The Fountain Theatre has been honored with 8 Ovation Award nominations, including the prestigious categories of Best Season and Best Production of a Play, it was announced last night at an event hosted by LA Stage Alliance. The Ovation season ran from September 2012 to August 2013 and includes the Fountain productions of The Blue Iris, In the Red and Brown Water, On the Spectrum and Heart Song.
Founded in 1989 and considered to be LA’s version of the Tony Awards, the LA STAGE Alliance’s Ovation Awards are the only peer-judged theater awards in Los Angeles. Each year over 400 productions in the region compete for Ovation Award consideration.
This marks the 4th time that The Fountain Theatre has been nominated for Best Season since the category was created 5 years ago, winning the award in 2011. The Fountain Theatre has the distinction of earning more Ovation Award nominations and winning more Ovation awards overall than any other intimate theatre in Los Angeles.
“We are particularly pleased with our Best Season nomination because it reflects the overall excellence and diversity of our work year round,” says Fountain Co-Artistic Director Stephen Sachs. “We’re delighted that In The Red and Brown Water earned such recognition and proud to be the first theatre to introduce the work of playwright Tarell Alvin McCraney to LA audiences.”
The 2013 Ovation Award nominations for the Fountain Theatre are:
Best Season (The Blue Iris, In the Red and Brown Water, On the Spectrum, Heart Song)
Best Production of a Play (In the Red and Brown Water)
Best Director (Shirley Jo Finney, In the Red and Brown Water)
Best Ensemble in a Play (In the Red and Brown Water)
Best Lead Actress in a Play (Diarra Kilpatrick, In the Red and Brown Water)
Best Featured Actress in a Play (Peggy Blow and Iona Morris, In the Red and Brown Water)
Special Ovation Honor to Jeff Teeter for video design (On the Spectrum)
The Ovation Awards ceremony will take place on Sunday, November 3 at 7 pm at San Gabriel Mission Playhouse, 320 S. Mission Drive in San Gabriel. For more information, visit www.OvationAwards.com.
Kinetic energy charged with emotion. That describes Tarell Alvin McCraney’s Los Angeles premiere of In the Red and Brown Water presented by The Fountain Theatre. The location of this acclaimed, vibrant, nonprofit performance space in a humble Los Angeles neighborhood foreshadows the economic reality of the play’s kaleidoscopic mix of characters traversing the stage. In this context, McCraney’s play represents a microcosm of shattered dreams and unrealized potential within the larger world.
Treading In the Brown and Red Water, the audience descends into the protagonist’s depths. Set in an impoverished section of the fictional San Pere, Louisiana, Diarra Kilpatrick’s Oya is a passionate runner who abandons a college track scholarship to take care of her dying mother, Mama Mojo, played by Peggy A. Blow. In the process of losing her dreams, she escapes into a fiery relationship with Gilbert Glenn Brown’s Shango and relinquishes the one man, Ogun, who declares his heartfelt love. As Ogun, Dorian Christian Baucum exudes an honest, inner-strength that contrasts with Shango’s impulsive personality.
Diarra Kilpatrick and Gilbert Glenn Brown in “In the Red and Brown Water”
On a superficial level, the plot reads formulaic: Tragedy hits girl. Girl turns to wrong man. Girl finds herself alone. However, McCraney’s vision is anything but banal. The onstage interactions between Oya and the characters with Yoruba deity names evoke the transcendental belief that spirits interact with humans in the everyday world. Through Oya’s relationships, the audience begins to explore not just socio-economic realities, but the human desire to survive. Simultaneously visceral and intellectual, this “circular” ode to human spirit emerges then concludes in similar yet distinct ways.
Peeling away In the Red and Brown Water’s stratum is akin to unraveling textual and historical layers of a Sorrow Song. Within this context, McCraney’s drama illustrates civil rights activist W.E.B Du Bois’ analysis of slave songs as “the music of unhappy people, of the children of disappointment [which] tell of death and suffering and unvoiced longing toward a truer world, of misty wonderings and hidden ways.” Through the allusion to Yoruba deities, McCraney echoes aspects of African American culture that used to remain hidden. His knowledge of Yoruba Diaspora adds to the dialogue of African American art.
Peggy Blow as Mama Moja
While prominent art historians, such as Robert Ferris Thompson, have examined the spiritual and practical aspects of West African culture brought to the Americas through the slave trade, In the Red and Brown Water pushes beyond enumerating bodies of work which focus on elevating African American folk art from obscurity to cultural center. McCraney indirectly asks: Why stop there? He bridges the aesthetic, spiritual and socio-political gap that encompasses not just race, gender, class and sexual identity, but – most importantly – the psychological self, the whole self affected by poverty onset by institutionalized human bondage.
During the ensemble’s performance, parallels between In the Red and Brown Water and choreographer Alvin Ailey’s Revelations arise. Known for drawing on the emotional and spiritual experience of African Americans rooted within a rich musical tradition, Ailey, who McCraney cites as one of his influences, connected the past to the present. Traces of Ailey’s influence emerge as drumbeats pulsate through the heart of the play, interweaving through spiritual scores and contemporary beats. The connection between past and present compounds in an agonizing scene. In the midst of electronic house music, Oya breaks down. Tapping into her primal emotions, she ruptures into African dance, which emphasizes the beauty of African American culture ingrained within the realities of personal struggle.
Shirley Jo Finney’s discerning direction coalesces the multidisciplinary facets of Peter Bayne’s talents as composer/sound designer and Ameenah Kaplan’s choreography to evoke the presence of Yoruba culture within a contemporary play. Although Frederica Nascimento’s minimalist set appears stark, she places attention on every detail: From what resembles a divination bowl sitting under the porch to the assorted water vessels on stage. Even the plastic water bottle turned percussion instrument summons the spirit of San Pere. In the Red and Brown Water conjures ancestral spirit as literal, figurative and mystical dreams appear.
Natalie Mislang Mann has a Master of Arts in Humanities from San Francisco State University and writes for Playwriting in the City.
In the Red and Brown Water Must End Feb 24th (323) 663-1525 More
The actress has been called ‘superb’ in her role in Tarell Alvin McCraney’s ‘In the Red and Brown Water,’ a play that exists in two conceptual dimensions.
by Reed Johnson
Before Diarra Kilpatrick was cast in August Wilson’s “The Piano Lesson,” at age 12, she already knew what she wanted to do with her life: anything but acting.
So when her hometown Detroit newspaper interviewed her about the production at a suburban theater, Kilpatrick told the reporter she wanted to be a lawyer or maybe the president of a public relations firm. But definitely not “a struggling actor,” she said.
Recounting that anecdote recently at the Fountain Theatre in Hollywood, where she’s playing the lead role in Tarell Alvin McCraney’s mytho-poetic drama “In the Red and Brown Water,” Kilpatrick laughed at the memory of her precocious pre-adolescent self.
Because by the time the article went to press, Kilpatrick knew what she absolutely had to do with her life: Be an actor.
“It was the quality of the actors that I got a chance to work with and see them up close,” she said, explaining her overnight career conversion during “The Piano Lesson.” “And the production, the material — it was August Wilson.”
Startling transformations are the stuff of theatrical magic, and they’re central to McCraney’s play, which opened at the Fountain in October and has been extended through Feb. 24. “In the Red and Brown Water” is the first of McCraney’s trilogy “The Brother/Sister Plays,” produced off-Broadway at the Public Theater in 2009.
Set during the “distant present” at a mythical housing project in a make-believe Louisiana bayou town, “In the Red and Brown Water” exists simultaneously in two conceptual dimensions.
There’s the 21st century world of Oya (Kilpatrick), a high school track star torn between her college ambitions and the need to care for her ailing Mama Mojo (Peggy A. Blow) and between her affection for the stammering, sweetly devoted Ogun (Dorian Christian Baucum) and the dangerous erotic heat she feels whenever Shango (Gilbert Glenn Brown) comes around her door.
Diarra Kilpatrick and Gilbert Glenn Brown in “In the Red and Brown Water”
But in another dimension — parallel, yet inseparable — the play is a spiritual struggle that draws on the stories, cosmologies and archetypal gods of the Yoruba people of West Africa, whose legends were transported by slaves to the New World. Virtually all of the play’s 10 characters are named for traditional Yoruba orishas, or spirits: Elegba, the shape-shifting trickster; Shango, god of fire and lightning; Ogun, the deity of iron-working and war.
And Oya, goddess of the Niger River, wind, storms and, as Kilpatrick puts it, “revolutionary transformation.”
“It’s not like ‘Let’s redecorate the house,’ it’s like ‘Let’s tear this [stuff] down! Let’s knock the walls out!'” Kilpatrick explained. “So when Oya comes into your life, people fear her because it means your life is about to change.”
For Kilpatrick, the task was to simultaneously, plausibly portray Oya as a contemporary young woman as well as a force of nature. “This is a girl who listens to Nicki Minaj and Rihanna,” Kilpatrick said. “This is the texture of right now. But yeah, we also carry in our DNA these stories from hundreds and hundreds of years ago.”
In his review, Times theater critic Charles McNulty praised the Fountain’s production, directed by Shirley Jo Finney, as “sensational” and Kilpatrick as “superb.”
Growing up in Detroit, Kilpatrick was taken regularly by her mother to plays, art exhibitions and other cultural events. “Let me just say, if there was a play that was done in Detroit I probably saw it, particularly if it was a black play, and let’s say 95% of them are black plays in Detroit.”
Between ages 12 and 16, Kilpatrick took part in Detroit’s Mosaic Youth Theatre, one of the country’s most accomplished youth theater programs. She also acted at her private college prep school, Detroit Country Day, before moving to the theater program at New York University, where she performed in plays like Suzan-Lori Parks’ “In the Blood” and Stephen Adly Guirgis,’ “Our Lady of 121st Street.”
“I was one of the only black girls who had made it that far who could cuss and make it sound real,” Kilpatrick said, laughing. NYU instructors strongly encouraged her to lose the vestigial Southern accent she’d picked up from her South Carolina-migrant forebears.
Given the realities of casting for African American actors, Kilpatrick said, it’s important to be able to switch accents and speech styles depending on the role. “You don’t want the private school to eat up all the richness of … your flavor. Because no matter what that flavor is, that’s going to be your calling card at the end of the day.”
Kilpatrick came to Los Angeles in 2007. She has appeared in the Lower Depth Theatre Ensemble’s version of “Three Sisters,” set in Trinidad, and a half-black, half-Mexican transgender male in the Bootleg Theater’s production of Gary Lennon’s “The Interlopers” last year, among other roles.
But getting to play a role like Oya “is a blessing,” especially with this cast and “Shirley Jo at the helm,” she said.
“There aren’t parts like this for black women very often. It’s like Hamlet, it’s like King Lear, it’s Medea. It’s an opportunity to really go in there.”
In the Red and Brown Water Extended to Feb 24 (323) 663-1525 More
LA Premiere Held Over to Celebrate Black History Month
“In the Red and Brown Water” (photo by Ed Krieger)
The Fountain Theatre has extended the Los Angeles premiere of Tarell Alvin McCraney’s lusciously theatrical and boldly original In the Red and Brown Waterthrough the end of February, in honor of Black History Month. Performances will continue through December 16 as previously scheduled, then resume on January 5 for an additional eight weeks through February 24.
Lyrically weaving together elements of urban contemporary realism with West African mysticism, In the Red and Brown Water tells the tale of Oya, who can run faster than anyone—but not fast enough to escape her destiny. Her journey from the promise of youth to the complicated yearnings of womanhood is joyous, raucous, raw and brazenly beautiful.
The Fountain production has been declared “100% Sweet” by Bitter Lemons, a website that aggregates Los Angeles theater reviews, and which, in a rare editorial comment, writes, “Once again, the Fountain Theatre shows that they are the class of Los Angeles theater, big or small… this is simply what theater is meant to be.” The Los Angeles Times raves, “CRITIC’S CHOICE! Beyond the fact that it is sensational, the Fountain Theatre’s production of ‘In the Red and Brown Water’… introduces Los Angeles audiences to a dramatic poet in the process of discovering his singular voice and shows how magnificently one of L.A.’s better small theaters can serve bold new talent.” The LA Weekly agrees, “GO! A visceral fable that rises up from the underbelly of America,” and Back Stage calls In the Red and Brown Water “a production that explodes in sounds, images, and extraordinary performances.”
It took the Fountain three years to obtain rights to produce McCraney’s play, which first exploded on the theater scene with a production at New York’s Public Theatre in 2009. On his personal Facebook page, Los Angeles Times Theater Critic Charles McNulty posts, “I love [the Fountain Theatre] production — even more than the one at the Public Theater. LA Theater is not to be underestimated!”
In the Red and Brown Water is helmed by multiple award-winning director Shirley Jo Finney. Diarra Kilpatrick stars as Oya in “a lead performance that is so good you wonder if somehow the designers may have concocted some kind of CGI image in front of your eyes instead of a living breathing human being; her movement, range of emotion and depth of passion is so indescribable that it will literally take your breath away.” (Colin Mitchell, Bitter Lemons). The ensemble also includes Dorian Christian Baucum, Peggy A.Blow, Gilbert Glenn Brown, Justin Chu Cary, Stephen Marshall, Simone Missick, Iona Morris, Theodore Perkins and Maya Lynne Robinson.
Performances ofIn the Red and Brown Water continue through February 24 on Thursdays (through December 13 only),Fridays and Saturdays @ 8 pm and Sundays @ 2 pm (dark December 17 through January 4). Call (323) 663-1525 or go to www.FountainTheatre.com.
Oya can run faster than anyone—but not fast enough to escape her destiny. Shirley Jo Finney directs the long-awaited Los Angeles premiere of In the Red and Brown Water. Lyrically weaving together elements of urban contemporary realism with West African mysticism, Tarell Alvin McCraney’s lusciously theatrical and boldly original new play opens at The Fountain Theatre on October 20.
How far will fast, beautiful Oya go to make a mark in the world? The first of McCraney’s acclaimed “The Brother/Sister Plays,” In the Red and Brown Water is an intoxicating story that charts a young girl’s thrust into womanhood, her family struggle, the two men vying for her heart, and her subsequent fall into the murky waters of life. McCraney mixes the mundane with the mythic, drawing on Yoruban influences while setting the play in a modern urban context—a housing project in the fictional Bayou city of San Pere, Louisiana.
“This production was three years in the making,” says Fountain Theatre artistic director Stephen Sachs. “When ‘The Brother/Sister Plays’ exploded onto the theatrical scene in 2009, it was clear that Tarell was an important and rising new voice. We immediately began our fight for the rights to do this play and refused to give up. The Fountain Theatre is a theater of the heart—and this is where we want the play to live in Los Angeles.”
“I began to investigate how to use ancient myths, stories, to tell urban ones,” McCraney wrote. “I began taking old stories from the canon of the Yoruba and splicing them, placing them down in a mythological housing project in the south. This made the stories feel both old and new, as if they stood on an ancient history but were exploring the here and now.”
Tarrell Alvin McCraney
Lauded by The New York Times as “something rare in the theater, a new, authentically original voice,” and by the Chicago Tribune as “without question, the hottest young playwright in America,” 32-year-old Tarell Alvin McCraney has won numerous awards, including the Paula Vogel Playwriting Award, the Whiting Writing Award, London’s Evening Standard Award for Most Promising Playwright and the National Endowment for the Arts Outstanding New American Play Selection. His plays include Wig Out! (developed at Sundance Theatre Lab, produced in New York by the Vineyard Theatre and in London by the Royal Court) and the trilogy entitled The Brother/Sister Plays, including: The Brothers Size (simultaneously premiered in New York at the Public Theater, in association with the Foundry Theatre, and in London at the Young Vic, where it was nominated for an Olivier Award); In the Red and Brown Water; and Marcus, or the Secret of Sweet. His other plays include Without/Sin and Run, Mourner, Run (adapted from Randall Kenan’s short story), both of which premiered at Yale Cabaret. He holds a B.F.A. in acting from DePaul University, and he graduated from the playwriting program at the Yale School of Drama. He is the Royal Shakespeare Company’s international writer in residence and is currently under commission at Manhattan Theatre Club and Berkeley Rep. His new play, Head of Passes, will have its world premiere in April at Steppenwolf Theatre Company, directed by Tina Landau.
In the Red and Brown Water stars Dorian Christian Baucum, Peggy A. Blow, Gilbert Glenn Brown, Justin Chu Cary, Diarra Kilpatrick, Stephen Marshall, Simone Missick, Iona Morris, Theodore Perkins and Maya Lynne Robinson. Set design is by Frederica Nascimento; lighting design is byJosé Lopez; sound design is by Peter Bayne; costume design is by Naila Aladdin Sanders; prop design is by Misty Carlisle; choreography is by Ameenah Kaplan; vocal coach is Brenda Lee Eager; dialect coach is JB Blanc; assistant director is Erinn Anova; production stage manager is Shawna Voragen; assistant stage manager is Terri Roberts; and Stephen Sachs and Deborah Lawlor produce.
Shirley Jo Finney with NAACP Theater Award
Shirley Jo Finney previously directed award-winning productions of From the Mississippi Delta, Central Avenue, Yellowman and The Ballad of Emmett Till at the Fountain Theatre. Her work has been seen at the McCarter Theater, Pasadena Playhouse, Goodman Theater, Alabama Shakespeare Festival, Cleveland Playhouse, LA Theater Works, Crossroads Theater Company, Actors Theater of Louisville Humana Festival, Mark Taper Forum, American College Theatre Festival, Kennedy Center for the Performing Arts and, most recently, 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. Ms. Finney has been honored with Ovation, Los Angeles Drama Critics Circle, Back Stage Garland, LA Weekly and NAACP awards. For television, she directed several episodes of Moesha,and she garnered the International Black Filmmakers ‘Best Director’ Award for her short film, Remember Me. In 2007 she received the African American Film Marketplace Award of Achievement for Outstanding Performance and Achievement and leader in Entertainment.
Don’t miss this extraordinary new play at the Fountain. From the director of our unforgettable smash hit The Ballad of Emmett Till.
In the Red and Brown Water Oct 20 – Dec 16 (323) 663-1525 More