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- World premiere ‘Human Interest Story’ explores homelessness and truth in journalism
- PHOTOS: Actors gather at first rehearsal for world premiere of new play ‘Human Interest Story’
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Tag Archives: Stephen Sachs
The Fountain Theatre dominated the 2020 LA Ovation Awards Monday night, January 13th, by winning six awards, including the prestigious Best Season and Best Production of a Play. The LA Times has referred to the Ovation Awards as the “highest-profile contest for local theatre.”
Hosted by LA Stage Alliance, The Ovation Awards are the only peer-judged theatre awards in Los Angeles, created to recognize excellence in theatrical performance, production and design in the Greater Los Angeles area. Over 300 theatrical productions have competed each year in 35 different categories to be recognized as Ovation Awards recipients. These productions are evaluated by a pool of 250 vetted Ovation voters, all of whom are working theatre professionals of Greater LA.
The Fountain Theatre was honored with the following Ovation Awards:
Fountain Theatre — Cost of Living, Daniel’s Husband, Hype Man: A Break Beat Play
Best Production of a Play — Intimate Theater
Cost of Living, Fountain Theatre
Acting Ensemble of a Play
Cost of Living, Fountain Theatre
Featured Actress in a Play
Xochitl Romero, Cost of Living, Fountain Theatre
Video/Projection Design — Intimate Theater
Nicholas Santiago, Cost of Living, Fountain Theatre
Ovations Honors Recipient
Music Composition for a Play – Romero Mosley, Hype Man, Fountain Theatre
“The line between where you are now and sleeping in your car is much thinner than you think.” The Fountain Theatre presents the world premiere of a timely new play, written and directed by Stephen Sachs (Arrival & Departure, Citizen: An American Lyric, Bakersfield Mist), about homelessness, celebrity worship and the assault on American journalism. Human Interest Story opens at the Fountain on Feb. 15, where performances continue through April 5.
Set in the fast-moving world of new media, Human Interest Story chronicles the journey of newspaper columnist Andy Kramer, played by award-winning actor Rob Nagle (recent credits include Apple Season at Moving Arts and The Judas Kiss at Boston Court). Suddenly laid off when a corporate takeover downsizes his paper — a print publication struggling for readers in changing times — Andy fabricates a letter to his column in retaliation. The letter, 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, goes viral, and Andy is forced to hire a homeless woman (Tanya Alexander — Mono/Poly at the Odyssey and Future Sex Inc. at the Lounge) to stand-in as the fictitious Jane. She becomes an overnight internet sensation and a national women’s movement is ignited.
According to Sachs, the play is about how contrary and opposing impulses can hide in the same human being. “A newspaper columnist, in the course of writing a human interest story on another individual, is forced to confront truths about himself,” he explains.
The cast also includes James Harper, previously seen at the Fountain in The Accomplices, as newspaper publisher Harold Cain. Playing multiple roles are Richard Azurdia (My Mañana Comes at the Fountain), Aleisha Force (Cleopatra in Antony and Cleopatra at Virginia Shakes, Maggie in Dancing at Lughnasa at Barnstormers Theatre), Matt Kirkwood (Our Class at Son of Semele, The Goat or, who is Sylvia? at the LGBT Center) and Tarina Pouncy (Vendetta Chrome at Coeurage Theatre; Les Blancs at Rogue Machine; and The Old Settler at International City Theatre, for which she garnered an NAACP award).
The creative team for Human Interest Story includes scenic and video designer Matthew G. Hill; lighting designer Jennifer Edwards; composer and sound designer Peter Bayne; costume designer Shon LeBlanc; video hair and makeup designer Diahann McCrary; and prop master Michael Allen Angel. The production stage manager is Emily Lehrer, and the assistant stage manager is Nura Ferdowsi. Simon Levy, James Bennett and Deborah Culver produce for the Fountain Theatre. Producing underwriters include David and Mary Jo Volk; Laurel and Robert Silton; Lois Tandy; and Toby and Daniel Bernstein. The executive producer is Karen Kondazian.
The story was initially inspired by the 1941 Frank Capra classic film Meet John Doe.
Stephen Sachs is the co-founder and co-artistic director of the Fountain Theatre and the author of 15 plays. Recent work includes his Deaf/Hearing love story, Arrival & Departure (“Critic’s Choice,” Los Angeles Times); his stage adaptation of William Goldman’s screenplay for All the President’s Men, starring Bradley Whitford and Joshua Malina at L.A. City Hall; and his stage adaptation of Claudia Rankine’s Citizen: An American Lyric, which premiered at the Fountain Theatre and was remounted by Center Theatre Group at the Kirk Douglas Theatre. His play Bakersfield Mist is performed worldwide. Sachs’ screenplay Sweet Nothing in my Ear, based on his play, was made into a CBS TV movie starring Jeff Daniels and Marlee Matlin. As director, he is a two-time Ovation Award winner and was recently honored by the Los Angeles City Council for “his visionary contributions to the cultural life of Los Angeles.”
The Fountain Theatre is one of the most successful intimate theaters in Los Angeles, providing a creative home for multi-ethnic theater and dance artists. The Fountain has won hundreds of awards, and Fountain projects have been seen across the U.S. and internationally. Recent highlights include all-star readings of Ms. Smith Goes to Washington and All the President’s Men at Los Angeles City Hall. The Fountain’s 2018 productions of The Chosen and Arrival & Departure each enjoyed months-long sold out runs and was named a Los Angeles Times “Critic’s Choice.” The company’s recent West Coast premiere of Martyna Majok’s Pulitzer Prize-winning play Cost of Living, was named to the Los Angeles Times’ “Best of 2018” list. This season, the Southern California premiere of Daniel’s Husband and the currently extended Los Angeles premiere of Between Riverside and Crazy were each named to multiple “Best of 2019” lists.
Here we go! A new year. A new season. Company members assembled on Tuesday for the first rehearsal of the upcoming world premiere of Human Interest Story, written and directed by Stephen Sachs. The riveting drama opens Feb 15.
In Human Interest Story, 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.
Enjoy these photos!
The Fountain Theatre is now casting roles available in the world premiere of the new play, Human Interest Story, written and directed by Stephen Sachs. The timely drama examining homelessness and ethics in journalism is scheduled to open February 15, 2020.
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. A funny and riveting tale on the ethics of American journalism, homelessness, the worship of celebrity and the need to tell your own story.
Now Casting the Following Roles:
BETTY FRAZIER/JANE DOE
35 to 45 years old, Black/African American female. Laid-off elementary school teacher Betty Frazier has been homeless two years. She becomes an overnight media sensation as the fictitious Jane Doe. Strong-willed, compassionate, deep feeling, smart, nobody’s fool. She has come from the hell of darkness and is now reaching for light. Fiercely fighting to be seen and be heard, she discovers her own voice. The one she always had.
Caucasian male. Seeking a versatile actor to play many roles including Miller, a cold-blooded, ruthless newspaper editor, and Bauman, a scheming far-right political campaign aide.
40 to 50 years old, Hispanic male. Seeking a versatile actor to play many roles including Hernandez, an ardent by-the-book newspaper Assistant Editor, and Moran, a polite sturdy bodyguard.
35 to 50 years old, Black/African American female. Seeking a versatile actor to play many roles including Nakesha, a hard-working impassioned school principal and TV Host, a razor-sharp intellectual black feminist.
Rehearsal starts Monday, January 6th, 2020. The production runs February 15 – April 5, 2020. Contract: AEA 99-Seat. Auditions: November 11 -22, 2019.
Email headshot & resume: email@example.com
by Stephen Sachs
It came from the young producer of a newly-formed immersive theatre company. His troupe eschews the conventional production of plays. Instead, it presents “multisensory experiences.” The question was targeted at me. The panel discussion at LATC brought together artistic directors from six LA companies, some new and some long-established, to talk over the goals and perils of creating theatre in Los Angeles. As Founder/Artistic Director of the Fountain, I was invited to speak for a “legacy theatre.” I was one of the old guys.
The question thrown to me by the young theater-maker is one I’ve been asked many times over thirty years. It comes when your theatre creates work that confronts social and political issues. The question will surface sometimes in reviews of new plays or be floated in post-show discussions with patrons. Depending on tone and intent, I’ve heard it posed both as a question and as a statement of accusation.
“Aren’t you just preaching to the choir?”
The trope of “preaching to the choir” is defined as presenting work that offers a message so obvious, so apparent and undebatable to those receiving it (because they think or feel the same way) it is therefore rendered meaningless. A waste of time. For years, I agreed. Preaching to the choir was unproductive. Over time, I have changed my mind.
The choir needs preaching, too.
The choir are the folks at every service. They’ve heard it all. They’ve listened to the same scripture spoken from the same pulpit, time and time again. They know the words to every song and have sung them, over and over. By now the choir should embody, as human beings, what all the words mean. But they can’t. Nobody can. The truth is, once the choir believes that it “already knows,” the church is in trouble.
At the Fountain, the choir are our longtime loyal patrons who follow the artistic mission of our theatre. Together, we are committed to diversity and inclusion. At the Fountain, we dramatize stories on racism, sexism, homophobia, anti-semitism, homelessness. If I were to survey each of our devoted patrons I would wager that all would agree that these social issues are wrong. Should the Fountain, therefore, not tell these stories?
Why do we go to a church or a temple? Why should we gather with like-minded people who share our same belief system, who think like we do, who know all the same stories and follow all the same rules. Why do we go? To be humbled. Reminded. Illuminated. We are complicated, imperfect beings. There is infinity to discover in ourselves and each other. We think we know. We do not.
A few weeks ago I was reading a book on racism in America. The book was forcing me to confront my own position of privilege as a White man in this country. I was highlighting sentences and paragraphs throughout. I also found myself skimming what I considered to be obvious sections outlining racism in this country, thinking, “I know, I know, I know” as I flipped the pages. I then stopped myself. What was I doing? Do I really know? Can I really know? Isn’t muttering “I know, I know, I know” while flipping pages on racism just another example of a well-meaning White liberal male self-medicating?
Once we say “I know” to any social issue, and do nothing, we become part of the problem. Preaching to those who need healing is easy. Changing the self-righteous is hard.
Preaching to the choir is pointless only if parishioners do nothing after the service. Just if educated well-meaning patrons at the Fountain see a play on injustice, nod their heads, agree that it’s terrible, feel good about themselves and then go home to their daily lives, unchanged. Preaching to the choir is essential when it pushes the choir to dig deeper inside itself and ask the hard questions: what is my role in this? How do I perpetuate what is wrong? How can I make it right?
At the Fountain, I am deeply aware that I am not only part of the choir, I am the Choir Leader. I am the straight, White male gatekeeper of a theatre dedicated to diversity. Even with my best intentions, no matter how hard I try, I do not “know.” I can not “know.” Whenever I pretend that I do, I have lost my way.
Coming to the theatre reminds me what the many ills of this nation make painfully clear. No truth is self-evident.
The acclaimed Fountain Theatre has obtained permission from Warner Bros to present a one-night celebrity reading of the Jeremy Larner screenplay for the Academy Award winning 1972 movie, The Candidate. The event will take place in the City Council Chamber at Los Angeles City Hall in 2020, the cast, date and time to be announced.
The celebrity reading continues the Fountain’s ongoing program created in partnership with LA City Councilmember Mitch O’Farrell to bring local government, the arts community and the public together in a unique setting to address timely issues of the day. The Candidate will follow the Fountain’s hugely successful 2018 celebrity readings of All the President’s Men, starring cast members from The West Wing and Scandal, and the 2019 all-star reading of Ms. Smith Goes to Washington, starring Bellamy Young and Sam Waterston.
In the gritty, documentary-like film The Candidate directed by Michael Ritchie, Robert Redford stars as an idealistic, good-natured attorney whose high standards are soiled by his run for political office. Jeremy Larner won the Academy Award for his screenplay. The film is considered one of the top ten political movies ever made.
Fountain Co-Artistic Director Stephen Sachs, who directed the City Hall readings of All The President’s Men and Ms. Smith Goes to Washington, will guide the celebrity reading of The Candidate in 2020, stating “I can think of no better choice for the upcoming election year.”