Tag Archives: Ron Sossi

Fountain Theatre to host Los Angeles ‘Mueller Report Read-A-Thon’ on July 18

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We’ve been told what it is, what it isn’t. What’s in it, what’s not. But how many have actually read it for themselves? Even some members of Congress haven’t read it.

Robert Mueller told us the report speaks for itself. But who can give voice to the report? Our Los Angeles theatre community, that’s who.

The Fountain Theatre will host a single, 15-hour Mueller Report Read-A-Thon, offering citizens of Los Angeles the opportunity to hear the Mueller Report read aloud, on Thursday, July 18 from 9 a.m. to midnight.

On Tuesday, it was announced that former special counsel Robert Mueller will testify before Congress on July 17, the day before the Fountain Read-A-Thon.

Earlier this month, a reading was hosted by NY theater companies, and a marathon reading is scheduled for July at the Arena Stage in Washington D.C. This week, an all-star celebrity reading of a new play, adapted from the Mueller Report by Pulitzer Prize and Tony Award-winning playwright Robert Schenkkan, was streamed live on social media.

Special Counsel Robert Mueller’s “Report on the Investigation into Russian Interference in the 2016 Presidential Election” is the official report documenting the findings and conclusions of investigation into Russian efforts to interfere in the 2016 United States presidential election, allegations of conspiracy or coordination between Donald Trump’s presidential campaign and Russia, and allegations of obstruction of justice.

“The Fountain has a long history of using theater as a trigger for political and social action,” says Fountain Theatre co-artistic director Stephen Sachs. “My larger purpose for the Read-a-thon is not to disseminate details about the report — although that is important. The greater goal is to give the public and our Los Angeles theatre community the opportunity to engage, to take some kind of expressive action. I see it as similar to a protest march. But all of us are marching from our stages.”

Readers at the Fountain will include over 90 readers representing the diversity of Los Angeles, including actors, artistic leaders, community leaders and business people. Confirmed to read so far: Councilmember Mitch O’Farrell; actors Alfred Molina, Jeff PerryRichard SchiffRob NagleFrances FisherHarry Groener, Karen KondazianBill Brochtrup and Jenny O’Hara; artistic directors Daniel Henning (Blank Theatre) and John Flynn (Rogue Machine); playwright Justin Tanner; and theater journalist Steven Leigh Morris. A complete list of readers is available at www.fountaintheatre.com/event/mueller, where anyone interested in participating can also sign up for a 10-minute reading slot. The Fountain Theatre Read-A-Thon will be streamed live on the Fountain’s Facebook and Twitter pages. The Fountain Theatre Café will be open throughout the event.

Los Angeles Theatres supporting the Read-A-Thon include: 24th Street Theatre, Blank Theatre Company, Boston Court Pasadena, Celebration Theatre, Company of Angels, Cornerstone Theater Company, Echo Theatre Company, Hero Theatre Company, The Inkwell Theatre, Latino Theatre Company, The Los Angeles LGBT Center, Lower Depth Theatre Ensemble, The Matrix Theatre Company, Moving Arts, New American Theatre, Open Fist, Playwrights Arena, Road Theatre Company, Rogue Machine, Skylight Theatre, Stacie Chaiken and What’s the Story?, The Victory Theatre Center, Vs. Theatre Company, Whitefire Theatre, Will Geer’s Theatricum Botanicum

The Odyssey Theatre Ensemble in West L.A. will hold a separate marathon reading, breaking it up into two 8-hour sessions on MondayJuly 22 and Tuesday, July 23, each from 1 p.m. to 9 p.m.

According to Odyssey Theatre artistic director Ron Sossi, “Political projects like Chicago Conspiracy Trial, Tracers, McCarthy and Rapmaster Ronnie have always been a large part of the Odyssey’s 50-year history. Sadly politically-oriented work has been missing from American stages of late. This live reading of the Mueller Report at two different L.A. theaters is a refreshing and exciting reminder of the heady days of ‘60s/’70s activism, and, hopefully, a sign that the local theater scene is becoming re-engaged.”

The Odyssey event, curated by Not Man Apart artistic director John Farmanesh-Bocca, will include 20-minute readings by long-standing company members, friends and celebrities including Councilmember Paul Koretz; film and stage actors Alfred MolinaFrances FisherBrenda StrongNorbert WeisserMichael NouriRay Abruzzo, Darrell Larson and Gregg HenryRichard Montoya of Culture Clash; spoken word artist Steve Connell; Cornerstone Theater Company members Shishirand Bahni Kurup; Padua Playwrights founding artistic director Murray Mednick; plus many more. A complete list of readers will be available at www.odysseytheatre.com.

Admission to both Read-A-thons is free and open to the public. Audience members may come and go throughout each event.

For more information:

Actors’ Equity Association vs. Los Angeles Theater

 

Steven Leigh Morris

Steven Leigh Morris, Executive Director of LA Stage Alliance

by Steven Leigh Morris

PART I:
The National Stage Union is Sued (Yet Again) by Its Own Members

If the showdown between the New York-based actors/stage managers union, Actors’ Equity Association (AEA, or Equity), and the L.A. theater community were a soap opera, I’d have changed the channel long ago. This show has been on the air since 1986, and these guys really need to come up with some fresh storylines.

For the uninitiated, last year, AEA announced that it was terminating the 99-Seat Theater Plan, an agreement between the union and its L.A. County membership that’s been in place since 1989, though it’s been regularly modified since then.

The Plan governed the way most of L.A. theater was performed for almost 30 years. It permitted its 7,000-8,000 union actors to volunteer in L.A. County theaters of no more than 99-seats, should they wish to do so, for reasons of artistic fulfillment and/or professional advancement. Examples of the latter include multiple examples of shows produced under the 99-Seat Plan transferring — often with the actors who created those roles — to larger theaters under contract within Los Angeles as well as to other cities, including Chicago and New York.

The Plan also presented a boon of opportunity to playwrights, whose new works wouldn’t stand a chance in theaters with higher production budgets. But that’s another story.

As volunteers under the Plan, union actors had the right to leave at any time. The actors were guaranteed minimal expense stipends per performance from the producers along with union health and safety protections. The 99-seat cap was designed to ensure that producers wouldn’t exploit the actors financially. A ticket price cap was also built in, for exactly the same reason, along with a cap on the number of performances for all such productions. This was all agreed to in the 1989 out-of-court settlement of a contentious lawsuit filed by a number of actors against their union in September, 1988. Those plaintiffs, led by actress Salome Jens and including some of the same plaintiffs who returned for another round in 2015 (Tom Ormeny, Maria Gobetti, Joseph Stern and Gary Grossman), believed that in a field (the theater) with such pervasive unemployment, the union had been unreasonably restricting their right to work under conditions and for reasons that they (the actors) found useful.

Among the litany of complaints in the current lawsuit is that Equity refused to meet for an entire year with the L.A.-based “Review Committee” that was created in the 1989 out-of-court settlement. Among the purposes of the Review Committee was to advise the union on its proposed changes to the Plan. On learning in November, 2013, that the union intended to end the Plan, the Review Committee requested a meeting with Equity to discuss these rumblings. Equity’s 99-Seat Plan Administrator, Michael Van Duzer, granted that meeting eight months later, in July, 2014. But shortly before that meeting, Equity’s Executive Director Mary McColl fired Van Duzer, cancelled the meeting, and never scheduled another.

Now let’s flash back for a moment, to the mid 1980s. You’ll find the complaints on both sides to be almost identical to today’s. This failure of the union to meet with representatives of L.A.’s small theaters, for example, was a pattern that had unfolded about 30 years prior.  Continue reading