhyming, stealing and scamming her way through the still-destroyed neighborhood, she embarks on a journey to pick through the wreckage of what used to be her life. While the rest of the country’s attention drifts, the neighborhood’s residents are left to repair the damage from the inside out. As their attempts at renewal leave a path of destruction in their wake, Kali bears witness to what the floodwaters left behind. Also in the cast are Leith Burke (Citizen: An American Lyric at the Fountain,Neighbors at the Matrix), Jeris Lee Poindexter (The Darker Face of the Earth, Central Avenue, Gem of the Ocean at the Fountain),Armando Rey (Men on the Verge of a His-panic Breakdown at Macha Theatre), Maya Lynne Robinson (In the Red and Brown Water at the Fountain – LADCC Award, Best Ensemble), Brian Tichnell (Dream Catcher at the Fountain, HBOs Silicon Valley, L.A. Theatre Works’ national tour of The Graduate) and Karen Malina White (Citizen: An American Lyric and The Ballad of Emmett Till – Best Ensemble LADCC and Ovation Awards – at the Fountain, currently in As You Like It at Antaeus).

“This play couldn’t be more timely,” says Fountain co-artistic director Stephen Sachs. “Hurricane Katrina may have ceased in 2005, but the storm of racism, poverty and class inequality rages on in our country to this day. We need look no further than Flint, Michigan, to see systemic government prejudice against citizens of color and the poor. But as Jeremy’s play so beautifully demonstrates, the bonds of family and community will weather any storm.”

When Kamps traveled to New Orleans two years after Katrina to volunteer “gutting and mucking” (stripping homes to the studs to remove mold), he had been teaching middle school in Connecticut. He already had an idea in his head about a runaway girl who collects other people’s garbage, finding meaning in the meaningless.

“Kali’s world paralleled the displacement, hope for renewal, fracture and resilience I was seeing in the social-political reality of the Lower 9th Ward,” he explains. “Whenever a character’s inner life and experience are so congruent with an important social issue, that’s the story I want to write.”

While in New Orleans, Kamps met Antoine, a man in his ‘70s who had just returned to what had been his family’s home for generations. Antoine was going from house to house trying to trace relatives, friends, acquaintances and neighbors, to find out what had happened to them in the years since the storm. “His friendship helped me honor the stories of this community in a truthful way — to see the past, present and future of the Lower 9th through their eyes,” says the playwright.

According to Finney, “Because the media painted them as poor and impoverished, most people don’t realize that the residents of the Lower 9th were working class homeowners. Those homes had been in families for generations. Members of the community were expecting government funds so they could rebuild, but because of red tape and bureaucracy, the money never came, or it took so long that people had to end up using it for rent or just to eat.”

“The mother-daughter relationship becomes the pivotal heart space in this story about this community,” she continues. “The play is very funny because Kali is so spirited, but the rage, helplessness and loss that Kali and her mother share are the core of the play. That is the challenge they both struggle with to find their way back to each other and home. What happens to people when they aren’t seen, when they don’t feel safe? How do you begin to rebuild your life when nobody cares?”

Jeremy Kamps’s plays have received awards and recognition including the William Saroyan Human Rights Award Finalist (2016); Page 73 Semi-Finalist (2017); Ruby Lloyd Apsey Award (Gutting); The Goldberg Prize; Woodward International Playwriting (What It Means To Disappear Here); Hudson Valley Writers Center and the NYU Festival of New Works (Water Hyacinth). His play Breitwisch Farm will be produced by Esperance Theater Company in NYC later this year. Recent productions include Gutting, presented by the National Black Theatre of Harlem and What It Means To Disappear Here (Ugly Rhino, NYC). His work has been produced/developed with Esperance Theater Company, Company Cypher at the National Black Theatre of Harlem, Ugly Rhino, Dixon Place, Hudson Valley Shakespeare, The Amoralists and New York Theatre Workshop. His fiction has been published in The Madison Review and The Little Patuxent; has been honored with the H.E. Francis Award, the Howard/John Reid Fiction Prize and was a Lamar York Prize finalist; and has been recognized in Glimmertrain, Inkwell, The Caribbean Writer and New Millenium. He is a member of the Emerging Writers Group at the Public Theater. Also an educator and activist, Jeremy has lived and worked for lengthy periods of time in Latin America, India and East Africa, where he focused on support and empowerment for former child soldiers, displaced peoples and child rights. He recently received the Theatre Communications Group “On the Road” grant to return to Kenya where he conducted drama workshops as part of his research for a new play on flower farms. He has facilitated drama and writing workshops around the world and for all ages. He has an MFA in Dramatic Writing from NYU Tisch School of the Arts.

Shirley Jo Finney has previously directed acclaimed Fountain productions of Citizen: An American Lyric (selected for CTG’s first annual Block Party at the Kirk Douglas Theatre) The Brothers Size, In the Red and Brown Water (for which she earned her second Ovation award), Heart Song, The Ballad of Emmett TillYellowman, Central Avenue and From the Mississippi Delta.  Her work has been seen at the McCarter Theater, Pasadena Playhouse, Goodman Theater, Alabama Shakespeare Festival, Cleveland Playhouse, L.A. Theatre Works, Crossroads Theater Company, Actors Theater of Louisville Humana Festival, Mark Taper Forum, American College Theatre Festival, Kennedy Center for the Performing Arts and at the State Theater in Pretoria, South Africa, where she helmed a critically acclaimed production of the South African opera, Winnie, based on the life of political icon Winnie Mandela. For television, she directed several episodes of Moesha, and she garnered the International Black Filmmakers ‘Best Director’ Award for her short film, Remember Me.She is the recipient of the African American Film Marketplace Award of Achievement for Outstanding Performance and Achievement and leader in Entertainment.

The creative team for Runaway Home includes scenic designer Stephanie Kerley Schwartz, lighting designer Jennifer Edwards, composer/sound designer Peter Bayne, costume designer Naila Aladdin Sanders, props designer DeAnne Millais, choreographer TylerJanet Roston and dialect coach Tyler Seiple. The production stage manager is Jessaica Shields; associate producer is James Bennett; and Stephen SachsSimon Levy and Deborah Lawlor produce for the Fountain Theatre.

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 over 225 awards, and Fountain projects have been seen across the U.S. and internationally. Recent highlights include being honored for its acclaimed 25th Anniversary Season in 2015 by Mayor Eric Garcetti and the Los Angeles City Council; the 2014 Ovation Award for Best Season and the 2014 BEST Award for overall excellence from the Biller Foundation; the inclusion of the Fountain’s Citizen: An American Lyric in Center Theatre Group’s upcoming Block Party at the Kirk Douglas Theatre; and the naming of seven Fountain productions in a row as “Critic’s Choice” in the Los Angeles Times. The Fountain’s most recent production, the world premiere of Building the Wall by Pulitzer Prize-winning playwright Robert Schenkkan, ran for five months and was named “L.A. hottest ticket” by the Los Angeles Times.

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Fountain Theatre Wins Top Honor at 2014 Ovation Awards

Fountain Co-Artistic Director Stephen Sachs waves from the stage at the 2014  Ovation Awards.

Fountain Co-Artistic Director Stephen Sachs waves from the stage at the Ovation Awards.

It was a memorable evening for the Fountain Theatre Sunday night, November 2nd,  at the 2014 Ovation Awards hosted by LA Stage Alliance and held at the historic San Gabriel Mission Playhouse in San Gabriel. The Fountain was honored with the prestigious Best Season Award (“The Normal Heart”, “My Name is Asher Lev”, and “The Brothers Size”) for overall excellence and received the 2014 BEST Award from the Sheri and Les Biller Family Foundation recognizing exceptional theatre organizations that contribute to the cultural vibrancy of Los Angeles.

Often hailed as LA’s version of the Tony Awards, the peer-judged Ovation Awards recognize excellence in theatrical performance, production and design in the Greater Los Angeles area. The LA Times has referred to the Ovation Awards as the “highest-profile contest for local theatre.”

Stephen Sachs

Stephen Sachs

The Best Season Award is the preeminent Ovation honor. It recognizes a theatre company’s overall excellence throughout an entire season. Over the years, The Fountain has received more nominations for the Best Season category than any other theatre in Los Angeles. This year marks the 5th time that The Fountain Theatre has been nominated for Best Season since the category was created 6 years ago. The Fountain has now won the award twice.  

“Being honored with the Best Season Award is particularly meaningful to us because it doesn’t go to one person,” said Fountain Co-Artistic Director Stephen Sachs. “It celebrates the achievement of an entire season of artists. Therefore, the award goes to — and is shared by — all of the many actors, designers and production team members in our Fountain Family who made our 2013-14 Ovation Season such a success. ”  

Acclaimed productions in the Fountain 2014 Ovation Season included the exclusive revival of The Normal Heart, the Los Angeles Premiere of My Name is Asher Lev, and the Los Angeles Premiere of The Brothers Size.   

BS group 1

Shirley Jo Finney, Gilbert Glenn Brown, Theo Perkins, Stephen Sachs, Matthew Hancock.

2014 BEST Award winners, with Biller Foundation Executive Director Sarah Lyding

2014 BEST Award winners, with Biller Foundation Executive Director Sarah Lyding

The Fountain was also honored Sunday night with the BEST Award presented and funded by The Sheri and Les Biller Family Foundation.  The BEST (Building Excellence in Small Theatre) Award recognizes exceptional theatre organizations that contribute to the cultural vitality of Los Angeles with long-term viability. The Fountain was honored for its ability to think creatively, the quality of its ideas and aspirations, and the organization’s ability to differentiate itself from other Los Angeles theatre companies.

Our sincere thanks to LA Stage Alliance and The Sheri and Les Biller Family Foundation for their ongoing dedicated support of intimate theatre in Los Angeles.

Enjoy These Photos from the 2014 Ovation Awards

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New Video: ‘In the Red and Brown Water’

Our critically acclaimed Los Angeles Premiere of In the Red and Brown Water by Tarell Alvin McCraney recently won two Los Angeles Drama Critics Circle Awards for Best Director (Shirley Jo Finney) and Best Ensemble. Enjoy this new short video clip of the opening sequence and see why!

‘In the Red and Brown Water’ – Opening Sequence