Recent Blog Posts
- Forever Flamenco returns — making summer hotter than ever!
- Larry Powell’s “The Gaze,” aired on Fountain Stream in 2020, earns 2 Daytime Emmy Award nominations
- Meet Barbara Herman and Susan Stockel, Executive Producers for An Octroon
- Fountain Theatre honors Juneteenth with free celebration and other events
- Intimate. Excellent. Leading the way.
Archives by Month
Search Our Blog
Follow Blog via Email
Connect With Us
Follow us on TwitterMy Tweets
Tag Archives: racism
‘Fountain Stream’ presents Larry Powell’s 12-part ‘The Gaze… No Homo,’ tackling systemic racism, homophobia head-on
In between BLM protests and existential quarantine queries, writer/creator Larry Powell adapted his play The Gaze…No Homo (2020/2021 Eugene O’Neill NPC finalist) into a new media series. The Fountain Theatre’s new digital platform, Fountain Stream, has partnered with Powell and Angelica Robinson of Tell Me a Story Productions to present this bold, funny episodic tragicomedy for our times, a 12-part, multi-platform online experience unlike anything audiences have seen before. The first three short-form episodes of The Gaze… No Homo will begin streaming on Friday, Nov. 20, with episodes four, five and six going online Friday, Nov. 27; episodes seven, eight and nine on Friday, Dec. 4; and the final three episodes becoming available on Friday, Dec. 11. Tickets are free at fountaintheatre.com/now-upcoming/the-gaze.
No Homo is the first in Powell’s The Gaze cycle of plays that examines the process of building culturally specific and queer works of color in certain historically white spaces. The story of an openly Black queer artist as he navigates the rehearsal process at a very white American theater festival, The Gaze tackles hard topics head on. It wrestles with the question, “Why strain to be free under a gaze fixed on your imprisonment, when it’s you who is holding the key?”
In episode one, we meet protagonist Jerome Price, played by Galen J. Williams (national touring and Broadway productions of Motown the Musical) as he arrives at the prestigious Evergreen Theatre Festival (“where the brightest and boldest new American voices are watered with wisdom, fed with fodder and nurtured with nourishment”). Evergreen interim artistic director Miranda Cryer (Sharon Lawrence of NYPD Blue, Dynasty, Shameless, The Ranch and much more) has always been an outspoken champion of diverse voices — including that of emerging, Black queer playwright Shaun Korey, played by Devere Rogers (My Spy and IFC’s Sherman’s Showcase). Relegated to Zoom by the pandemic, Cryer is directing the world premiere of Korey’s newest work, No Homo, but “artistic differences” between her and festival newbie Price threaten to blow up the process. Eugene Byrd (Dr. Clark Edison in Bones) and TC Carson (Living Single) star as Price’s fellow actors Kendrell Thompson and Buddy DuPois, each of whom has learned to navigate the hidden dangers and microaggressions of the entertainment business in his own way — as has long-time stage manager Sherry Grosse (Yvette Cason, original Broadway cast and feature film version of Dreamgirls) and gender-fluid ASM Tee (internet personality, actor and model Jason “Freckle” Greene).
Powell states, “In order to properly experience my own exodus of the decentralization of the white gaze in my creative work and reclaim my black ass imagination I had to stare the poison in the face and, through the telling of Jerome’s story, turn it into the medicine decolonization so fiercely provides. That I was able to make this piece in the summer of 2020 and share this piece that same summer and beyond is a divine triumph. A blessing standing on sacred ground and under one gaze only: the ancestral one. Thankful to any and all who make it possible for others to catch the vision.”
The creative team behind The Gaze… No Homo includes episode directors Joanna Strapp (episode 1), Larry Powell (episodes 2, 11 and 12), Zhailon Levingston (episode 3), Satya Bhabha (episode 4), Reginald L. Douglas (episode 5), Amber A Harris (episode 6), Jonathan McCrory (episode 7) and Bianca Laverne Jones (episodes 8 and 9); as well as editor Joey Scoma, composer Robert Revell, branding and graphic design artist Samia Zaidi, website designer Nick Ducassi, and co-producer Haley Rawson. The series is produced by producer/executive producers Angelica Robinson, Spencer Williams and Matt Lubetich, along with executive producers Larry Powell, Zhailon Levingston and Devere Rogers and executive producer/director of photography John Macdonald.
Larry Powell is a writer, actor, director and producer born and raised in South Central L.A. As an actor, he’s originated and premiered roles in some of the most exciting new plays in America including The Christians by Lucas Hnath, The Legend of Georgia McBride by Matthew Lopez, Father Comes Home From The Wars by Suzan Lori Parks (opposite Sterling K. Brown), Brokeology by Nathan Louis Jackson, and he played the title role in While I Yet Live by Billy Porter. He is a two-time Los Angeles Drama Critics Circle award-winner, and has been nominated for numerous Ovation, NAACP and San Francisco Bay Area theater awards as well as for Audelco and Audie awards. Larry is also a published playwright and professional screenwriter, with three plays scheduled to receive world premieres over the next two years. He is a core playwright at the Lark Play Development Center. A graduate of Carnegie Mellon’s School of Drama, Larry is an adjunct lecturer at the University of Southern California’s School of Dramatic Arts MFA Acting program. He is the founder and creative director of the Powell Academy of the Performing Arts, an arts organization providing high-performance training and resources to historically marginalized artists on the rise in the mainstream entertainment industry.
CLICK HERE To watch The Gaze… No Homo beginning Friday, Nov. 20.
Groundbreaking livestream ‘The Ballad of Emmett Till’ is artistic and financial success for Fountain Theatre
By Terri Roberts
Friday, August 28th, marked the 65th anniversary of the vicious murder of an innocent 14-year-old black youth named Emmett Till. His cold-blooded, colder-hearted killing, and the events surrounding and following his funeral, became the kick-starter events of the burgeoning Civil Rights Movement in 1955. The Fountain Theatre recognized that landmark anniversary in two ways: with the reunion of the original director and cast of our award-winning 2010 production of The Ballad of Emmett Till, by poetic playwright Ifa Bayeza, and by navigating this new COVID-19 world of virtual theatre by presenting the show in a unique, forward-thinking beyond-the-Zoom-Room format.
Three hundred and forty-eight people bought $20 tickets for the livestream premiere of this re-imagined digital model of theatre. The five actors – Bernard K. Addison, Rico Anderson, Lorenz Arnell, Adenrele Ojo, and Karen Malina White – performed from their own individual, safely distanced locations, and coordinated with director Shirley Jo Finney and each other via Zoom on their computer screens. But gone was the normally pedestrian cyberscape of living room stages with bookcase backdrops. This fresh digital production of Emmett Till was dramatically enhanced with the use of props, costumes, music, sound, visual effects and cinematic techniques. The resulting hybrid of stage and digital filmmaking made for an exciting and invigorating step forward into the new frontier of virtual theatre.
If you were not able to catch the premiere, you needn’t worry. The livestream premiere was video recorded. The Ballad of Emmett Till is available for a pay-per-view rental of $20 at www.fountaintheatre.com until December 1st.
“What a stunning presentation!” wrote playwright Bayeza after Friday’s premiere. “The commitment and creative investment so enlivened the digital performance, introducing whole new dimensions and possibilities.Shirley Jo, the way you angled the car scenes, Emmett’s dancing in the water, the integration of sound and environments–all were exquisite surprises. The ensemble was marvelous again. Karen’s magical shifts of character are so seamless, you don’t even notice it’s the same actor! All in all, simply superb!”
Other viewers agreed:
“Shirley Jo Finney exceeded the medium and brought new meaning to each of the characters. Bravo! Bravo!” – Steven Williams
“Thank you for such an AMAZING virtual presentation! It was PHENOMENAL!!!! BRAVO!!!” – Cynthia Kitt
“Wonderful work in this crazy world!” – Taylor Bryce.
“Powerful production!” – Shawn Kennedy
“I was initially a bit cautious about watching on my computer but the direction drew me right in. I loved the use of photos and other visuals to create a sense of place. And the acting was superb. Very moving.” – Lois Fishman
“It was very powerful and beautifully done. The cast was amazing. Please convey my appreciation to all of them as well as to Shirley Jo Finney for the beautiful direction.” – Diana Buckhantz
“I’m so proud of what we created,” said Fountain Theatre artistic director Stephen Sachs. “I’m thrilled that the Fountain is leading the way in developing new ways to tell stories and keep the connection with our community alive.” The pay-per-view event is a budgetary victory as well. Online ticket sales and generous contributions from longtime Fountain donors Susan Stockel and Barbara Herman ensured that Emmett Till was fully funded by its first airing.
The success of Emmett Till hashttps://www.fountaintheatre.com/fountain-digital/the-ballad-of-emmett-till-2020 demonstrated that this form of digital theatre is both viable and profitable, and can help the Fountain keep its doors metaphorically open while we are still in pandemic mode. And while we will certainly continue to present free digital content via the bi-monthly installments of Saturday Matinees and Theatre Talk, as well as other programming and readings as they present themselves, you can also expect to see more livestream/digital pay-per-view productions to come.
Is there something special you would like to see in this new format? A past Fountain production with a small cast you think should be rebooted? We’d love to know what you’d love to see. Email me at firstname.lastname@example.org and share your thoughts.
Until then, The Ballad of Emmett Till is waiting for you.
by Dick Price and Sharon Kyle
With his stunning world premiere presentation of Human Interest Story at the Fountain Theatre, playwright and director Stephen Sachs stitches together issues deeply affecting American society, delivering them with a witty edge and kinetic punch that thrilled the audience the night we attended.
Our colleague and friend, Eric A. Gordon, just published a delightfully detailed review with us: Human Interest Story,’ Playwright Stephen Sachs’s Righteous Rage Against Corporate Heartlessness. Rather than replicate his work—or, rather foolishly, try somehow to top it—we’ll share the ironic way Sachs’ themes struck the two of us. Ironies abound, as you’ll see.
At curtain rise, long-time opinion columnist Andy Kramer (played by Rob Nagle) is about to lose his job in a cost-cutting move by his newspaper’s new owners, who are decimating the staff and moving quickly online to save the paper from folding, a fate so many print publications have suffered in recent years.
On his way out the door, as a way to give the new editors the finger, Andy concocts a letter purportedly written by an anonymous homeless woman, Jane Doe, who’s so bereft by her plight that she promises to kill herself on the approaching Fourth of July.
And, of course, in this digital age, the letter immediately goes viral, generating lots of hits on the paper’s website and saving Andy’s job. Problem is, the editors want to know more—lots more—about Jane Doe.
And, of course, in this coincidental world, Andy soon stumbles across a homeless black woman (Tanya Alexander) living in the park, who, after some negotiation, agrees to play Jane Doe. Together they use their ruse to shed a harsh light on the plight of the homeless while saving their own bacon.
But, as Jane Doe will later say, “there’s no good way to do a bad thing,” so problems ensue: rising media stardom, intruding corrupt politicians, distracting sexual escapades, and soulless publishing magnates all colliding in an engrossing stew—“ripped from the headlines,” you might say. You’ll need to see the play—and you absolutely should—to see how all this works out.
Our first irony: Hours before we saw the play, the two of us were at LA CAN (Los Angeles Community Action Network) on West 6th Street, in the heart of L.A.’s sprawling Skid Row, helping to plan the “Radical King” event planned for April 4th.
Moreover, to avoid the crush of L.A.’s highway traffic, we frequently take surface streets to activist meetings we attend downtown, a route that takes us through Skid Row. At one point, we had to stop taking this shortcut because Sharon would break down in tears at the sight of so many of her people—black people—pushing shopping carts down the street, huddling in the endless rows of tents, shaking their fists at an unforgiving sky. At one time, her former brother-in-law had been among them, a Vietnam vet devastated by his wartime experiences and brief capture by the Viet Cong.
And long ago, Dick had been executive director (some would call him “house daddy”) of a halfway house in Torrance where many homeless were among the residents, an experience that showed him that beneath the grime and tattoos and missing teeth, they were every bit as human as he—and not some kind of alien beings you might only see in news reports or passing by quickly in your car.
A second irony, of course, is that for the past 12 years we’ve published two online magazines,LA Progressive and Hollywood Progressive, which are in the mix of the shift away from print publication to digital, which has caused the loss of so many editorial jobs like Andy’s.
And again moreover, in Dick’s last job working for other people (other than Sharon), he worked on venerable print magazines at the very start of the move to the digital world, his job to figure out how to preserve revenue—and his staff’s jobs—while moving online.
While readership levels rose dramatically with the much wider reach the Internet afforded, his readers were much less willing to pay for the privilege as they had with print magazines—and the money they did pay had to first go through the Web publishing shop, which took most of the gravy, shrinking the editorial staff bit by bit. His version of Andy, walking out the front door with his belongings in a cardboard box, became an all-too-common sight.
But the third irony is perhaps the most telling. Sachs’s play has the middle-aged white “word slinging” columnist ghostwriting speeches and articles for the somewhat younger black homeless woman—who, by the way, was an award-winning fourth grade teacher before bad luck put her on the street. Point being that the white man assumed he needed to do the thinking and writing for a black woman, who, by the way she spoke and acted and carried herself, could surely have used her own words and thoughts quite nicely, thank you very much, given the chance.
Now, at the Dick & Sharon collective, Dick would never dream of putting words in Sharon’s mouth. But our parallels to the play are strong—older white man (she’ll remind you), younger black woman, joined not just with an ampersand but at the hip for years on end. Many days we spend the entire 24 hours within 30 feet of each other, talking to the same people, watching the same programs, reading many of the same things, chewing through the day’s events as one.
We’re together most of the time when the world comes at us, but how we interpret that world, especially around issues of race, can be quite different (one of us says “quite,” the other “somewhat”). If we hear news of yet another unarmed black man gunned down by police or a black mother sent to prison for enrolling her child in the wrong school or reports of a friend suspiciously denied a job or promotion, Dick hears it, hurts for it, perhaps discusses it, and moves on. But then hours later he’ll find Sharon still sunk down in despair for the endless targeting of her people, thinking of her son’s safety, her brothers’ safety, black people’s safety and well-being in general.
See, if Dick walks out our front door, pretty quick he’s just another white dude walking down the street in a mostly white neighborhood, the consequences of racism becoming increasingly intellectual. Sharon doesn’t have that luxury.
So, the heart of Human Interest Story — for us, at least — is the interplay of racism in our lives, white and black, that rot at the heart of America’s soul.
Go see for yourself.
This post originally appeared in Hollywood Progressive.
by Sean P. Thomas
The stage is set for a collection of Los Angeles’ creative minds to get a moment in the spotlight. Even better, those moments will take place in Downtown, and the performances will be free.
On Friday-Sunday, April 27-29, the inaugural Our L.A. Voices: Spring Arts Festival will fill Grand Park. The happening will bring more than 30 artists and groups to the 12-acre space, where there will be live theater, dance, music and more. There will be performances as well as opportunities to buy art.
Julia Diamond, Grand Park’s interim director, said that the festival was created through a joint venture with the Music Center. The goal is to showcase a wide spectrum of the L.A. art scene, with everything from sculptors to digital artists in a family-friendly environment.
“We’re really trying to tell a big story about L.A. as a center of massive amounts of creative energy,” Diamond said.
Grand Park opened in 2012 and has played host to numerous community events, everything from the annual New Year’s Eve celebration to a book festival. Frequently local artists have been involved, but were not the focus.
This weekend, Diamond said, the artists will be thrust front and center. Festivities run from 6-10 p.m. on Friday, 1-10 p.m. on Saturday and 1-6 p.m. on Sunday.
“We’re trying to tell the biggest story that we can,” Diamond said. “It’s about making a big splash for an important part of L.A.’s identity and giving the audience a chance to come see art in one place.”
Festival organizers have partnered with a number of artists and groups, among them the Fountain Theatre in East Hollywood. The theme of the festival is, “What does it mean to be a citizen?”
Aptly, the Fountain Theatre will perform Citizen: An American Lyric, an adaption of poet Claudia Rankine’s book of the same name that explores race relations and questions of citizenship in the United States. The novel was adapted by Stephen Sachs, artistic director of the Fountain, after coming across a book review in the New York Times. In the wake of the 2014 shooting death of Michael Brown in Ferguson, Mo., Sachs said that he wanted the theater to make a statement on race relations in America, and that Rankine’s words provided the proper avenue.
He described the book and the ensuing play as less of a sledgehammer and more of a scalpel, precisely dissecting racial narratives in American society to get to the core of what a citizen’s experience is like in the country. Citizen will be mounted on Friday and Saturday at 8 p.m.; each hour-long performance will be followed by a community discussion about the play and the festival.
Diamond said the play, which was previously on stage at the Fountain and the Kirk Douglas Theatre in Culver City, resonates with audiences and fits the theme of what she is trying to do with the Spring Arts Festival.
“It really became the core question of this year’s festival,” Diamond said. “Who belongs? Who is on the inside? Who is on the outside?”
Sachs said it is gratifying to have the work appear at the festival. However, he said he is disheartened that the issues that prompted the play are still relevant almost four years after Brown’s death.
“It’s very meaningful to me to have this work shared with as many people as possible,” Sachs said. “I love the idea of doing it in Grand Park in front of City Hall. I can’t think of anything more appropriate.”
“We encourage people to come out in full force and to bring the whole family,” Diamond said. “Art is meant to bring us together and get us thinking, and there is no better way to do that than across generations.”
The Our L.A. Voices: Spring Arts Festival runs Friday-Sunday, April 27-29, at Grand Park, 200 N. Grand Ave. or grandparkla.org/event/ourlavoices2018.
This post originally appeared in Downtown News.
The Fountain Theatre’s critically acclaimed, award-winning stage adaptation of Claudia Rankine’s Citizen: An American Lyric has been chosen as the centerpiece of Our L.A. Voices, a new festival celebrating the diversity and excellence of the arts in Los Angeles that will launch April 27-29 at Grand Park in downtown Los Angeles. A compelling play about racism in America, Citizen will represent excellence in Los Angeles theater at the multi-arts festival, with performances set for Friday, April 27 and Saturday, April 28. All performances are free to the public.
Citizen: An American Lyric was adapted for the stage by acclaimed playwright and Fountain co-artistic director Stephen Sachs from Rankine’s National Book Critics Circle award-winning book of poetry. In this intensely provocative and unapologetic rumination on racial aggression directed by Shirley Jo Finney, seemingly everyday acts of racism are scrutinized as part of an uncompromising testimony of “living while Black” in America — from the shooting of Trayvon Martin, to the tennis career of Serena Williams to the aftermath of Hurricane Katrina.
Actress Monnae Michael invites you to join her and fellow cast members — Bernard K. Addison, Leith Burke, Tony Maggio, Adenrele Ojo and Lisa Pescia — to enjoy what Stage Raw critic Myron Meisel called “a transcendent theatrical experience.”