What happens when telling the truth gets in the way of a good story? The Fountain Theatre presents the West Coast premiere of the Broadway hit play, The Lifespan of a Fact, by Jeremy Kareken, David Murrell and Gordon Farrell. Simon Levy directs for a February 18 opening, with performances continuing through April 2 on the Fountain’s indoor stage. Previews begin February 15.
Based on the nonfiction book by John D’Agata and Jim Fingal, this highly entertaining, very funny new play follows Fingal (Jonah Robinson), a young intern at an elite New York magazine. Fingal’s first assignment from his editor (Inger Tudor) is to fact-check an essay written by a highly celebrated and cantankerous author (Ron Bottitta as John D’Agata). What Jim finds turns his world upside down. Thought-provoking, with zinging one-liners, The Lifespan of a Fact explodes into a hilarious slugfest between “facts” and “truth,” making it hard to imagine a play ever being more timely.
“The play urges us to take a harder look at the content we read and the stories we’re told — even from sources we trust,” says Fountain artistic director Stephen Sachs.
“What I love about this play is that it’s based on a true story and that it tackles the concepts of ‘fact’ and ‘truth’ in a theatrical context through three wonderfully contrasting, funny and compulsive/obsessive characters,” says Levy. “When you’re writing a nonfiction piece about a real person, are ‘facts’ and ‘truth’ negotiable? Or is it okay to make stuff up for the sake of a good story?”
D’Agata and Fingal’s book received critical attention from multiple publications, including NPR, The New York Times, and the Los Angeles Times. It was subsequently named a “Top 10 Most Crucial Book” by the editors of Slate, a “Best Book of the Year” by the Huffington Post, and an “Editor’s Choice” by The New York Times Book Review. The stage adaptation, which opened on Broadway in 2018 starring Daniel Radcliffe, Bobby Cannavale, and Cherry Jones, was called “terrifically engaging” by The New York Times in its “Critic’s Pick” review.
The Fountain’s creative team includes scenic designer Joel Daavid, lighting designer Alison Brummer, sound designer Marc Antonio Pritchett, costume designer Michael Mullen, video designer Nicholas Santiago and properties designer Joyce Hutter. The production stage manager is Hannah Raymond. Stephen Sachs and James Bennett produce for the Fountain Theatre.
When I was eighteen, I saw Anthony Hopkins onstage as Dr. Martin Dysart in Equus at the Huntington Hartford Theatre on Vine Street in Hollywood. A section of the audience was seated on the stage. I sat there, just a few feet away from Hopkins’ colossal, jaw-dropping performance. It remains seared in my soul to this day. I would not have had that struck-by-lightning experience if I were sitting thirty feet away.
You never need to worry about that at the Fountain. We believe closeness, to art and to people, is everything. After two years of forced separation, you and I are back together and going strong. Now with two busy theaters, inside and outdoors, we are leading the way with new plays, music and dance concerts, and life-changing arts education programs for young people.
Yes, our theatre seats inside are outdated (more on that in a moment). Still, it sure feels good to sit collectively at the Fountain once again, just a few feet from the stage, being transported by an urgent, meaningful story expressed by actual human beings. Not on a screen.
That means coming out of our caves. Like Elijah. When he isolated himself in a mountain to retreat from the world, a Divine Voice said to him, “What are you doing in here, Elijah? Get out!” As Joan Didion urged, our task in the world isn’t to suffer in it, not to just pass through it, but to live in it. To live recklessly, take chances. To jump into the deep end of life and swim in it.
Like an embrace, theatre is a collaborative act. It takes away the aloneness of the world. It repairs. Think about it. What happens when you hold someone close? You feel them. The in-out of their breathing, the beat of their heart on your chest. That is what good intimate theatre does.
The Fountain’s heart keeps beating strong because of large and small donations from people like you. Private giving like yours is essential. Your year-end contribution of $100 or more today will help lift us into the coming year as we march forward into 2023. So, what’s coming? A smart comedy from Broadway, a summer musical outdoors, a thought-provoking drama in the fall. Plus chamber music, jazz, and flamenco. And here’s the kicker: we are installing NEW SEATS indoors! Brand-new comfy chairs, which you’re going to love.
Like a hug, we can’t do it alone. We need you to give of yourself. As a nonprofit, 80% of our income comes from contributions from good people like you. Seize the moment. Jump back into life. Support what you see on our stage, in a classroom, and/or be part of our history by having your name engraved on a plaque on a seat. Click here to find out how.
Wherever you wish to direct your giving, whatever the amount, your donation and friendship are priceless.
The Fountain Theatre is now casting the Los Angeles Premiere of Steven Levenson’s funny and poignant play, IF I FORGET, directed by Jason Alexander (TV’s Seinfeld). Steven Levenson is the author of TICK, TICK… BOOM!, DEAR EVAN HANSEN, and FOSSE/VERDON. IF I FORGET will be performed on the Fountain Theatre’s Outdoor Stage in East Hollywood.
Storyline: Los Angeles Premiere. A funny and powerful tale of a family and a culture at odds with itself. In the final months before 9/11, liberal Jewish studies professor Michael Fischer reunites with his two sisters to celebrate their father’s 75th birthday. Each committed to their own version of family history, they clash over everything from Michael’s controversial book, to whether they should sell the family business. Secrets and long-held resentments bubble to the surface as the three negotiate – with biting humor and razor-sharp insight – just what they’re willing to sacrifice for a chance at a new beginning.
Producer/Theatre Company: The Fountain Theatre Artistic Director: Stephen Sachs Director: Jason Alexander Writer: Steven Levenson Casting Director: Simon Levy, Jose Fernando Lead Producers: Simon Levy, James Bennett Auditions: April 18-19, 2022 Rehearsals: June 13 – July 19, 2022 Previews: July 20 – 22, 2022 Opens/Closes: July 23, 2022 – September 10, 2022
LOU FISCHER 65 to 75 years old, male. (to play 75) Smart, sensitive, caring. He is capable of deep feeling but can be distant as is typical of men of his generation. Holds disturbing secrets from the war. A Jewish WWII veteran, proud of his family and Jewish heritage. Suffers a debilitating stroke during the course of the play. A man of quiet dignity. An untapped well.
MICHAEL FISCHER 45 to 50 years old, male. Lou’s son. A Jewish Studies professor who happens to be an atheist. A cynical, avowed liberal whose intellect and passions coupled with his ego and neurosis often cloud his better judgment and his better angels. Proud, defiant, stubborn and yet fearful and ultimately a bit lost. He struggles to make his heart as potent as his mind. A brilliant, if tortured, soul.
HOLLY FISCHER 45 to 52 years old, female. Lou’s oldest daughter and Michael’s older sister. (should read slightly older than him). Her dress and manner reflect a lifestyle that connotes a degree of financial success and social influence. She thinks highly of herself and freely speaks her mind, oftentimes at the expense of others. Though brash and biting, she means well and genuinely cares for her family. She is driven, fierce – but the bark is far worse than the bite.
SHARON FISCHER 38 to 40 years old, female. Lou’s youngest daughter. Sweet to the point of almost seeming simple. A natural giver, reflected in being a kindergarten teacher and Lou’s primary caregiver. She is also a bit high strung and desperate to have a family of her own at this later stage of her life. She harbors unspoken resentment toward her siblings for making her the de facto nanny and nurse. Though fragile and brittle, she spends much of the play struggling to assert herself and fight for the things she wants and believes in.
ELLEN MANNING 40 to 43 years old, female. Michael’s wife. Not Jewish. Kind, calm, and the voice of reason when tensions arise between Michael and his siblings. She is supportive of her husband’s career and beliefs though keenly aware and nervous of their offensiveness. She determinedly suppresses her fear and anxiety about her daughter’s mental illness. She is a woman very much on the edge and holding on with all the grace she can muster.
HOWARD KILBERG 50 to 55 years old, male. Holly’s husband. Jewish. A corporate lawyer. Successful and affable but a bit of a dolt. He is socially awkward, never sure of where he stands in anyone’s esteem. He is mild-mannered, even kindly but uncomfortable in his skin. And he harbors a secret that he greatly fears will ruin his life if revealed.
JOEY OREN 16 to 20 years old, male. (to play 16) Holly’s son. A smart and socially awkward teen. Has some behavioral issues; not violent, just acts out to get attention. He acts indifferent toward his family but can’t help revealing genuine concern during trying times. Takes refuge in gaming. An awkward kid, probably somewhere on the spectrum.
Please submit electronically via Breakdown Express/Actors Access or email firstname.lastname@example.org. First round of auditions will be self-tape of Sides, which will be made available by the casting coordinator. Then there will be an in-person audition at the theatre. Then a callback.
Originally commissioned by immigration attorney Judy Rabinovitz of the ACLU Immigrants’ Rights Project, Detained is based on interviews with longtime U.S. residents held in immigration detention, and with their family members, advocates, attorneys and representatives of ICE. Inspired by their stories, Detained explores how families fight to stay together as increasingly cruel U.S. immigration legislation keeps them apart through mass deportations and immigration detention centers. It offers a heart-wrenching and in-depth look at the human lives behind the policies, and celebrates the strength and determination of the ordinary people who must fight against an unjust system while keeping their hope and faith in humanity intact.
“All of the stories in this play are true, and they are heartbreaking,” says Benson. “The more people I met, the more time I spent with them, the more important it became to tell their stories. When you go through trauma, you want to be seen, to be given a voice. My own family immigrated to America in the 1970s, and my father received a humanitarian award for the work he did at Krome Detention Center in the ’80s and ’90s. This is his story too, and a way for me to honor the sacrifices he made for us.”
When Rabinovitz first approached Benson, President Obama was still in office. Under his administration, more people were being deported than ever before. Since then, with harsher immigration legislation enacted under President Trump and the current Covid-19 health crisis, the situation for many immigrants has become ever more dire. As more stories of injustice persist and legislation changes, so does the play.
“This play is a living document, and I’m constantly updating it,” Benson says. “People think that now that Biden is president, things are better. But thousands of people are still facing deportation every day. Many of these people have been living in this country for decades. They own houses, run businesses, pay taxes, have families.”
Characters in the play include a teenage foodie aspiring “chef-lebrity,” a U.S. Veteran, and a mother of two who works as a roofer in New York City. Together, their collective voices weave a compelling and complicated tapestry.
Detained was developed, with a generous grant from the Miranda Family Foundation, at Ensemble Studio Theatre in New York under artistic director Billy Carden.
Detainedopens February 19 and runs to April 10. Proof of both vaccination and booster will be required for admission. Patrons must be masked at all times in the theatre, except when actively eating or drinking in our upstairs indoor café/outdoor deck. Snug, surgical grade respirator masks (N-95/KN-95/KF-94) that cover both mouth and nose, are strongly encouraged, but blue surgical masks are acceptable. Cloth masks are no longer approved.
“Smashing Barriers in Opera and Beyond” will explore political and gender issues, not only in opera, but in the systemic marginalization of the arts in our country. What modern issues are at stake in the works of Giuseppe Verdi? What can we do about racism in the works of Richard Wagner? Why does this matter today?
“William Berger is not only a smart, witty aficionado from the Metropolitan Opera in New York,” says Stephen Sachs, Fountain Artistic Director, “he is a longtime friend. Hosting William and opera star Morris Robinson will be a treat for opera fans in our Fountain community. And partnering with LA Opera is joy.”
Come be part of the conversation and the fun! The Fountain Theatre is located at 5060 Fountain Ave., Los Angeles (at Normandie Ave.) Secure parking is offered for $5; street parking is also available. And concessions will be open with sandwiches, snacks, and drinks for sale — including beer and wine to toast Mr. Robinson, Mr. Berger and his new book, and the Fountain’s inaugural collaboration with LA Opera. Please note that admission to this event is limited to ages 12+. Proof of vaccination, as well as masks, are required for entry. For reservations and more information, call (323)663-1525 or CLICK HERE.
What is our responsibility to the future? What legacy do we want to leave? The Los Angeles premiere of The Children, written by Lucy Kirkwoodand directed bySimon Levy, asks those questions and more in its Los Angeles premiere at the Fountain Theatre. Performances begin on the Fountain’s indoor stage (with all health and safety guidelines strictly adhered to) on Saturday, Nov. 6. The run continues through Jan. 23.
Kirkwood’s funny and astonishing Tony-nominated play is a taut and disquieting thriller about responsibility, reparation and what one generation owes the next. With the outside world in chaos following a devastating environmental disaster, two retired nuclear engineers live a quiet life in a remote cottage on the lonely British coast — until a surprise visit from a former colleague upends the couple’s equilibrium and trust.
The cast includes Ron Bottitta(Hir, Faith Healer,Arsenic and Old Lace, The Arsonists at the Odyssey Theatre; Superior Donuts, Yes, Prime Minister at the Geffen; Oppenheimer, Honky, Razorback at Rogue Machine Theatre, where he also hosts the company’s Rant and Rave spoken word series);Elizabeth Elias Huffman (artistic director of Chain Reaction Theatre in Pittsburgh, most recently seen on stage in The Oldest Profession by Paula Vogel at Portland’s Profile Theatre); and Lily Knight (Ovation, LADCC and Stage Raw award nominee for A Small Fire at the Echo Theater Company; A Delicate Balance at the Odyssey; Three Days in the Country, The Crucible, Peace in Our Time, The Autumn Garden at Antaeus, where she is a member).
“What I love about the play,” says Levy, “is that it tackles these enormously important contemporary issues about our responsibility to the planet, to each other, to future generations, and grounds them in funny, complex, identifiable characters grappling with a moral dilemma that, quite frankly, all of us are confronting, right now, in real time.”
“The nuclear disaster the town is struggling to survive could be anything — it could be COVID, or climate change,” says Fountain artistic director Stephen Sachs. “The moral dilemma is: what world are we leaving to our children?”
The Children premiered at the Royal Court Theatre in London in 2016, then transferred to the Manhattan Theatre Club on Broadway the following year. In 2019, The Guardian placed The Children on its list of “greatest theatrical works since 2000.” London’s The Independent called millennial playwright Kirkwood “the most rewarding dramatist of her generation.”
Proof of vaccination and mask-wearing will be required of all patrons. Admittance limited to ages 12+. All current CDC and local guidelines regarding seating and masks will be followed at each performance.
The Fountain Theatre returns to indoor performances in October with the Los Angeles Premiere of the acclaimed Tony Award-nominated drama The Children by Lucy Kirkwood. With case numbers of the Delta variant trending downward in Los Angeles, the Fountain plans to reopen its indoor stage in October with all health and safety guidelines in place after nineteen months of closure due to the pandemic.
The Children is set in a small cottage on the east coast of England, where Hazel and Robin, two retired nuclear scientists in their mid-sixties, are living. A recent disaster at the local nuclear power station where they used to work has devastated the area, and they live under the threat of radiation pollution. Electricity and water are rationed, and they keep a Geiger counter to check for signs of radiation. However, Hazel is determined to preserve some semblance of normality and live the healthiest life she possibly can. So, Robin now farms, while Hazel practices yoga and devours salad. But when Rose, a former colleague whom they haven’t seen for 38 years, suddenly turns up, she disrupts their precariously ordered existence. Rose is determined to fix the problems they have caused for the next generation, even if it means certain death. Without ever mentioning climate change, Lucy Kirkwood’s brave, funny, humane, and chilling play asks us to confront the responsibility each generation must face for how it leaves the world. What is our responsibility to the future? Especially as we get older. What legacy, future, do we leave our children?
[ROSE] 64 to 68 years old, all ethnicities female. LEAD. Nuclear scientist/engineer. Sharp wit. No-nonsense. Strong-willed. Independent. A survivor. But these are shields to hide regrets and deep pain. Never married. Never had children. Lived in America for many years. A city person. She’s on a mission to save the world, to be accountable. She has many secrets, including being the former lover of ROBIN. She’s come to visit HAZEL and ROBIN after 38 years, out of the blue, with a request, with one of those secrets that is the turning point of the play.
[HAZEL] 64 to 68 years old, all ethnicities female. LEAD. Nuclear scientist/engineer. Retired. Has lived in the countryside most of her life. British droll sense of humor. She’s the homemaker, the caretaker. She believes in routine. She believes routine and salad and yoga will keep her and ROBIN and the world safe. She just wants everything to be nice, to be okay, to be controllable. But when that’s challenged by ROSE, she can be a fierce, formidable foe. Married to ROBIN for 40 years. Mother of 4. Grandmother. She will do anything to keep everyone safe. And she will not let ROSE steal ROBIN from her… and she will not let ROSE’s secret mission destroy her world.
[ROBIN] 64 to 68 years old, all ethnicities male. LEAD. Nuclear scientist/engineer. Retired. Down-to-earth. British droll sense of humor. Has that lived-in look. Husband of HAZEL. Married for 40 years. Father and grandfather. Former lover of ROSE. He’s the jokester. The little boy. He needs to turn pain and discomfort into humor and playfulness whenever possible. He’s also a workaholic. Always got to be doing something. Working the former farm. Taking care of the animals. Fixing the cottage. Can’t sit still. Like ROSE, he, too, has secrets… but ROSE’s secret request forces him to confront a moral dilemma that will change everything.
Producer/Theatre Company: Fountain Theatre Artistic Director: Stephen Sachs Director: Simon Levy Writer: Lucy Kirkwood Casting Director: Stephen Sachs Audition Date(s): Sept. 2, 2021 Callback Date(s): Sept 7. 2021 Rehearsal Date(s): Sept 13, 2021 Preview Date(s): Oct. 20, 2021 Opening Date(s): Oct. 23, 2021 Closing Date(s): Dec. 19, 2021 Rate of Pay: AEA 99-Seat Contract Location: Los Angeles, CA, USA
“This bill is recognition from the State of California that intimate theater companies matter,” says Sachs. “I applaud Senator Rubio for her tireless advocacy in crafting this bill, and thank her for taking action to support the needs of small nonprofit theaters across the state.”
The “Save the Performing Arts Act of 2021,” authored by Senator Rubio and co-authored by State Senator Benjamin Allen (D – Santa Monica)and State Senator Anthony J. Portantino (D – La Canada Flintridge), provides $50 million in much-needed immediate financial aid to small performing arts organizations with annual budgets under $2 million (including the Fountain.) The bill also includes $500,000 to set up payroll services support, which will be overseen by theCalifornia Arts Council. The public is invited, and encouraged, to attend this celebratory event. Please note: mask-wearing and social distancing will be in effect.
SB 805 is the first bill in the nation that will create a critical funding infrastructure to help assist Small Nonprofit Performing Arts Companies (SNPAC) with average adjusted gross revenues equal to, or less than $1.4 million, to be adjusted every five years based on the California Consumer Price Index. SB 805 will direct the California Arts Council to establish the California Nonprofit Performing Arts Paymaster, which will provide low-cost payroll and paymaster services to SNPACs. This legislation will establish the Performing Arts Equitable Payroll Fund to ensure that SNPACs can pay all workers minimum wage, particularly workers in marginalized communities. Small nonprofit theaters are incubators for playwrights, actors, designers, directors and other artists. They have historically provided networking opportunities and mentorship for Black, Indigenous and People of Color artists to facilitate connections necessary for career advancement by providing performance experience that helps to open doors to larger, less accessible companies. Furthermore, SNPACs contribute to the economic growth, social well-being and cultural vitality of the local communities they serve.
Other confirmed attendees include:
–Danny Glover, Co-Founder of The Robey Theatre Company; upcoming recipient of the 2022 Jean Hersholt Humanitarian Award (an Honorary Oscar); BET Award, Cable ACE Award, NAACP Image Award and Asian Pacific Screen Awards winner, and Emmy Award-nominated actor. SB 805 Coalition Member.
–Josefina López, Founding Artistic Director, CASA 0101. Theater, Emmy Award, Sundance Film Festival and Humanitas Prize Award-Winning Writer. SB 805 Coalition Member.
–Ben Guillory(Co-Founder, CEO and Producing Artistic Director, The Robey Theatre Company, SB 805 Coalition Member.The Robey Theatre Company is a member of the Senate Bill 805 Coalition.
–Snehal Desai, Producing Artistic Director of the award-winning East West Players, the nation’s premiere Asian-American theater company and one of the longest-running theaters of color in the United States.
–Simon Levy, Producing Director of the Fountain Theatre
–SB 805 Coalition Members, which include: Leagues: Alliance of Desert Theatres, Arts for LA, Californians for the Arts/California Arts Advocates, San José Arts Advocates, Theatre Bay Area, Theatrical Producers League Los Angeles; Theaters: 24th Street Theatre, Actors Co-op Theatre Company, Altarena Playhouse, Breath of Fire Latina Theater Ensemble, CASA 0101 Theater, Celebration Theatre, Chance Theater, Coin & Ghost, Collaborative Artist Bloc, Company of Angels, Dezart Performs, Downey Arts Collective, El Teatro Campesino, Flat Tire Theatre Company, Fountain Theatre, IAMA Theatre Company, Infinite Jest Theatre Company, The Inkwell Theater, Inland Valley Repertory Theater, Interact Theatre Company, Invertigo Dance Theatre, Latino Theater Company, Macha Theatre Company/Films, Moving Arts, New American Theatre, Novato Theater Company, Numi Opera, Open Fist Theatre Company, Ophelia’s Jump Productions, Playwrights’ Arena, Rogue Machine Theatre, Rogues Artists Ensemble, Sacred Fools Theater Company at the Broadwater, Santa Cruz Actors’ Theatre, Sierra Madre Playhouse, Skylight Theatre Company, SkyPilot Theatre Company, The Robey Theatre Company, The Road Theater Company, The Victory Theatre Center, Theatre of NOTE, Theatre Unleashed, Teatro Máscara Mágica, Teatro Visión, Theatre West, Town Hall Theatre; Independent Artists: Producer Michaela Bulkley, Performer Devon DeGroot, Actor Robert Fancy, Actress Cristal Gonzalez, Performer Julia Sanford and Performer Christopher Sepulveda.
The Fountain Theatre has been awarded a WarnerMedia Arts and Culture grant funded by the AT&T Foundation to support Walking the Beat Los Angeles, a pioneering arts education program for inner city high school youth and police officers.
Now in its second year at the Fountain, Walking the Beat utilizes performing arts as a vehicle for youth empowerment and community building, providing transformative experiences for underserved youth and police officers.
Eighteen 9th through 12th graders from five Los Angeles area schools — Hawthorne High School, Hollywood High, Los Angeles High School of the Arts @ RFK, Pasadena High and San Pedro High — have been working since mid-June with two detectives from the Los Angeles School Police Department and one officer from the UCLA Police Department’s Crime Prevention Unit to create Blackout 2021, an original multi-media performance work that focuses on the shift from a culture of incarceration to a culture of care. Each of the students receives a stipend as well as community service hours.
Written by Walking the Beat curriculum director and program facilitator Angela Kariotiswith original writings by the ensemble, Blackout 2021 is directed by Theo Perkins. Perkins is executive and artistic director of New Jersey’s Elizabeth Youth Ensemble, which created the program five years ago. The Los Angeles creative team also includes choreographer Nicholas Rodriguez, sheltered yoga instructor Tine LeMar and drama therapist Adam Stevens. Due to the pandemic, Blackout 2021 was conceived as a virtual/hybrid program and will be screened on the Fountain Theatre’s Covid-safe outdoor stage over the course of two evenings at the end of August.
“Although we all miss being on stage, there was an urgency to keep this work going,” says Perkins. “By taking advantage of the digital space, we were able to invite guest artists from all over the country to join us virtually to help generate writing and ideas. This virtual model of devising theater teaches us a lot about radical imagination, radical creativity, and challenges us to explore new methods of solidarity building.”
Kariotis states, “This summer, we integrated a design thinking framework. This means we work together to identify and solve our own problems. We started with the question, how might we shift from a carceral state to a culture of care? We cast our focus wider, beyond any individual people, and onto the day-to-day systems, policies, processes, and habits that entangle us.”
In addition to Warner Media, Walking the Beat Los Angeles is supported in part by the Fountain Theatre, The Vladimir & Araxia Buckhantz Foundation, David and Mary Jo Volk, Los Angeles City Councilmember Mitch O’Farrell and the 13th District, L.A. County Department of Probation, L.A. County Supervisor Sheila Kuehl, The Allison Thomas Racial Justice Fund, The Phillips-Gerla Family, Sharyk Overhoser, Carrie Chassin and Jochen Haber, Friars Charitable Foundation, Toby and Daniel Bernstein, and the Hollywood Chamber of Commerce.
The Fountain Theatre is committed to theater as a change agent and to serving the community.
“In these highly charged times, nothing is more urgent than promoting better understanding between young people of color and the police who serve their communities,” notes artistic director Stephen Sachs. “Walking The Beat does just that and more. It changes lives. The powerful curriculum and methodology have been proven — through pre- and post-workshop interviews, surveys and testimonials — to produce real, on-the-ground change.”
Founded in 1990 by Sachs and Deborah Culver, the Fountain Theatre has won hundreds of awards for all areas of production, performance and design, and provides an essential voice for the citizens of Los Angeles. Dedicated to community, the Fountain produces outstanding theater that challenges thinking and shines an artistic light on the many under-represented voices and cultures within Los Angeles. Eric Garcetti joined with the Los Angeles City Council to commend the Fountain for “achieving a position of leadership in the Los Angeles theatre community… producing meaningful new plays of social and political importance that enrich the lives of the citizens of Los Angeles.” During the pandemic, the Fountain was approved by the City of L.A. to build an outdoor stage in its parking lot. As a result, it was one of the first venues to re-open in June. Currently playing on the outdoor stage is the Fountain’s critically acclaimed L.A. premiere of An Octoroon by Branden Jacobs-Jenkins, which runs through Sept. 19. The theater is also presenting Forever Flamenco al fresco during the last weekends of August and September.
Established in 2016, the Elizabeth Youth Theater Ensemble’s mission is centered upon strengthening the voices of young artists. Utilizing theater-arts based curricula, EYTE provides creative learning opportunities for inner city youth that allow them to gain confidence, communication skills and self-awareness. EYTE seeks to create experiences that empower youth, developing theater as a powerful place for community
Screenings of Blackout 2021 take place on Wednesday, Aug. 25 at 7 p.m. and Thursday, Aug. 26 at 7 p.m. on the Fountain Theatre’s outdoor stage. The Wednesday evening event will include special remarks and commendations by L.A. City officials. A reception will follow each of the screenings. Admission to the performances is free and open to the public(reservations necessary). The Fountain Theatre is located at 5060 Fountain Ave., Los Angeles CA 90029 (corner Fountain and Normandie). For more information and to make a reservation, call (323) 663-1525 or visit FountainTheatre.com/walking the beat.
Philanthropists who dedicate their giving to arts organizations like the Fountain Theatre are a special breed. They are people who understand the value of the arts, love live theatre, and believe in its ability to open hearts and elevate our understanding of the world. Barbara Herman and Susan Stockel, Executive Producers of An Octoroon, are two such philanthropists. They are extraordinary people who are dedicated to giving back, and it is the Fountain’s great good fortune that they choose to support our work.
Barbara Herman is an enthusiastic member of LA’s philanthropic community. She has many passions. Like her mother before her, Barbara is passionate about supporting ground-breaking medical research. Having been a member of The Cedars-Sinai Women’s Guild for over 50 years, Barbara is proud of her many accomplishments. She is, however, particularly proud to have helped launch The Cedars-Sinai’s Neurology Project, created to support innovative research and education for the understanding and treatment of complex neurological disorders. The Women’s Guild is honoring Barbara this September at their annual gala. Barbara is also passionate about the arts, and she is a pillar of support to both the Fountain Theatre and The Broad Stage, on whose board she serves.
“I have always loved going to the theatre. One of my most treasured memories is going to the theatre with my parents when I was a little girl. Several years ago, I was thrilled to discover the Fountain, a little gem of a theatre in Los Angeles. One of my favorite things to do is gather a group of friends and take them to the Fountain. We have so much fun! We have dinner at Marouch and then go to the Fountain to enjoy whatever is on the stage. It’s always memorable.”
“To me, the Fountain Theatre offers one of the best cultural experiences in Los Angeles. There are just so many reasons. The first, of course, is the excellence of the productions. Everything is done beautifully. Total artistry. The directing, acting, and sets are consistently excellent. I’ve never seen a show that I didn’t either love or like. Now that’s quite a track record! But what’s equally remarkable is the consistent sensitivity and timeliness of the plays presented. Every play the Fountain mounts is relevant and thought-provoking. My friends and I love to discuss the plays after the show, whether we do it on the sidewalk or up in the cafe.”
“But for me, the Fountain is more than a theatre. It is a community. Everyone — from Joe in the parking lot to Simon, Stephen, Barbara and James— greets me by name and makes me feel welcome. It’s a very personal place, not an institution. And that warmth, that personal connection is very unique, and refreshing. Everything at the Fountain seems to come from the heart.”
Barbara’s philanthropy is guided by a simple principle that she learned from her parents: “I’m a firm believer in leaving the world a better place than I found it. If I see a need, I try to fill it. If I see a problem, I try to fix it. And I always encourage people to join me.”
A passionate theatre lover, Susan Stockel becomes filled with excitement when she speaks about theatre — especially when she is describing a play that has truly touched her. Susan’s love for theatre finds her frequently traveling to New York, London and beyond to experience the magic. A wonderful supporter of the Fountain, Susan has executive produced several plays with us, including Cost of Living and Citizen: An American Lyric. Her family foundation funds a variety of organizations: some grants aid low income families who have children with special needs, other grants aid organizations that are working in innovative ways to slow global warming and help indigenous people protect their lands from deforestation and illegal mining. The foundation also supports children’s theatre programs that introduce theatre to youngsters who have never seen live theatre.
“The magic happens when the children take out their notebooks and read a scene that they have prepared and rehearsed!” Susan beams with pride when she remembers this, and talks about how she first learned to give back from her parents.
“I learned about how important it was to share what I had with others who were in need by watching my father. He was a first-generation American — one of six children, and the only one to finish college. He had to work to help his family and went to night high school. Thankfully, in those days, New York had tuition-free city college that opened up learning to an entire generation of students. He worked days in a clothing factory. My father always provided for his siblings when they needed help, and would pull out his checkbook and loan money to friends with never a due date on the loans. And, of course, he took care of his mother when he lost his father the month before his graduation from dental school. My husband and I also believed in continuing that tradition. We worked as a team when deciding what donations to make, and taught our values to our children. In my husband’s honor, I established a family foundation, and I feel great joy working on the foundation’s projects with my children and grandchildren, knowing that the work will continue, and the family will always be there for each other and for others.”
Susan’s love of theatre began when she was a young girl, and she has a keen eye for great theatre.
“When I was a little girl I loved to perform. I loved telling stories, and I still do! I am a passionate lover of the spoken word. The Fountain Theatre was introduced to me many years ago. An intimate space on a tight budget — the Fountain was an unexpected surprise. Excellent plays, always well-cast and directed, with a loyal diverse audience from all over the city, who brave the traffic to attend!”
“I chose to produce An Octoroon because I saw the play when it was first produced in Brooklyn at Theatre for a New Audience. I loved it. An Octoroon is a unique play. It is funny, sad, clever, quirky and wonderful. Just like any piece of great historical fiction, An Octoroon peels back the layers of civilization to reveal the cruelty and hypocrisy often hidden beneath the facade. An Octoroon shows us powerful men behaving ‘civilly,’ but cruelly. They are willing to do anything to further their own self-interest. Narcissism is revealed as a cruel but powerful driver of history. I am particularly drawn to the depiction of Zoe, our heroine. Despite being beautiful and admirable in every way, she becomes an outcast because she is an Octoroon. I love the story and I knew the Fountain would do a tremendous job with this play, so was happy to join the team.”
“Thank you all for your interest and support of the Fountain, Our Magic Place! May we grow and thrive.”
Barbara Goodhill is the Director of Development for the Fountain Theatre.