Last Saturday, I was taking a walk with my wife and son around the Hollywood Reservoir. Daily walks have become our morning routine to break out of our home isolation. We normally stroll through our neighborhood or stride the perimeter of a nearby park. Saturday, to break the monotony, we chose to walk the 3.3 miles around the Hollywood Reservoir. There, we encountered an unforgettable woman.
I spotted her as we circled Lake Hollywood. Her zeal caught my eye. She strode ahead of us, a spring in her step. Despite the surrounding catastrophe, the loneliness of physical distancing, she walked with a kind of energized elan. Spirit in her step.
Suddenly – she burst into dance. A spontaneous, improvised ballet. Right there. On the public path. She leaped into the air, arms twirling, legs flicking, an impulsive pirouette. She sashayed down the street, spinning, bounding silently to graceful music only she could hear.
I grabbed my iPhone and taped her. You can see my video above.
This stranger, this Lake Hollywood dancer, inspires me. She is the power of art. Like a flower pushing its way through cement, she is the Fountain Theatre, the Los Angeles theatre community, finding a way, against the odds, to urge itself upward toward the sun, to bloom once again.
In the midst of emergency, we keep dancing. Not to be trivial or irresponsible. Not to fiddle like Nero as Rome burned. To dance in the face of catastrophe as an act of defiance, of rebellion. Driving forward the Life force. A refusal to be defeated. Despair will not win. Art finds a way.
In recognition of providing outstanding productions of meaningful new plays and first-class performances spanning three decades, The Fountain Theatre has been honored with The Margaret Harford Award for sustained excellence in theatre, presented by the Los Angeles Drama Critics Circle.
“It is our way of thanking you for your noteworthy contribution to theater in Los Angeles,” commented Jonas Schwartz, LADCC Vice President in an email to the Fountain Theatre. “We really are so pleased to be able to recognize your work.”
Due to the current coronavirus pandemic, and in keeping with the request of state and local officials, the LADCC has been forced to forgo its annual Awards event for the public in April. Instead, the winners will be posted on the LADCC website.
“This honor from the Los Angeles Drama Critics Circle means a great deal to all of us at the Fountain Theatre,” says Artistic Director Stephen Sachs. “It is much-needed good news in the midst of this current crisis.”
Founded in 1969, the Los Angeles Drama Critics Circle (LADCC) is an organization dedicated to excellence in theatrical criticism and to the encouragement and improvement of theatre in the Greater Los Angeles Area. The LADCC presents the annual Los Angeles Drama Critics Circle Awards.
Full list of LADCC Award nominees and Special Award winners.
As we all hunker down, I’ve been thinking a lot about home. As a playwright/performer, I’ve lived a kind of gypsy lifestyle for most of my adulthood. Home is wherever the gig happens to be. For the last year and a half, home is Los Angeles. Of course, in Los Angeles, I can’t think about home without thinking of the millions of men, women, and children who are experiencing homelessness today. As our public officials urge us all to “stay home”, rightfully so, I can’t help but wonder what that means for those who don’t have a home.
Like many theatres across the country, The Fountain made the painful decision to suspend performances of Human Interest Story, which grappled with several issues around homelessness. Sadly, this also meant cancelling all of our BID events, including a panel discussion with representatives from several homeless relief organizations in our community.
Although the show cannot go on, we’ve decided to keep the conversation going with one of our esteemed panelists, John Billingsley. As the Board President of Hollywood Food Coalition, Billingsley knows firsthand about what it means to be on the front lines of the fight to end homelessness in L.A.
FLB: First, can you please tell us about Hollywood Food Coalition’s mission and what services you provide:
Billingsley: Every night of the year we serve the most immediate needs of people in our community: we provide a healthy and nutritious five course meal to all comers, no questions asked (soup, salad, choice of vegetarian or non-vegetarian entree, fruit, bread, desserts, milk, water). We also distribute shoes, blankets, sleeping bags, clothing, bus passes, laundry vouchers, toiletry kits, and etc. We have medical, dental and vision vans from UCLA visiting our campus on a regular basis. We are secular, but we serve our meal on the campus of the Salvation Army, (in one of their two dining halls) and we also help clients access way cool stuff provided by other community social service organizations (our neighbors and buds). Additionally, insofar as we rescue approximately 7000 pounds of food a week, we aim to distribute the food we cannot use to other Not For Profits serving our community.
FLB: What led you to Hollywood Food Coalition?
Billingsley: Approximately 4 years ago, apres the disastrous 2016 election, I was looking for ways to get more involved in my community. In addition to doing some political fundraising, I started making bad fruit salads at the Hollywood Food Coalition. (I washed dishes badly, as well). I was foolish enough to shoot off my mouth a bit about ways to grow the board, raise more moolah, blah blah blah . . . and now I’m the Board President! It (almost) reaffirms my faith in America. Or, perversely, makes me question the sanity of our Executive Director, Sherry Bonanno.
FLB: What has been your focus as Board President?
Billingsley: We believe food is a medium for coalition building. My specific interest revolves around what it means to build coalitions, to make pals, to get to know our non-for-profit neighbors. We’re interested in helping to bring NFP’s in our community together to collaborate, where possible, on ‘common actions’, like we’re doing with The Fountain Theatre. We’re interested in exploring mechanisms by which we can further each other’s missions: Can we help you do what you do better? Can you help us do what we do better? How?
FLB: In Stephen Sachs’ play, Human Interest Story, the Jane Doe character offers a raw look at the realities of homelessness. She talks about being assaulted, feeling invisible, and the stigma attached to homelessness. In your opinion, what is the biggest challenge homeless men and women face?
Tanya Alexander and Rob Nagle, Human Interest Story.
Billingsley: First off, and apropos of nothing – ‘people who re experiencing homelessness’ is a more artful construction, I have been taught – when we use the term ‘homeless’, and God knows we all use it, we kinda consign people to a bit of a Dante-esque ‘circle’, a ‘home’, oddly enough . . .
People go through shit.
One can say: I am going through this time in my life, I am experiencing yada yada yada . . . it’s subtly, but legitimately, different than saying: I am a this. I am a that. People ain’t homeless. They’re living a particular kind of life, they’re experiencing homelessness at this time in their life . One hopes that they will be living a different kind of life soon.
But to answer your question:
The biggest challenge homeless people face is the biggest challenge most of us face: the folks who rule our country, and many other countries around the world, actively attempt to delegitimize, if not actively dehumanize, people who don’t agree with them, or look like them, or in any way challenge their values or their hold on power. The challenge we all face, or can’t even begin to face (or intellectually recognize) is a deep and internalized acquiescence in the face of systemic and organized political disenfranchisement; perhaps to the perpetuation of our own diminution. Continue reading →
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.
Students prepare to see “To Kill a Mockingbird” at Madison Square Garden.
by Stephen Sachs
There hasn’t been that much rapturous cheering in Madison Square Garden since the Knicks won their last championship in 1973. But the thunderous hollering heard this Wednesday at the sold-out arena was not for a basketball game. It was for a play.
On Wednesday, 18,000 middle and high school students from Queens, Brooklyn, Manhattan, the Bronx and Staten Island attended a free one-time special performance of the Broadway production of “To Kill A Mockingbird” at Madison Square Garden arranged by producer Scott Rudin, the MSG organization and the city of New York. That’s right. 18,000 kids sat and watched a 3-hour drama in the cavernous home of the Knicks. Who would have thought it possible?
The result? By all accounts, everyone there on that school-day afternoon – actors, audience, organizers – have been forever changed by the experience. And, I hope, so has our field, as the impact of this one-time event ripples nationwide for years.
Artistic Directors like me have been wringing our hands over the same question for decades. How do we get younger audiences to come to our theatre? How do we engage young people today in our ancient art form? How do we not only hold their attention but excite them enough to want to come back to our theatre?
This week, one answer came. And it showed me that maybe we’ve been asking ourselves the wrong question. Sometimes we must bring the mountain to Muhammed.
The play’s usual Broadway home is the Shubert Theatre, where it commands an average ticket price of $162. The one-time performance at The Garden was free. For many kids, they were seeing a professional play – in an unusual setting — for the first time.
“This is a one-of-a-kind event — 18,000 young people who wouldn’t otherwise be able to afford to see a Broadway play are going to be introduced to American theater,” playwright Aaron Sorkin said.
The cast of To Kill a Mockingbird take their bows on stage after a special performance for students at Madison Square Garden in New York.
In a week of nothing but bad news for our country, this gives me hope. And shatters a few myths theater-makers may hold about young people.
The attention span of teens is too short. The myth we keep telling ourselves is that the light-speed tempo of video games have accelerated the viewing habits of young people to such a degree that they’ll never sit still for a serious play. A musical, maybe. A rock musical, certainly. Not an issue-driven drama. But the 18,000 students at Madison Square Garden not only sat still and listened to “Mockingbird”, they were riveted in their seats.
Young people are only interested in contemporary stories about themselves. It’s okay to offer them hip hop plays, urban musicals, modern teen comedies about their world today. A drama from another time period? Too risky. This week, however, a multitude of students from New York were engrossed by a fable that takes place in 1934 Alabama. Want to make it worse? It’s a play adapted from a book they are assigned to study as homework in class, for crying out loud. A theatre producer’s nightmare, right? Wrong.
Young people hate theatre. Not true. They just have fewer opportunities to see it. And when they do? “It’s so exciting,” said high school junior Michelle Hernandez. “It’s amazing,” said student Justine Jackson. “The story is very real and you can relate it to modern society,” said junior Andy Lin. “Specially racism because it’s still going on.” The 18,000 students were clearly swept up in the play and the excitement of the event. The setting of Madison Square Garden seemed to set them free to react openly in ways they would never dare in a conventional theatre. They laughed, they gasped, they shouted, and they cried. They cheered Atticus Finch like he was a rock star.
Regional theaters across the country have educational outreach programs that include bringing their productions of plays to schools for students to enjoy and benefit by seeing. It’s a failsafe strategy that is not going anywhere. A theatre importing its production to a school campus is one thing. Partnering with Madison Square Garden is another.
The conventional model of bussing students to your theatre holds its own many benefits. But I hope the “Mockingbird” event inspires theater organizations across the country to think outside the box in their own community. To explore unconventional venues and unique partnerships to help bring the power of theater to young people nationwide.
Could the “Mockingbird” event happen in Los Angeles? Can we imagine 20,000 students from across the Southland coming to Staples Center to watch a performance of “Death of A Salesman”? Why not? It takes a mayor, a theatre producer and a city believing that it’s important and willing to make it happen. As NY Mayor Bill de Blasio said: “The only way to change your world is if you decide it is your world to change.”
And you must find like-minded partners who are willing to change it.
Stephen Sachs is the Artistic Director of the Fountain Theatre.
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.
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.
Rob Nagle, Tanya Alexander in “Human Interest Story.”
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.
The company of Human Interest Story celebrate Opening Night.
The opening night of the world premiere of a new play at the Fountain Theatre is always an event to celebrate. Such was the case on Saturday, February 15, with the official launch of Human Interest Story, written and directed by Stephen Sachs. A sold-out house gave the powerful and timely new play a standing ovation, and then gathered upstairs in our charming cafe for a catered reception with the company.
In the play, newspaper columnist Andy Kramer is laid off when a corporate takeover downsizes the City Chronicle. In retaliation, Andy fabricates a letter to his column from an imaginary homeless woman named “Jane Doe” who announces she will kill herself on the 4th of July because of the heartless state of the world. When the letter goes viral, Andy is forced to hire a homeless woman to stand-in as the fictitious Jane Doe. She becomes an overnight internet sensation and a national women’s movement is ignited.
early reviews have been laudatory. Theatre Notes has hailed the Fountain production as “Astonishing” and On Stage Los Angeles declares it “A Must See.”
Deborah Culver and Stephen Sachs founded the Fountain Theatre in an intimate, Spanish-style, East Hollywood building that belies the sizable local impact and international reach of the company’s acclaimed and award-winning productions. Now entering its 30th year as one of the most highly regarded theaters in Los Angeles, the Fountain is announcing a celebratory 2020 season of dynamic premieres and events.
“Thirty years ago, when we first entered this theater and stepped onto its stage, we knew we had found it. A place to call home,” Culver and Sachs said in a joint statement. “Since that April three decades ago, our charming haven on Fountain Avenue has been home to thousands of artists and millions of patrons. Fountain plays are now performed worldwide and seen on TV. Our flamenco concerts are first class. Our outreach programs change lives. Our legacy is noteworthy. And our future looks bigger and brighter than ever.”
The season opener, the world premiere of Human Interest Story — written and directed by Sachs who, in addition to his role as co-founder and co-artistic director of the Fountain, is an internationally acclaimed playwright — will open on Feb. 15. In this timely drama about homelessness, celebrity worship and truth in American journalism, newspaper columnist Andy Kramer (Rob Nagle) is laid off when a corporate takeover downsizes his paper. In retaliation, Andy fabricates a letter to his column from an imaginary homeless woman named “Jane Doe” who announces she will kill herself on the 4th of July because of the heartless state of the world. When the letter goes viral, Andy is forced to hire a homeless woman (Tanya Alexander) to stand-in as the fictitious Jane. She becomes an overnight internet sensation and a national women’s movement is ignited.
Slated for Spring, 2020, the Los Angeles premiere of If I Forget by Steven Levenson (Dear Evan Hansen) will be directed by Fountain producing director Simon Levy. In this viciously funny, unflinchingly honest portrait of a Jewish family and a culture at odds with itself, a liberal Jewish studies professor reunites with his two sisters to celebrate their father’s 75th birthday. Both political and deeply personal, this play about history, responsibility, and what we’re willing to sacrifice for a new beginning was a New York Times “Critic’s Pick,” while DC Metro calls it “one of the greatest Jewish plays of this century.”
Summer brings the Los Angeles premiere of An Octoroonby 2016 MacArthur fellow Branden Jacobs-Jenkins, who won the Obie for this radical, incendiary and subversively funnyriff on Dion Boucicault’s once-popular 1859 mustache-twirling melodrama set on a Louisiana plantation. A spectacular collision of the antebellum South and 21st-century cultural politics, An Octoroon twists a funhouse world of larger-than-life stereotypes into blistering social commentary to create a gasp-inducing satire that The New York Times calls “This decade’s most eloquent theatrical statement on race in America today.” Judith Moreland directs.
Another noteworthy Los Angeles premiere closes out the season in the Fall: Escaped Alone is a caustically funny and surreal afternoon of tea and calamity by celebrated British playwright Caryl Churchill. In a serene British garden three old friends are joined by a neighbor to engage in amiable chitchat — with a side of apocalyptic horror. The women’s talk of grandchildren and TV shows breezily intersperses with tales of terror in a quietly teetering world where all is not what it seems. In his Off-Broadway review for Escaped Alone, New York Times theater critic Ben Brantley hailed the play as “wondrous” and Caryl Churchill as “the most dazzlingly inventive living dramatist in the English language.”
Also coming up in 2020:
Forever Flamenco: The dancers, musicians and singers of the Fountain’s monthly serieswill continue to delight audiences throughout 2020. The Los Angeles Times hails Forever Flamenco as “the earth and fire of first-class flamenco,” and LA Splash says, “the way you feel when you walk out of a Forever Flamenco performance is pretty darn fabulous.”
Hollywood Dreams: CBS star and Fountain family member Simone Missick (All Rise) and Fountain board chair Dorothy Wolpert will be honored at the Fountain’s dazzling 30th AnniversaryGala at the Hollywood Roosevelt Hotel on Saturday, June 27.
Walking the Beat Hollywood, a pioneering arts education program for inner city high school youth and police officers, will return for its second year this August.
The Candidate: The Fountain’s third annual celebrity reading at Los Angeles City Hall, a stage adaptation of the 1972 Academy Award-winning movie that starred Robert Redford as a young, straight-talking candidate for the U.S. Senate, is set for Thursday, Oct. 22. One night only.
For more information about the Fountain Theatre’s 2020 30th anniversary season, call (323) 663-1525 or go to www.FountainTheatre.com
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.”
In recognition of providing outstanding productions of meaningful new plays and first-class performances spanning three decades, The 
Deborah Culver and 
