The Fountain Theatre announces Fountain Voices, an innovative arts education initiative that utilizes the power of theater to promote compassion and acceptance of others. The program launched at Hollywood High School in Fall 2020 and is now expanding to the Compton Unified School District, where it will commence March 8 at Clarence A. Dickinson K-8.
Integrating playwriting, critical thinking and performance, Fountain Voices guides students in the creation of original plays about issues that matter to them, helping them gain a better understanding of themselves and each other, and shedding light on the issues they see impacting their own communities.
“The students themselves choose the topics they want to write about,” says playwright France-Luce Benson,who serves as the Fountain’s community engagement director. “The Hollywood High kids wrote plays about depression, what it means to be queer and cope with homophobia, racial identity and homelessness among young people, among other things.”
Although the first phase, at Hollywood High, was implemented virtually due to Covid restrictions, that did not hinder the students’ ability to form deep, long lasting connections. According to teacher Ali Nezu, “Fountain Voices provided a safe and engaging environment in the midst of distance learning, as well as an authentic artistic experience that combined social emotional learning with English language arts development.”
The nine-week program kicks off with a virtual viewing of Benson’s play, Detained. Originally commissioned by Judy Rabinowitz of the ACLU, Detained is based on interviews with long time U.S. residents held in immigration detention and/or deported, their family members, advocates, attorneys and representatives of ICE. Their collective voices weave a compelling and complicated tapestry that emphasizes the impact immigration detention has on families.
Following the performance, students discuss the process of creating plays based on interviews, as well as the significance of sharing stories as a way to build community. Students are encouraged to think about what communities they belong to, what their stories are, and how they want their stories to be told. Social justice issues raised by the play are explored and used as a launching pad for students to think critically about the issues that impact their own communities. Students are then given the opportunity to engage (virtually) with each other through acting games and exercises designed to teach vital communication skills. As they learn about one another, students are also introduced to the key elements of playwriting. A major component of the curriculum is the interviews that students conduct with members of their own communities. Once those are completed, students collaborate with one another to craft short plays and monologues about the communities they live in and the ones they aspire to create.
Sixth, seventh and eighth graders will be the first to participate at Clarence A. Dickinson, with additional Compton Unified schools adopting the program, provided by the Fountain Theatre at no cost to the district, in the near future. “We are bringing Fountain Voices to our students because I believe that our students need the arts now more than ever,” stated Clarence A. Dickinson principal Rebecca Harris. “This will support our students’ literacy skills in a unique and engaging way.”
Concludes Benson, “Every voice deserves to be heard. Profound change can happen when we listen, and our collective voices can inspire compelling stories.”
Fountain Voices is made possible, in part, by support from Mary Jo and David Volk, the Vladimir and Araxia Buckhantz Foundation and Sharyl Overholser.
Leslie R: I was able to meet 6 of the most incredible people I could ever imagine… They made me love something, they reminded me that a family is not DNA. That’s what the program was to me, a family, a community. I learned to love, and through it, I was able to find a little piece of myself.
Delfin G: I was a really shy and reserved student before but being here helped me be more open and sharing that script really did something for me… Hearing those other stories and accounts by my peers was really eye-opening.
Ashley C: The Fountain voices program is a loving and safe space where there is never a right or wrong approach. It feels more like family than just a group and going from strangers to what I consider friends and family in a span of months is amazing.
Madison M: I not only loved the camaraderie of those who were involved in the program, but I cherished the community we built together… Writing is painful, therapeutic, cathartic, beautiful, and fulfilling all at the same time.
Central to the Fountain is the impact the post had on one person: Sachs himself.
“I am blown away by the post’s popularity,” he says.
For Sachs, reading the avalanche of online comments the post triggered as it was shared around the world was overwhelming and eye-opening. “For me, the post became more than a feel-good story about young people experiencing live theatre. For me, it is a call to action.”
What action is the Fountain taking?
Starting this weekend with the current production of Human Interest Story, the Fountain Theatre launches a new program called Free Student Fridays. Any high school or college student may see a play at the Fountain on Friday for free. To reserve online, students use the promo code FreeStudent. A valid school ID card must be shown at the box office window on the night of the performance. Seats are subject to availability.
“This program is a modest start, but it’s a start,” admits Sachs. “We may not have 18,000 seats like Madison Square Garden, but if we can inspire the young minds and open the young hearts of 80 students on Fountain Avenue every Friday night, we’ll have humbly done our part to help make the world a better place.”
Who knows? A free performance for 20,000 students at L.A.’s Staples Center may one day be on the horizon. Until then? There’s a seat for any student at the Fountain.
The Fountain’s Breaking It Down program is designed to build community and deepen the impact of a play through a variety of events before and after performances. Our preshow events may include art exhibitions and talks that invite audiences into the world of the play. Our post show discussions create a space for our audiences to gather with the artistic teams, scholars, journalists, and community leaders to unpack the themes explored, and provide a platform to share personal connections to the work.
March 1: Q&A with the cast of Human Interest Story
Engage in a post-show conversation with actors Tanya Alexander, Richard Azurdia, Aleisha Force, James Harper, Matt Kirkwood, Rob Nagle, and Tarina Pouncy. Get Tickets
March 8 @ 1pm: Meet artist Stuart Perlman
Stuart Perlman’s Faces Of Homelessness portrait project has been exhibited throughout Los Angeles, covered on Public Radio (KPCC), featured in print in Column One of the front page of the Los Angeles Times, and in other national and international publications including TheGuardian (London), Taipei Times (Taiwan), Vanity Fair Italia and a cover story in the Jewish Journal. It will be on display at The Fountain for the duration of the run.
Perlman will talk about what inspired the project, and how his connections with these individuals have impacted his life in ways he never imagined. Get tickets now.
Stuart Perlman has been a psychologist and psychoanalyst in private practice in West Los Angeles for 40 years. He received a Ph.D. from UCLA in clinical psychology, and a second Ph.D. in psychoanalysis. He has published many articles in psychoanalytic journals, and authored the book, The Therapist’s Emotional Survival: Dealing with the Pain of Exploring Trauma. His new book, Struggle in Paradise, is about homeless individuals, featuring moving oil-on-canvas portraits, life stories and follow-ups. This painting project has been nominated for the Best Art of the Year Award by the National Association for the Advancement of Psychoanalysis. After a hiatus of over 25 years, Dr. Perlman returned to one of his early passions, painting. He has devoted thousands of hours to painting the experiences of the homeless and illuminating their humanity and pain. Through portraiture, a style traditionally used to immortalize the rich, famous and powerful, Dr. Perlman reminds us that these homeless individuals, too, are to be valued: “If we can see into their faces and learn their stories — their hopes, dreams, accomplishments and fears — we can no longer pretend that they don’t exist…we can no longer look the other way.” www.stuartperlmanartist.com
March 15: Inside L.A.’s Homeless Crisis
You see them everywhere. At freeway off-ramps, under bridges, in tents. Los Angeles Mayor Eric Garcetti has declared homelessness “the great humanitarian crisis of our time.” What are we doing about it? A post-show discussion with panelists Anthony Conley (Covenant House) and John Billingsley (Hollywood Food Coalition). Get tickets now.
March 19 @ 7p.m: Screening of Stuart Perlman’s Struggle in Paradise
“Best Movie of the Year” National Association for the Advancement of Psychoanalysis.
Nominated Best Documentary- Pasadena International Film Festival. Honorable Mention- American Psychological Association Film Festival. Struggle in Paradise is the gripping story of the skyrocketing number of homeless people living and dying on the streets of Los Angeles. I have been shocked at the amount of trauma that people have sustained that contributed to their homelessness and, once on the streets, are repetitively traumatized. View the Trailer
March 22: Truth in American Journalism
How do you get your news? The print edition delivered at your door? Online? Join the post-show conversation with local journalists as we examine how the internet has impacted print newspapers around the country. How has the invention of “fake news” influenced ethics in reporting? What is the truth? Who decides? Get tickets
March 29 @ 5pm: Sunday Supper at The Center
Join us at The Center in Hollywood where the Fountain will host one of their monthly “Supper Sunday” dinners. Following the performance, we will head to The Center where we will prepare (or purchase), serve, set up, and clean up after a meal. The most important aspect of Supper Sunday is that WE will dine WITH the individuals we are serving. Sharing a meal is a beautiful opportunity for the housed and unhoused members of our community to gain greater understanding, empathy, and connection. Order now
Feb 15 – April 5: Donation Drive for our homeless community
Fountain patron April Goddard donates items to the homeless at tonight’s preview of Human Interest Story.
Throughout the run of Human Interest Story The Fountain will accept donations to be distributed to various Homeless organizations in our community. Items most needed are:
Gently Used Clothing (especially winter clothing, socks, shoes)
Men’s and Women’s Underwear (New, all sizes)
Bins will be set up in front of the theatre before each performance and all items will be distributed to various organizations on a weekly basis. You need not have a ticket to the show to bring donations. All are welcome!
France-Luce Benson is the Community Engagement Coordinator for the Fountain Theatre. Contact her: firstname.lastname@example.org
The Fountain Theatre is pleased to announce that playwright/teaching artist France-Luce Benson has joined the staff as Community Engagement Coordinator. Her duties will include overseeing the Fountain’s educational outreach programs and expanding the theatre’s interaction with audiences and local communities.
“As an artist committed to equanimity in representation and creating art that affects change, it is an honor to be a part of The Fountain Theatre, a company that is truly walking the walk, ” says Benson. “The many theatrical giants who The Fountain has produced over the years have not only influenced my work as a playwright, but they are representative of Los Angeles’ diverse cultural landscape. I am confident that my own cultural background will contribute to the important work The Fountain is doing to promote and inspire social justice.”
France-Luce Benson was named “Someone to Watch ” in 2019 by American Theatre magazine. As a playwright, she is a recipient of a Miranda Foundation grant (DETAINED), Alfred P. Sloan Foundation New Play Commission (DEVIL’S SALT), and a Princess Grace Award runner up (BOAT PEOPLE). Additional honors include: Zoetrope Grand Prize (CAROLINE’S WEDDING); Dramatists Guild Fellow 2016-17, Sam French OOB Festival Winner, NNPN Award for Best Play, and three time Kilroy List Honorable Mention. Residencies include Djerassi, the Camargo Foundation in France, and Instituto Sacatar in Bahia, Brazil. Her plays have had productions, workshops, and readings at Crossroads Theatre New Jersey, City Theatre of Miami, The Playwrights Center, Oregon Shakespeare Festival, City Theatre of Miami, Loyola Marymount University, Global Black Voices in London, and in New York The Lark, The Billy Holiday Theatre, and the Ensemble Studio Theatre where she is a company member. She’s been published by Samuel French and Routledge Press. She earned an MFA in Dramatic Writing from Carnegie Mellon University and a BA in Theatre from Florida International University. Teaching appointments include UCLA Extension, St. Johns University, Columbia University, Girl Be Heard, and P.S. Arts/Inside Out in L.A. She is a proud member of The Dramatists Guild, Inc.
France-Luce teaches Story Analysis for Film and Television at UCLA Extension School. As a Dramatist Guild Fund teaching artist, she launched the Traveling Masters Program for NY Public Schools and was a guest lecturer at Columbia University, where she facilitated a playwriting intensive designed for the International Student Fellows of Columbia’s esteemed Human Rights Advocacy Program.
“We’re excited to welcome France-Luce to our Fountain Family,” says Artistic Director Stephen Sachs. “She brings expertise, passion and insight to our community programming as the Fountain broadens its services into the future.”
Post-show blues. It’s a common phrase among theatre folk.
As we close the final performance of the Fountain Theatre’s arts education program, Walking the Beat Hollywood, as panels are struck and lights come down, as kids head safely home to their families, and cops return to patrolling the streets, the phrase takes on new meaning. In the context of Walking the Beat Hollywood, the phrase alludes not only to the malaise that accompanies the end of an affecting production, but also to the image of an LAPD uniform.
Walking the Beat Hollywood is a theatrical residency for high school students across Los Angeles and the police officers who patrol their neighborhoods. Together, students and officers devised a piece of theatre they titled “A Wall is Just Another Door,” about community policing informed by their personal experiences. During the show, performers begged the question in a rap battle, “When you see me in my uniform what do you see?” The question asks us all to challenge the assumptions we make and to acknowledge our biases, disadvantages, and privileges.
I have often been told that if I want to make a change in the world, I’m in the wrong business. I’ve heard that political theatre preaches to an audience that is already in agreement. This assumes that the audience attending theatre is of the same ilk. And yet, after Walking the Beat Hollywood I have never been more convinced that theatre changes lives.
Perhaps that is because the theatrical community that created and witnessed Walking the Beat Hollywood was not typical. (Walking the Beat Hollywood challenged convention as soon as the doors opened.) Development offices at theatres all over the world work hard to gather demographic information about their audiences. As a result, we know that theatrical audiences are largely white, liberal, affluent, and over 50. Working for a theatre festival during college, I was tasked with reviewing and digitizing hard-copies of audience surveys. One respondent answered the race and ethnicity question: “Really white.”
This respondent’s answer still makes me laugh. However, it’s also true and has far-reaching and troubling consequences. The ambition to democratize theatre can paradoxically become pretentious and self-serving. This is when theatre-makers become white-saviors. “Democratizing” can often look more like condescending to a group of people those in power ostensibly want to “uplift.” This is tokenism. The antidote to this kind of practice is recognizing that individuals are individuals and not representatives of a group. They are people of worth and power. Walking the Beat Hollywood succeeded in democratizing theatre precisely by self-consciously circumventing that goal.
It would be untrue to claim that the regular homogeneity of most theatrical audiences was unrepresented at Walking the Beat Hollywood. But largely this audience and this cast were unconventional. In fact, the ensemble worked hard to disrupt and challenge convention. Their tools in dismantling systems of oppression were their own stories. The ensemble gave generously of themselves and as a result moved their audience.
Melina Young and Barbara Goodhill welcome guests to “Walking the Beat” at LACC.
Angela Kariotis, a visionary theatre-maker, teaching artist, and WTBH playwright writes, “Telling a story is simple, but not easy. Easy and simple are not the same thing… We never think we have any stories. But then all of a sudden, they come tumbling out because we cracked open the door a little. And here they are all demanding, demanding to be told.” That demand imbued Walking the Beat Hollywood with honest urgency. Sitting inside the Caminito Theatre, the call for truth was palpable and stirring. My father wept as he listened to each student’s identity poem and so did I. I already knew and loved these kids and by the end of the performance I think he did too.
When I handed one of the students her final pay check, she looked at me with a telling pout and said, “I don’t want this one.” When I asked her why, she said “because it means it’s the end. And I don’t want to say goodbye to everyone.” Her reluctance was evidence of love. Sixteen strangers—ten kids and six cops—became friends.
Theatre. Changes. Lives.
I saw these kids change. I saw them grow. Many students started this process shy. Many didn’t. Some are still shy and some still aren’t. But I know that they know their worth. I know that they proclaimed their worth in front of an audience eager to bear witness to it. That is genuinely important.
Sure, this was a production focused on cops and kids coming together to discuss the problems of community policing. But the final performance did not offer a solution. Rather, it highlighted human beings of different experience coming together to listen to one another.
I return to the idea of post-show blues. How did Walking the Beat Hollywood change our proverbial uniforms? If only for an evening, we have been armed with an open mind and with the impulse to listen.
I want to challenge theatre-going audiences to continue the legacy of this performance. Be silent and be moved. Listen. After all, “Listening is an act of love.”
Cops, kids and staff of Walking the Beat at the Fountain Theatre.
The Fountain Theatre is pleased to announce that HBO is making a generous contribution of $10,000 to support Walking the Beat, the Fountain’s educational arts program that brings together LAPD police officers and inner city students over an 8-week period to write and create a theatre piece that they perform themselves.
“We are thrilled to welcome HBO to the Fountain Family,” says Co-Artistic Director Stephen Sachs. “HBO’s pedigree in providing ground-breaking, high-quality entertainment is matched by its commitment to young people and communities nationwide. Walking the Beat is an innovative program that uses theatre to promote empathy, self-expression and empowerment.”
HBO’s Senior Vice President of Corporate Social Responsibility Dennis Williams explains the cable network’s philosophy of giving as “how we can do the best with the resources that we have.”
“If you’re in a position of power or privilege, the question you should always ask yourself is, ‘Are you using your powers for good?’” continues Williams. “At HBO, we’re in a position to inspire change and start conversations in a way that others might not be able to do themselves. We must use our powers for good.”
Walking the Beat was devised by Theo Perkins and Angela Kariotis at Elizabeth Youth Theater Ensemble in New Jersey. HBO supported the project there for three years, and continues its sponsorship with the Hollywood program at the Fountain.
HBO and EYTE join other sponsors and partners for Walking the Beat at the Fountain, including the Hollywood Police Activities League, Los Angeles City College Theatre Academy, Deborah Culver, The Vladimir and Araxia Buckhantz Foundation, Dorothy Wolpert, Robert and Carrie Meadow, the Central Hollywood Neighborhood Council, Councilmember Mitch O’Farrell and District 13, and Los Angeles County Supervisor Sheila Kuehl and District 3.
Home Box Office is the oldest and longest continuously operating pay television service in the United States, with 140 million subscribers worldwide as of 2018. HBO’s Corporate Social Responsibility team unites employees, talent and non-profit partners to elevate social issues connected to communities. At the heart of HBO’s effort is a passion for making a difference, to use its platform to educate, inspire thoughtful action and help make the world a better place.