Poster for 1972 political film “The Candidate” starring Robert Redford.
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.
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.”
The Fountain Theatre is pleased to announce that it has been awarded an Arts and Humanities grant from the Ahmanson Foundation in the amount of $50,000, doubling the amount awarded to the Fountain by the Foundation last year. The Ahmanson Foundation strives to enhance the quality of life and cultural legacy of the Los Angeles community by supporting non-profit organizations that demonstrate sound fiscal management, efficient operation, and program integrity.
“We are deeply grateful to the Ahmanson Foundation for its continued partnership and support,” states Fountain Co-Artistic Director Stephen Sachs. “This grant will allow us to enhance our ability to serve the Los Angeles community.”
The Ahmanson Foundation directs its giving toward the areas of the arts and humanities, education, human services, and health and medicine. The foundation’s grants in these areas are largely dedicated toward capital projects that support the nuts-and-bolts-type needs of non-profits. The vast majority of the foundation’s philanthropy is directed toward organizations and institutions based in and serving the greater Los Angeles area.
The grant award reflects the success of The Fountain Theatre’s ongoing campaign under the guidance of Director of Development Barbara Goodhill to increase the levels and broaden the sources of contributed giving to the organization. Today’s announcement follows last month’s news of a $40,000 award from The Wallis Annenberg Foundation to the Fountain for general operating support.
“This generous award from the Ahmanson Foundation is another extraordinary endorsement and affirmation of The Fountain’s continued growth and prestige within Southern California’s cultural landscape and the funding community, ” states Goodhill.
A packed house of passionate theatregoers, donors and guests, friends and family, and the invited press enjoyed Saturday night’s Opening performance of our California Premiere of Hannah and the Dread Gazebo by Jiehae Park. A collaboration between the Fountain Theatre and East West Players, the audience reflected a lively engagement from the communities of both companies.
Following the performance, guests enjoyed a catered reception upstairs in our charming cafe. The delicious Korean cuisine was served by Kimbap Paradise, with Korean beer provided by Lotte Beverage America.
It’s an exciting time to be an artist. In the last few years, the arts industry has been experiencing a high production value in diverse storytelling aimed toward better representation of people of color, and more specifically, Asian and Asian American representation. With groundbreaking films such as Crazy Rich Asians, Netflix’s Always be My Maybe, The Farewell, as well as the successful theatrical production of Cambodian Rock Band, people everywhere are becoming more exposed to the nuances of the Asian/Asian-American experience.
With a cast that is made up of Koreans and Korean Americans, Jiehae Park’s Hannah and the Dread Gazebo takes a family on a funny, heartbreaking adventure to reconnect with their roots in South and North Korea, and also into the forbidden Demilitarized Zone that divides them. Hannah premiered at the Oregon Shakespeare Festival in 2017, and is now set to open at the Fountain Theatre in association with East West Players, directed by Jiehae’s longtime collaborator, Jennifer Chang. So we thought we’d grab the chance to talk with them about their own adventure with this play.
Carolina Xique:First, let me say that I’m thrilled to hear about this new piece and that it’s making its way into Los Angeles.
Jiehae, as playwright, can you talk about how the idea for this play came to you? Is it personal to your own experience or indicative of the holistic Korean American experience? And Jennifer, as the director, what drew you to take on this piece?
Jiehae Park: I didn’t know I was writing a play. I was primarily a performer at the time (Jen and I both went to UCSD for acting). There were quite a few big questions I was trying to figure out—and I think the unusual shape of the play reflects that. I would sit down and write down stories that came to me in that moment, not realizing it was all going to add up to something bigger.
Jennifer Chang: I am a huge fan of Jiehae’s and have been following her career with personal interest for some time as we share an alma mater: we both went through the MFA Acting program at UCSD and have both diversified our careers. She is a significant talent and I am so thrilled to have this opportunity to collaborate with her on Hannah and the Dread Gazebo. The musicality of the language and the inherent theatricality that emerges from her ability to weave a multiplicity of thought and theme are all very exciting and honestly a dream to be able to dive into. Also, I love being able to support the telling of Asian American stories in their universality and three-dimensionality.
What kind of research did both of you dive into when writing Hannah?
JP: I didn’t research much initially, but I did do quite a bit before finishing the play (that’s been a recurring pattern in my writing process these last few years). The research didn’t directly go into the play but provided a richer historical and cultural context that helped me complete it.
A follow-up to that, in terms of your other plays and writing process, was anything different for Hannah and the Dread Gazebo?
JP: Broadly, I seem to have two general types of plays—super-quick, freight-train-speed linear ones; or messier, slower-baking plays where the structure is far less predictable. Hannah is definitely in the latter category.
Jennifer, what in your directing process is helping you with Hannah and the Dread Gazebo?
JC: Regarding research, the usual dramaturgical work of researching was involved: Korea, the DMZ, politics of North and South and Kim Jong Il. I wanted to lean into the magic-realism of the play, and early on knew that I wanted to consult with an illusionist, and also started doing some research into magic (I’m currently reading Spellbound by David Kwong). It’s been so great to have a cast that is Korean American. There are some points of commonality amongst Asian Americans, but being able to tap into specific details, nuances, and experiences that the cast has so generously shared with the company and has contributed to the making of the show has been invaluable. It’s illuminating to discover the tiny nuances of how gestures and thinking and sounds differ for Koreans in, and those from, Korea. I love new plays and really view myself as a locksmith in my approach to collaboration. I want to know what the play wants to be, the playwright’s intentions, what’s resonating with the cast and how they approach the work, and how best to facilitate the conversation and “the ride” so to speak, with the audience. Having worked on Vietgone by Qui Nguyen has really helped. These plays are vastly different but they both have scenes that shift at a cinematic pace in widely varying tones that need to be woven together in the same play.
East West Players is a theatre company known for its work lifting up Asian-American stories. How do you feel about bringing the LA premiere of Hannah in collaboration with EWP and the Fountain Theatre?
JP: Honored. I had a reading of my very first play—which had been my college thesis—at EWP over a decade ago…in the time since I figured out I wasn’t a playwright, went to grad school for something else, then re-figured out that I was. And Stephen Sachs at the Fountain reached out about the play very soon after the OSF premiere—I’ve long admired the scripts he brings to LA area audiences. Additionally, Jen directed an early reading of the play at EWP years ago, and I acted in a show with Jully Lee (the Shapeshifter) that Howard Ho (Sound Design/Composer) music directed when I was right out of school. I’m bummed to not have been able to be out there for rehearsals, but happy that it feels all in the family.
JC: It’s an honor to be able to helm a project with the support of two highly respected institutions in Los Angeles. I think it’s really smart theatre making to cross-pollinate and support the universality of human experiences and good work regardless of color. A collaboration like this signals that this isn’t just work by people of color, but that it’s good work worth supporting, period.
What do you want audiences to take with them when they leave the Fountain Theatre after seeing Hannah and the Dread Gazebo?
Audiences enjoy Daniel’s Husband at the Fountain Theatre.
Los Angeles County Department of Arts and Culture has awarded The Fountain Theatre a 2019-20 Organizational Grant in the amount of $20,900 to support the creation and implementation of the new staff position of Development/Outreach Associate to increase the infrastructure of the organization, expand fundraising and broaden community outreach.
“This new position will enable the Fountain to further its organizational growth,” says Co-Artistic Director Stephen Sachs. “We are grateful to the County of Los Angeles for its ongoing partnership with the Fountain for more than twenty years.”
The mission of the Los Angeles County Department of Arts and Culture is to advance arts, culture, and creativity throughout LA County. It provides leadership, services, and support in areas including grants and technical assistance for nonprofit organizations, countywide arts education initiatives, commissioning and care for civic art collections, research and evaluation, access to creative pathways, professional development, free community programs, and cross sector creative strategies that address civic issues. All of this work is framed by its longstanding commitment to fostering access to the arts, and the County’s Cultural Equity and Inclusion Initiative.
Fountain Board member Miles Benickes and Zoey Rosenzweig at Mueller Read-A-Thon.
by Stephen Sachs
First, she said no. She would not do it. When her grandfather asked her again in the Fountain Theatre lobby, she awkwardly took a step back in retreat, shy and embarrassed.
“No,” she said, in a blushing 14-year old half-grin.
She would not join her grandfather, Miles Benickes, on stage to read a ten-minute section of the Mueller Report in front of a gathered audience of LA professionals and unseen viewers watching online via a simultaneous live stream on Facebook, Twitter and YouTube. No way.
Then Zoey Rosenzweig changed her mind. I was thrilled and surprised when she strode out onto our Fountain stage with Miles and diligently read through the Mueller legalese with her grandfather. She may not have understood much of the gobbledygook she was reading. Who did? That didn’t matter. Something vital for the future of our nation was happening. Zoey Rosenzweig was getting involved.
Thursday’s 15-hour Mueller Report Read-A-Thon at the Fountain Theatre held dozens of unforgettable moments like this for me. The marathon event was emotionally overwhelming. The Fountain hummed with ecstatic energy all day and all night. A parade of politicians, actors, writers, and community leaders read from the podium as if declaring from a public square, each person high-charged by their call to duty.
I thought of the day as an Open House. The Fountain Theatre opening its doors – all day and all night — to democracy. At an Open House, all visitors are welcome. At an Open House, anyone who wishes may visit. An Open House is a gathering that’s open to anyone who wants to come by, any time.
An atmosphere of community was everywhere. In the lobby, in the audience, out front on the sidewalk, in our upstairs café. Theatre provides community. Los Angeles is one of the most diverse cities in this country, and our LA theatre network is large and widespread. But on Thursday our Mueller Report Read-A-Thon proved that, like the motto of our nation, Los Angeles and the LA Theatre Community is “out of many, one.”
For our nation to survive, engaging young people in the arts and politics of this country is essential. I studied closely as our twenty-two-year-old Fountain intern, Melina Young, sat in the front row watching respected LA theatre critic Sylvie Drake read from our stage. A proud grin spreading across Melina’s face. Sylvie Drake is Melina’s grandmother. Now Melina seeks a career in the theatre. Her grandmother, by example, reminding her how the arts and social action can intersect.
An endless stream of memorable instants that day/night flood through me now, two days later. Images of celebrities, LA Theatre icons, government officials. But it was Zoey Rosenzweig, perhaps, who remains the most indelible. A fourteen-year-old girl reading this urgent government document from the podium while her grandfather somberly leans over her shoulder like a rabbi guiding her through the Torah.
Moments like this are the reason we hosted the reading of the Mueller Report in the first place. It gives me hope. We need Zoey Rosenzweig and Melina Young and millions more like them.
Our nation, and our art form, depend on them.
Stephen Sachs is the Co-Founder and Co-Artistic Director of the Fountain Theatre.
Our California Premiere of Hannah and the Dread Gazebo is an opportunity for the Fountain Theatre and East West Players to bring their community of artists, staff, Board members and patrons together for the first time. That commonality of purpose was on display last night with the large turnout from both organizations at the meet & greet/first rehearsal.
Held at the East West warehouse rehearsal space in South Los Angeles, the evening began with a brief mixer including food and drinks. Fountain Co-Artistic Director Stephen Sachs welcomed the group with some opening remarks. Through the magic of technology, playwright Jiehae Park joined the gathering via FaceTime to provide her thoughts and encouragement. Director Jennifer Chang then shared her production vision with the room, noting that the play moves at the speed of thought. Designers Rebecca Bonebrake, Howard Ho, Ruoxuan Li, and Michael Allen Angel offered their insights. Professional illusionist Dominik Krzanowski will design special magic elements for the production.
After a quick break, the cast read the script aloud for the first time. And the real magic began.
In the play, Hannah is two weeks away from becoming a neurologist when she gets a strange package in the mail from her grandmother in South Korea, who may or may not have just ended her own life. A surreal, funny and heartbreaking adventure leads Hannah on a journey back to her homeland and the forbidden Demilitarized Zone that divides South and North Korea. A startling comedy about a daughter, a mother, a grandmother and the mystery that connects them.
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.
“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 Perry, Richard Schiff, Rob Nagle, Frances Fisher, Harry Groener, Karen Kondazian, Bill 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 Monday, July 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 Molina, Frances Fisher, Brenda Strong, Norbert Weisser, Michael Nouri, Ray Abruzzo, Darrell Larson and Gregg Henry; Richard 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.
Creation myths and family histories meld in a wildly theatrical, startling new comedy that explores what it means to walk the edge between cultures. The Fountain Theatre, in association with East West Players and with generous support form the S. Mark Taper Foundation, presents the California premiere of Hannah and the Dread Gazebo by Jiehae Park. Los Angeles Drama Critic’s Circle Award-winner Jennifer Chang (Vietgone) directs for an Aug. 17 opening at the Fountain Theatre in East Hollywood, near Koreatown, where performances continue through Sept. 22.
Set in NYC and Korea in the winter of 2011, just before the death of Kim Jong Il, Hannah and the Dread Gazebo takes Hannah’s Korean American family on a surreal, funny and heartbreaking adventure back to their roots in South and North Korea and the forbidden Demilitarized Zone that divides them.
“The play is a funny-tragic look at what it means to be caught in between,” says Park. “The characters are striving to reconcile the contradictions of their immigrant lives: North/South, past/future, coming/going.”
Thirty-something Hannah, played by Monica Hong (Ivanov at the Mint Theater in NYC, Please Stand By at Actor’s Playpen in LA), is two weeks away from becoming a board-certified neurologist when she receives a FedEx box from her grandmother with two things inside: a 100% bona-fide-heart’s-desire-level wish — and a suicide note. Hannah’s father (Hahn Cho, recently seen on TV in For the People, Magnum P.I., Swedish Dicks) and mother (Elaine Kao — upcoming feature film Paper Tigers, recurring on Netflix’s No Good Nick) have already moved back to South Korea to be near Grandma at the Sunrise Dewdrop Apartment City for Senior Living, which sits right on the edge of the DMZ. Meanwhile, Hannah’s slacker brother, Dang (Gavin Lee, whose credits include Blood, written and directed by Robert Allan Ackerman, and a recurring role on Fox’s The Orville) bonds over music with a student activist played by Wonjung Kim (Korea Musical Award for Best Actress, Ovation nominee for The Last Empress in L.A). In this strange and wonderful play that is a mix of unexpected whimsy, delightful comedy, profound despair and more than a little bit of magic, actress Jully Lee (Ladies at Boston Court, tokyo fish story at South Coast Rep) appears in many forms.
Helping make that magic happen is the Magic Castle’s Dominik Krzanowski, who will create original illusions for the production.
Hannah and the Dread Gazebo premiered at the 2017 Oregon Shakespeare Festival in Ashland, where the Mail Tribune called it “blisteringly original, acerbically funny, powerfully dramatic and deeply thought provoking… If you’re keen to have your mind expanded by an evening of theater that is not going to be comparable to anything you’ll see anytime soon, Hannah and the Dread Gazebo is a good place to start.”
Last week, the American Theatre Critics Association announced that Hannah has been selected as one of three finalists for its prestigious Francesca Primus Prize, sponsored by ATCA and the Francesca Ronnie Primus Foundation.
“I saw the world premiere in Ashland and was completely charmed by the play,” says Fountain Theatre co-artistic director Stephen Sachs. “I was enchanted by its whimsical, dreamlike surprises, and truly moved by its poignant revelation of a grandmother, mother and daughter relationship. Once the lights came up and the performance was over, I knew I wanted to present it at the Fountain.”
Sachs continues, “The Fountain is committed to diversity and inclusion, which makes this first-time partnership with East West Players very meaningful. It’s an invigorating sharing of resources, artists and audiences benefiting both companies and the communities we serve.”
“We are honored to partner with the Fountain on this production,” agrees East West Players artistic director Snehal Desai. “EWP first did a reading of the play in 2013, also directed by Jennifer Chang. The Fountain is a theater whose work and mission I have always admired; this seemed like the perfect project for our two companies to collaborate on, with its mix of humor, theatricality and timeliness.”
The creative team for Hannah and the Dread Gazebo also includes scenic and video designer Yee Eun Nam, lighting designer Rebecca Bonebrake, sound designer/composer Howard Ho, costume designer Ruoxuan Li and props designer Michael Allen Angel. The production stage manager is Bryan P. Clements.
Playwright Jiehae Park
Jiehae Park’s plays include peerless (Yale Rep premiere, upcoming in NY at Primary Stages), Hannah and the Dread Gazebo (Oregon Shakespeare Festival), Here We Are Here (Sundance Theater-Makers residency, Berkeley Rep’s Ground Floor, Princess Grace Works-in-Progress @ Baryshnikov Arts Center), The Aves (McCarter Spotlight Series) and contributions to Wondrous Strange (Humana/Actor’s Theatre of Louisville). Her work has been developed through the Soho Rep Writer-Director Lab, The Public’s Emerging Writers Group, p73, Playwrights Horizons, NYTW, Atlantic, Old Globe, Dramatists Guild Fellowship, Ojai, BAPF, CTG Writers Workshop, Banff Playwrights Lab, ACT New Strands, and Ma-Yi Writers Lab. Awards: Leah Ryan, Princess Grace, Weissberger, ANPF Women’s Invitational; two years on the Kilroys List. Commissions: Playwrights Horizons, Yale Rep, Geffen, OSF, Williamstown, MTC/Sloan. Residencies: MacDowell, Yaddo, Hedgebrook, McCarter/Sallie B. Goodman. She is a NYTW Usual Suspect, Lincoln Center New Writer in Residence, former Hodder Fellow, and current New Dramatists. As a performer recently: Ripe Time/Naomi Iizuka’s adaptation of Haruki Murakami’s Sleep (BAM Next Wave, Yale Rep); Celine Song’s Endlings (A.R.T.). She was a staff writer on season one of Marvel’s Runaways and currently teaches Playwriting at Princeton University. BA, Amherst; MFA, UCSD.
Jennifer Chang won the 2019 LADCC award for excellence in direction for her work on the Los Angeles premiere of Qui Nguyen’s Vietgone. She was a 2018 Drama League New York directing fellow and was the assistant director for the Broadway world premiere of Bernhardt/Hamlet by Theresa Rebeck starring Janet McTeer. Ms Chang’s multi-disciplinary work has been honored with Ovation, LA Weekly and the Stage Scene LA awards, among others. She is a founding member of Chalk Repertory Theatre where she served as artistic producing director and produced, directed and acted in numerous plays over the course of eight seasons. Upcoming directing credits include Where the Mountain Meets the Moon at South Coast Repertory and The Time of Your Life at Antaeus Theatre Company. Select directing credits include Death & Cockroaches by Eric Reyes Loo (Chalk Rep at Circle X/ Atwater Village Theatre); 53% Of by Stephanie Del Rosso and Birds of North America by Anna Moench for the Wagner New Play Festival; Animals Out of Paper at East West Players (Los Angeles Times “Critics Pick”); Edith Can Shoot Things and Hit Them for Artists at Play (GLAAD Media Award and Ovation-nominated); and Residence Elsewhere, commemorating the 75th anniversary of Executive Order 9066 at the Japanese American National Museum. She is very active in the development of new plays with the Geffen Playhouse, Chance Theater, Circle X Theatre Company, EST/LA, Playwrights Arena and East West Players.
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 and the inclusion of the Fountain’s Citizen: An American Lyric in the Music Center’s Our L.A. Voices festival at Grand Park. 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 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. Its current production, Daniel’s Husband, was named a Los Angeles Times “Critic’s Choice” and is enjoying an extended, sold-out run.
As the nation’s premier Asian American theater organization, East West Players produces artistic work and educational programs that foster dialogue exploring Asian Pacific Islander (API) experiences. Founded in 1965, at a time when APIs faced limited or no opportunities to see their experiences reflected outside of stereotypical and demeaning caricatures in the American landscape, EWP not only ensures that API stories are told, but works to increase access, inclusion, and representation in the economy.
Fountain Co-Artistic Director Stephen Sachs welcomes guests.
Friends and supporters of the Fountain Theatre and East West Players gathered Sunday at the lovely Hollywood home of Diana Buckhantz to celebrate the upcoming California Premiere of Hannah and the Dread Gazebo by Jiehae Park. There is much to celebrate. The production marks the first time the Fountain and EWP have collaborated and both companies share excitement about this meaningful opportunity.
“For almost 30 years, The Fountain has opened its doors to diversity and inclusion,” Fountain Co-Artistic Director Stephen Sachs stated in his welcoming remarks. “We welcome East West Players into our home. From day one, our collaboration has been open and generous. As the nation’s premiere Asian American Theatre, EWP brings its artistry and authenticity to the production, as we share resources, audiences and communities with each other.”
EWP Artistic Director Snehal Desai echoed Sachs’ enthusiasm for the partnership. Desai shared EWP’s history with the play and director Jennifer Chang. EWP hosted a reading of Hannah in 2013 directed by Chang, winner of the 2019 LADCC award for excellence in direction for the LA premiere of Qui Nguyen’s Vietgone at EWP. Desai kept his eye on Hannah and planned to include it in a earlier season. After Sachs saw the world premiere at Oregon Shakespeare Festival in Ashland in 2017, he secured the rights to the play and reached out to EWP in partnership. Everything fell into place.
In the play, Hannah receives a FedEx box with two things: a 100% bona-fide-heart’s-desire-level wish and a suicide note. Hannah tracks the package back to Seoul, where her grandmother recently jumped from the roof of her retirement home onto the wrong side of the Demilitarized Zone. Hannah and her family need North Korea’s permission to retrieve the body, but Kim Jong Il just kicked the bucket, and things in the DMZ are even stranger then they seem. The play is a whimsical, surreal and poignant tale about a grandmother, mother and daughter striving to reconcile the cultural contradictions of their lives.
At Sunday’s gathering, guests enjoyed some Korean delicacies catered by Don Tahara of First Street Cuisine. A brief scene from the play was presented in the living room read by cast members. Then Fountain Director of Development Barbara Goodhill explained to the group how they could support the production.
Guests included James Bennett, Jason Blackwell, Diana Buckhantz, Rose Chan, Jennifer Chang, Wendy Chang, Charles Chatelain, Hahn Cho, Chris Christensen, Snehal Desai, Kiyomi Emi, Lois Fishman, Barbara Goodhill, Elaine Kao, Serena Kim, Jully Lee, Gavin Lee, Simon Levy, Dick Motika, Sally Pai Unruh, Pia Palomo, Youn Park, Dora Quach, Stephen Sachs, Allison Thomas, Steve Warheit, Jerrie Whitfield, Dorothy Wolpert, Kim Wonjung. Melina Young.