It’s Thanksgiving week, a time to reflect on that for which we are grateful. And even within the insanity of a year that brought us a global pandemic, extreme racial unrest, and a surreal presidential election, there were still rays of light. Here at the Fountain Theatre, one of our great joys came in the form of creating a stage/screen hybrid video adaptation of Ifa Bayeza’s stunning play, The Ballad of Emmett Till. If you have not seen it, there is still time. But the streaming of this acclaimed video-on-demand production ends on December 1st, so don’t delay. Tickets are just $20 and are available here.
The Ballad of Emmett Till is a lyrical retelling of the true events that kick-started the Civil Rights movement, and blends history, mystery and legend with accents of music and poetry. The Fountain’s widely heralded, multiple award-winning 2010 west coast premiere was helmed by Shirley Jo Finney, and starred the impeccable ensemble of Bernard K. Addison, Rico E. Anderson, Lorenz Arnell, Adenrele Ojo and Karen Malina White. Actors and director reunited over the summer to create this unique VOD version of our original stage production, which is enhanced by the use of music, sound, visual imagery and various film techniques. It debuted on August 28th, which marked the 65-year anniversary of Till’s brutal murder. His death had not only become a rallying cry for the times, but it has continued to resonate, and activate civic action, across the decades that followed.
Emmett Till was a charming, precocious 14-year-old boy who lived in Chicago with his mother, Mamie. In August 1955, he traveled down south to the Mississippi Delta to visit his uncle, Mose “Preacher” Wright, and other family members. One sunny day he and his cousins and a few friends went into town, and the young teenager stopped at a local market to buy some sweets. Accounts differ as to what actually happened to provoke the tragedy that followed, but it is widely believed that Till, who used whistling to help control a lifelong stutter, innocently whistled at the white, married, female store clerk.
As a result, Till was later kidnapped from his uncle’s house in the middle of the night by the woman’s husband and his half-brother. The men took the boy down to the Tallahatchie River and forced him to strip. Then they beat him, shot him in the head, and weighted his body down with a heavy metal cotton gin fan that they wrapped around his neck with barbed wire. Three days later, the boy’s naked, bloated body was discovered floating in the river.
Mamie insisted that her only child’s grotesquely disfigured body be returned to her in Chicago, untouched. “Let the people see what they did to my boy,” she famously said, and insisted on an open casket with a glass shield to contain the stench of her son’s decomposing corpse. The media had started carrying the news of the murder, and Mamie encouraged even more attention by publically displaying the body. Mourners gathered around the clock to pay their respects. The viewing went on for four days.
It might sound odd, during this week of focused gratitude, to suggest taking these final days of opportunity to view the Fountain’s VOD production of The Ballad of Emmett Till as part of our expressions of thankfulness. I feel it is not. The joyous way he lived his short life, contrasted with the ugliness of his premature death, led to a social rebellion that’s still being waged today. We entered the summer of 2020 with streets across America being crowded with marches born of unfettered rage against the killings of George Floyd, Breonna Taylor and Ahmaud Arbery, and the long-shadow history of Sandra Bland, Freddy Gray, Walter Scott, the nine men and women of the Episcopal Church in Charleston, and the hundreds more that came before them. Including, of course, Emmett Till.
The Ballad of Emmett Till is available through December 1st. Tickets are $20 and can be purchased here. I’m willing to bet you’ll be grateful you watched it.
Terri Roberts is a freelance writer and the Coordinator of Fountain Friends, the Fountain Theatre’s new volunteer program. She also manages the Fountain Theatre Café.
Friday, August 28th, marked the 65th anniversary of the vicious murder of an innocent 14-year-old black youth named Emmett Till. His cold-blooded, colder-hearted killing, and the events surrounding and following his funeral, became the kick-starter events of the burgeoning Civil Rights Movement in 1955. The Fountain Theatre recognized that landmark anniversary in two ways: with the reunion of the original director and cast of our award-winning 2010 production of The Ballad of Emmett Till, by poetic playwright Ifa Bayeza, and by navigating this new COVID-19 world of virtual theatre by presenting the show in a unique, forward-thinking beyond-the-Zoom-Room format.
Three hundred and forty-eight people bought $20 tickets for the livestream premiere of this re-imagined digital model of theatre. The five actors – Bernard K. Addison, Rico Anderson, Lorenz Arnell, Adenrele Ojo, and Karen Malina White – performed from their own individual, safely distanced locations, and coordinated with director Shirley Jo Finney and each other via Zoom on their computer screens. But gone was the normally pedestrian cyberscape of living room stages with bookcase backdrops. This fresh digital production of Emmett Till was dramatically enhanced with the use of props, costumes, music, sound, visual effects and cinematic techniques. The resulting hybrid of stage and digital filmmaking made for an exciting and invigorating step forward into the new frontier of virtual theatre.
If you were not able to catch the premiere, you needn’t worry. The livestream premiere was video recorded. The Ballad of Emmett Till is available for a pay-per-view rental of $20 at www.fountaintheatre.com until December 1st.
“What a stunning presentation!” wrote playwright Bayeza after Friday’s premiere. “The commitment and creative investment so enlivened the digital performance, introducing whole new dimensions and possibilities.Shirley Jo, the way you angled the car scenes, Emmett’s dancing in the water, the integration of sound and environments–all were exquisite surprises. The ensemble was marvelous again. Karen’s magical shifts of character are so seamless, you don’t even notice it’s the same actor! All in all, simply superb!”
Other viewers agreed:
“Shirley Jo Finney exceeded the medium and brought new meaning to each of the characters. Bravo! Bravo!” – Steven Williams
“Thank you for such an AMAZING virtual presentation! It was PHENOMENAL!!!! BRAVO!!!” – Cynthia Kitt
“Wonderful work in this crazy world!” – Taylor Bryce.
“Powerful production!” – Shawn Kennedy
“I was initially a bit cautious about watching on my computer but the direction drew me right in. I loved the use of photos and other visuals to create a sense of place. And the acting was superb. Very moving.” – Lois Fishman
“It was very powerful and beautifully done. The cast was amazing. Please convey my appreciation to all of them as well as to Shirley Jo Finney for the beautiful direction.” – Diana Buckhantz
“I’m so proud of what we created,” said Fountain Theatre artistic director Stephen Sachs. “I’m thrilled that the Fountain is leading the way in developing new ways to tell stories and keep the connection with our community alive.” The pay-per-view event is a budgetary victory as well. Online ticket sales and generous contributions from longtime Fountain donors Susan Stockel and Barbara Herman ensured that Emmett Till was fully funded by its first airing.
The success of Emmett Till hashttps://www.fountaintheatre.com/fountain-digital/the-ballad-of-emmett-till-2020 demonstrated that this form of digital theatre is both viable and profitable, and can help the Fountain keep its doors metaphorically open while we are still in pandemic mode. And while we will certainly continue to present free digital content via the bi-monthly installments of Saturday Matinees and Theatre Talk, as well as other programming and readings as they present themselves, you can also expect to see more livestream/digital pay-per-view productions to come.
Is there something special you would like to see in this new format? A past Fountain production with a small cast you think should be rebooted? We’d love to know what you’d love to see. Email me at email@example.com and share your thoughts.
On August 28, 1955, 14-year-old Emmett Till was abducted from the home of his great uncle, Mose “Preacher” Wright, in the still-dark hours of a Mississippi morning. The two abductors were white; one of them carried a flashlight and a gun. Together, they forced the black teenager into the back of a pick-up truck and drove off. Three days later, Emmett’s naked, bloated body was recovered from the Tallahatchie River. He had been savagely beaten, shot in the head, and his face mutilated beyond recognition. A heavy, metal cotton gin fan had also been tied around his neck – with barbed wire.
The boy’s body was so disfigured that Mose Wright could only identify him by the distinctive ring he was wearing. It was silver, square-shaped, and had belonged to Emmett’s deceased father. It was engraved with the initials L.T.: Louis Till.
This Friday, August 28, marks the 65th anniversary of the murder of Emmett Till. His death, and its aftermath, are largely credited with sparking the Civil Rights Movement. Rosa Parks had Emmett Till on her mind when she refused to surrender her seat to a white passenger. She thought about going to the back of the bus. But then she thought about Emmett Till and couldn’t do it.
To honor him, and in recognition of all the challenges for racial equality that have followed from then till now, the original cast and director of the Fountain Theatre’s widely acclaimed, multiple award-winning 2010 production of The Ballad of Emmett Tillby Ifa Bayeza will reunite for a live-streamed reading of the play. This highly produced presentation, which includes music, sound, and visual imagery, will take place at 4 p.m. PT / 7 p.m. ET and be available this year for on-demand viewing at www.fountaintheatre.com/fountain-digital/the-ballad-of-emmett-till-2020. Pay-per-view tickets are $20.00. Shirley Jo Finney again directs Bernard K. Addison, Rico E. Anderson, Lorenz Arnell, Adenrele Ojo and Karen Malina White, all reprising their original roles in Bayeza’s powerfully theatrical intermingling of history, mystery and legend, punctuated with music and poetry.
And on Thursday, August 27, Fountain Theatre artistic director Stephen Sachs will chat with playwright Bayeza during his bi-monthly installment of Theatre Talk at 4 p.m. PT / 7 p.m. ET. That conversation will air live on Zoom, Facebook, Twitter, YouTube and the Fountain website at http://www.fountaintheatre.com.
Emmett’s mother, Mamie, had warned her son before he left their Chicago home that the Mississippi Delta was a whole different world than he was used to when it came to race relations. Segregation was a stricter practice down in the Delta. She worried that her fun-loving son, who was known for telling jokes and pulling pranks, and who used whistling to help control a stutter, could easily find himself in trouble in the unforgiving Jim Crowe south without realizing it.
She was right.
When Mamie was told of the terrible news, she insisted that the body of her only child – who she fondly called Bobo – be returned to Chicago. According to a January 11, 2003 article in The Washington Post following her death on January 6th, Mamie collapsed at the train station when she saw what was left of her son and cried out, “Lord, take my soul.”
Mamie became determined that her son would be seen, exactly as death left him. He would not disappear, like driftwood floating down the Tallahatchie River, to be remembered only by friends and family and then, finally, to be forgotten altogether. No, she wanted his killers, and indeed the whole world, to see what racial hatred, ignorance and bigotry was doing everyday, without regret, to black people everywhere, and what it had done to one particularly cherished life. A young black life that mattered.
“Let the people see what they did to my boy,” Mamie Till famously said. And they have, for 65 years. Today, a simple Google search easily pulls up a plethora of photos, articles, and books about the life and death of Emmett Till, including historian Elliot J. Gorn’s 2018 book, Let the People See, and Timothy B. Tyson’s 2017 book, The Blood of Emmett Till.
Till’s brutal death was already making headlines, and Mamie invited even more media to cover the funeral and the viewings, including the well-known black publication, Jet magazine (which created The Emmett Till Project to commemorate the 60-year anniversary of his death and the trail that followed.) She insisted on an open casket – albeit, one with a glass top because the stench from the decaying body in the Illinois summer sun was overwhelming. She invited the public to attend. And they did, by the thousands. The viewing of Emmett Till’s body went on for four days.
From the same TWP article: “Thousands lined the streets outside the Chicago funeral home. Thousands more walked past the open casket. They wept. They wailed. They seethed.
Photographers snapped close-ups of a boy’s body so disfigured that the human eye instinctively turns away. Those hideous pictures galvanized a nation.
All but two of Bobo’s teeth were missing. His ear was gone, an eye detached, his face and body horribly swollen after 72 hours in the Tallahatchie River.
His crime? This young black boy from Chicago spending the summer with relatives didn’t really understand Jim Crow. To impress friends, it is alleged that he talked fresh or whistled at a married white woman in Money, Miss.
That’s all it took to end a life.
A couple of weeks later, a trial was held for 24-year old Roy Bryant and his half-brother, 36-year-old John William “J.W.” Milam, in a segregated courthouse in Sumner, Mississippi. Bryant was the husband of Carolyn Byrant, the woman who had accused Till of “ugly remarks” and vague improprieties. The Bryant’s also owned the small store that Till and his friends had stopped at to buy some bubble gum. (The site of Bryant’s Grocery and Meat Market is now memorialized with a Mississippi Freedom Trail Marker.)
Mose Wright chose to appear at the trial. This short-statured black man stood tall that day in court when he pointed to his nephew’s accused white killers, Bryant and Milam, and positively identified them. Then, after less than an hour of deliberation, the all-white jury declared the men “not guilty.” The state, the jury claimed, had failed to prove the identity of the body. A separate kidnapping charge was also filed against the pair, but they never were indicted.
Both men eventually died of cancer: Milam in 1980 and Bryant in 1994. In 2017, Carolyn Bryant confessed to The Blood of Emmett Till author Timothy B. Tyson that the 14-year-old-boy from Chicago had never accosted her, or touched her, in any way. “Nothing that boy did could ever justify what happened to him,” she said.
In the more than five decades that have passed since August 28, 1955, thousands of other black men, women and children have needlessly died as the result of racial violence and divisiveness. They breathe no more, but the Civil Rights Movement continues. We march for the fallen, and we say their names: Eric Garner. Michael Brown. Trayvon Martin. Tamir Rice. Philando Castile. Ahmaud Arbery. Breonna Taylor. George Floyd. And so many more.
The original director and cast of the Fountain Theatre’s 2010, multiple award-winning production of The Ballad of Emmett Tillby Ifa Bayeza will reunite for a live-streamed reading of the play on Friday, Aug. 28, which marks the 65th anniversary of Till’s murder. The reading will take place at 4.p.m. PT. / 7 p.m. ET and be available for viewing at www.fountaintheatre.com/fountain-digital/the-ballad-of-emmett-till-2020. Tickets are $20.00.
More than a typical Zoom reading, The Ballad of Emmett Till will be a highly produced presentation with music, sound and visual imagery.
In August, 1955, 14-year-old Emmett Till was visiting relatives in Money, Mississippi when he was accused of whistling at Carolyn Bryant, a white woman who was a cashier at a grocery store. Four days later, Bryant’s husband Roy and his half-brother J.W. Milam kidnapped Till, beat him and shot him in the head. The men were tried for murder, but an all-white, male jury acquitted them. Till’s murder and open casket funeral galvanized the emerging Civil Rights movement. Bryant recanted her story in 2017, admitting that the court testimony she gave more than six decades prior was false and stating “Nothing that boy did could ever justify what happened to him.”
“As America is now being challenged to face its racist history, I can think of no project more worthy,” says Fountain artistic director Stephen Sachs. “In addition to being the 65th anniversary of the murder, Aug. 28 also marks the 57th Anniversary of the historic March on Washington in 1963, and a 2020 march on Washington is being planned this year, on that date, as well.”
Part history, part mystery and part ghost story, Bayeza’s lyrical integration of past, present, fact and legend turns Emmett’s story into a soaring work of music, poetic language and riveting theatricality. The Fountain’s 2010 West Coast premiere was twice extended and won a combined total of 14 Los Angeles Drama Critics Circle, Ovation, Backstage and NAACP awards for production, direction, playwriting and ensemble. Bernard K. Addison, Rico E. Anderson, Lorenz Arnell, Adenrele Ojo and Karen Malina White willreprise their roles for the online reading, with Shirley Jo Finney again at the helm.
Have you heard of Rabbi Joachim Prinz? Probably not. In August of 1963, he and Martin Luther King, Jr. were among the ten leaders of the March on Washington. Preceding King to the platform on the steps of the Lincoln Memorial before King declared his dream to the world, Prinz delivered a stirring speech against silence in the face of injustice. It was an expression of his life-long commitment to equality and tolerance.
“Neighbor is not a geographic term. It is a moral concept,” he said. “When I was the rabbi of the Jewish community in Berlin under the Hitler regime, I learned many things. The most important thing that I learned under those tragic circumstances was that bigotry and hatred are not ‘.the most urgent problem. The most urgent, the most disgraceful, the most shameful and the most tragic problem is silence.”
This past weekend, more than 50 years later, women across the nation marched on Washington once again. And on the Thursday prior to marching, on the eve of the Presidential Inauguration, the Fountain Theatre made a pledge. It would not be silent.
Streaming live on Facebook, the Fountain joined 728 other theaters in all 50 states who gathered outside theaters nationwide to create a “light” for these dark times ahead. The Ghostlight Project offered theater artists and patrons the opportunity to renew a pledge to stand and protect the values of inclusion, participation, and compassion for everyone, regardless of race, class, religion, country of origin, immigration status, (dis)ability, gender identity, or sexual orientation.
What is a ghostlight? When our theaters go dark at the end of the night, we turn on a “ghost light” – offering visibility and safety for all who might enter. This is our theatrical tradition and the inspiration for this national event. Like a ghostlight, the light we created on January 19th represents our commitment to provide safety, a safe harbor, for everyone. To resist intolerance at all levels.
Fountain folk were asked to make signs, affirming “I Am” and “I Fight For”. Take a look.
On Thursday night, a crowd of Fountain Family members — actors, directors, stage managers, patrons and supporters — gathered outside the theatre at exactly at 5:30pm to join the live feed on Facebook. A statement was read by Fountain Co-Artistic Director Stephen Sachs, and the group switched on the portable lights they were asked to bring, in symbolic gesture of adding light into the coming darkness.
The ceremony continued inside. Morlan Higgins played guitar and sang a song by Woody Guthrie. Stephen Sachs listed three Fountain productions of plays that dramatized the issues of tolerance, equality, and inclusion. My Mañana Comes brought to life the struggle of immigration, The Ballad of Emmett Till shed light on racism, and the The Normal Heart articulated the fight against AIDS and social prejudice in the gay community. Stephen then introduced cast members from these productions, each performing selections giving voice to these themes. It was very powerful and moving.
Quoting Rabbi Prinz, Sachs then announced the Fountain Theatre’s pledge that it “will not be silent.” He then instructed the group to once again switch on their portable lights, as he turned on the Fountain ghostlight that stood on stage, as a beacon of hope.
The Fountain ceremony ended with everyone joining Morlan on guitar and singing together the lively gospel song, “This Little Light of Mine”. Afterwards, the group gathered upstairs in the cafe for excited conversation, pizza and beer.
It was an inspiring and joyous evening. Like the light we shine, we will carry our pledge forward into the new year, and the years forever after. We will not remain silent.
“Jews doing flamenco? Instead of ‘Ole!’ the crowd shouts ‘Oy vey?’” – Rochelle in “Heart Song”
Three friends embark on a joyous journey of sisterhood, discovering their inner ‘duende’ through a flamenco class for middle-aged women. Heart Song, the newest comedy/drama from Stephen Sachs (Bakersfield Mist, Cyrano), opens at The Fountain Theatre on May 25 with Shirley Jo Finney (In the Red and Brown Water) directing and choreography by internationally renowned flamenco dancer Maria “Cha Cha” Bermudez.
Pamela Dunlap stars as Rochelle, a middle aged Jewish woman struggling with a crisis of faith. When Tina (Tamlyn Tomita) convinces her to join a flamenco class for “seasoned” out of shape women, Rochelle’s life is changed forever. There, she meets Daloris (Juanita Jennings) and an unforgettable circle of women (Andrea Dantas, Mindy Krasner, Elissa Kyriacou,Sherrie Lewandowski and Norma Maldonado) who propel Rochelle on a hilarious and deeply moving course of unexpected self-discovery.
“Heart Song is funny but also allows me to explore serious issues about faith, spirituality and mortality that are deeply personal to me,” says Sachs. “The play dramatizes how art, in the form of flamenco — like religion or spiritual faith — has the power to heal and transform.”
“Flamenco is a life-saver for these women,” explains Finney. “It’s about duende, finding the deeper soul, unearthing that deep inner voice that lives inside us and can heal our inner wounds.”
The Fountain Theatre, recipient of critical acclaim and multiple awards for its theater productions, is also L.A.’s foremost presenter of flamenco. The Fountain’s monthly “Forever Flamenco!” series was created by co-artistic director Deborah Lawlor, who acts as consultant on this production.
“This is the perfect opportunity to marry the Fountain’s two audiences,” says Lawlor. “With Heart Song, we celebrate both our dedication to creating and producing new plays, as well as our longtime passion and commitment to the art of flamenco.”
Tamlyn Tomita, Pamela Dunlap, and Juanita Jennings
Set design for Heart Song is by Tom Buderwitz; lighting design is by Ken Booth; sound design is by Bruno Louchouarn; costume design is by Dana Woods; prop design is by Misty Carlisle; casting is by Cathy Reinking; production stage manager is Corey Womack; and assistant stage managers are Mitzi Delgado and Terri Roberts. The Fountain Theatre production marks its world premiere. A second production will take place at Florida Rep in 2014.
Stephen Sachs’ other plays include Cyrano (2012 Los Angeles Drama Critics Circle Award), Bakersfield Mist (2012 Elliot Norton Award for Best New Play, optioned for London’s West End and New York), Miss Julie: Freedom Summer (Fountain Theatre, Vancouver Playhouse, Canadian Stage Company, LADCC and LA Weekly Award nominations), Gilgamesh (Theatre @ Boston Court), Central Avenue (PEN USA Literary Award finalist; Back Stage Garland award for Best Play), Mother’s Day, The Golden Gate (Best Play, Drama-Logue), and The Baron in the Trees. His play Sweet Nothing in my Ear (1997 PEN USA Literary Award finalist and Media Access Award winner for Theater Excellence) has been produced in theaters around the country and was made into a TV movie for CBS starring Academy Award winner Marlee Matlin and Jeff Daniels. Open Window (2005 Media Access Award winner for Theater Excellence) had its world premiere at the Pasadena Playhouse.
Shirley Jo Finney received the LADCC award for her direction of In the Red and Brown Water at the Fountain, where she also directed award-winning productions of From the Mississippi Delta, Central Avenue, Yellowman and The Ballad of Emmett Till. Her work has been seen at the McCarter Theater, Pasadena Playhouse, Goodman Theater, Alabama Shakespeare Festival, Cleveland Playhouse, LA Theater Works, Crossroads Theater Company, Actors Theater of Louisville Humana Festival, Mark Taper Forum, American College Theatre Festival, Kennedy Center for the Performing Arts and the State Theater in Pretoria, South Africa, where she helmed the South African opera, Winnie, based on the life of political icon Winnie Mandela. Ms. Finney has been honored with Ovation, Los Angeles Drama Critics Circle, Back Stage Garland, LA Weekly and NAACP awards. For television, she directed several episodes of Moesha, and she garnered the International Black Filmmakers ‘Best Director’ Award for her short film, Remember Me. In 2007 she received the African American Film Marketplace Award of Achievement for Outstanding Performance and Achievement and leader in Entertainment.
Pamela Dunlap (Rochelle) has performed at Lincoln Center, New York Theatre Workshop, New York Stage and Film and Circle Repertory Company. On Broadway: Musical Comedy Murders of 1940, Redwood Curtain, Yerma. Off Broadway: Early Girl, Sacrifice to Eros, Green Card. L.A. theatergoers have seen her at the Mark Taper, Ahmanson, South Coast Rep and L.A. Theatre Works. Regional theater includes Theatre Raleigh, Pioneer Theatre, St. Louis Repertory, Hartford Stage, Arena Stage, Pittsburgh Public Theatre and Corpus Christi Symphony. She is the recipient of an OOBR Award, an honoree of the New York Drama League, and a three-time Drama-Logue Award recipient. Mad Men fans will recognize her as Pauline Francis, Betty Draper’s new mother-in-law with the questionable baby sitting skills. TV guest appearances include How I Met Your Mother, N.C.I.S., Law and Order SVU, and recurring as Gilda Rockwell on Commander In Chief. Pamela recently completed filming on Doll and Em for British TV, written, produced and starring Emily Mortimer. Film: The Changeling, directed by Clint Eastwood; I Am Sam; War Of The Roses; The Holiday; Sixteen To Life; and Mind The Gap.
Juanita Jennings (Daloris) is known to Fountain audiences for her portrayal of Aunt Ester in August Wilson’s Gem of the Ocean and for her versatility in From the Mississippi Delta. She recently co-starred in South Coast Repertory’s production of Fences, and has also appeared at SCR in Jar the Floor (NAACP Theatre Award for Best Actress) and Twelfth Night. Other theater credits include productions at New York Shakespeare Festival, the Negro Ensemble Company, Mark Taper Forum, The Old Globe and Westwood Playhouse. Her many TV roles include Edna on the Tyler Perry series Meet the Browns and Dorothy Bascomb on The Bold and the Beautiful. She is a Cable Ace winner for her portrayal in the HBO mini-series Laurel Avenue.
Tamlyn Tomita (Tina) starred in the Fountain’s very first production, Winter Crane (Drama-Logue Award).Other stage work include The Square and Don Juan: A Meditation (Taper, Too), Summer Moon (Seattle’s A Contemporary Theatre and South Coast Repertory), Day Standing on its Head (Manhattan Theatre Club) and Nagasaki Dust (Philadelphia Theatre Company). She is best known for the films The Day After Tomorrow,The Joy Luck Club and Karate Kid 2. Other film credits include Picture Bride, Come See the Paradise, Four Rooms, Living Out Loud and Gaijin 2. Soap opera followers know her as Dr. Ellen Yu on Days of Our Lives and Glee fans have seen her as Julia Chang.
Maria Bermudez (Choreographer) is one of the foremost flamenco dancers in the world today. Born in Los Angeles, she now resides in Jerez de la Frontera, Spain, the “cradle” of flamenco. Her outstanding and critically acclaimed performances include The Hollywood Bowl, The John Anson Ford Theater, The Fountain Theater, The Los Angeles Music Center, and The Bilingual Foundation of the Arts in Los Angeles, Central Park and The Joyce Theater in New York City, the Teatro Palacio das Artes in Brazil, Pena Cernicalos, Los Gallos, and Teatro Lope de Vega in Spain, guest appearances with the Santa Cecilia California and numerous venues throughout the world. Most recently she formed Chicana Gypsy Project which draws on her Mexican-American heritage and her immersion into Gypsy culture. Her life and career has inspired the award-winning documentary film, Streets of Flamenco .
Housed in a charming two-story complex, the Fountain 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 over 200 awards, and Fountain projects have been seen across the U.S. and internationally. Highlights include In the Red and Brown Water (“Best in Theater 2012” – Los Angeles Times); Cyrano, an adaptation of the Rostand classic for hearing and deaf actors by Stephen Sachs (LADCC Award, “Outstanding Production”), a six-month run of Bakersfield Mist, also by Sachs, optioned for London and New York; the Off-Broadway run of the Fountain’s world premiere production of Athol Fugard’s Exits and Entrances; and the making of Sachs’ Sweet Nothing in My Ear into a TV movie.The Fountain has been honored with a Certificate of Appreciation from the Los Angeles City Council for “enhancing the cultural life of Los Angeles.” The Fountain was recently honored with seven Los Angeles Drama Critics Circle including the Polly Warfield Award for Best Season 2012.
Heart Song opens on Saturday, May 25, with performances Thursdays, Fridays and Saturdays @ 8 pm and Sundays @ 2 pm through July 14. Preview performances take place May 18-24 on the same schedule. Tickets are $34 (reserved seating), except previews which are $15. On Thursdays and Fridays only, seniors over 65 and students with ID are $25. The Fountain Theatre is located at 5060 Fountain Avenue (at Normandie) in Los Angeles.Secure, on-site parking is available for $5. The Fountain Theatre is air-conditioned and wheelchair accessible. For reservations and information, call 323-663-1525 or go to www.FountainTheatre.com.
“I want the world to see what they did to my baby.”
History repeats itself, for better and worse. And certain plays, like historical events, resurrect with new relevance in our hearts and minds at specific moments in time in our lives.
“The Ballad of Emmett Till” (Fountain Theatre, 2011)
In 2010 The Fountain Theatre produced the West Coast Premiere of The Ballad of Emmett Till. Emmett Till was a 14-year-old African-American boy whose 1955 murder helped galvanize the civil rights movement. Originally from Chicago, Till was visiting relatives in Mississippi where he was accused of flirting with a white female shopkeeper. A few nights later, the woman’s husband and a relative kidnapped Till. They beat him, gouged out one of his eyes, shot him in the head and dropped him in the Tallahatchie River. Till’s body was discovered three days later.
His mother, Mamie Till Mobley, asked for an open coffin for tens of thousands of mourners to view at his Chicago funeral. “I want the world to see what they did to my baby,” she said.
“There was just no way I could describe what was in that box,” she said at the time. “No way. And I just wanted the world to see.”
The photo was reproduced and Till’s death became a huge news story. Three months later, Rosa Parks refused to move to the back of the bus and the civil rights movement took a leap forward.
Noah Pozner, 6, was one of the 20 child victims in the Sandy Hook shooting in Newtown, Conn., on Dec. 14. All the dead were shot between three and 11 times. Tiny Noah took 11 bullets. His mother, Veronique, insisted on an open coffin, Naomi Zeveloff reported in the Jewish Daily Forward.
You’ll probably remember Noah. He was a happy little guy with beautiful heavily lashed eyes and a cheerful smile. In his coffin, there was a cloth placed over the lower part of his face.
“There was no mouth left,” his mother told the Forward. “His jaw was blown away.”
She put a stone in his right hand, a “clear plastic rock with a white angel inside.” She wanted to put a matching stone in his left hand but he had no left hand to speak of.
Parents of the dead children were advised to identify them from photographs, such was the carnage. But every parent reacts differently. Veronique Pozner did the most difficult thing. She asked to see the body.
“I owed it to him as his mother, the good, the bad and the ugly,” she said. “And as a little boy, you have to go in the ground. If I am going to shut my eyes to that I am not his mother. I had to bear it. I had to do it.”
She insisted on an open coffin. When the governor of Connecticut arrived, she brought him to see Noah in the open casket. “I needed it to be real for him.” The governor wept.
Veronique Pozner said: “I just want people to know the ugliness of it so we don’t talk about it abstractly, like these little angels just went to heaven. No. They were butchered. They were brutalized.”
“This really reminds me of what Emmett Till’s mother did,” wrote one Reddit user. “I think people often separate themselves from things they don’t want to realize, but it’s important in gaining support for preventative action.”
In these cases, we see the difference between “telling” and “showing,” an old concept in playwriting. Playwrights can “show” events and let the audience draw their own conclusions or they can have characters “tell” the audience the plot as it unfolds.
In a blog post for the American Counseling Association, Patricia Myers wrote, “In reading of Veronique’s strength I was reminded of Mamie Mobley, another mother who buried her son… The world reeled at the picture of young Emmett Till and the resulting outrage provided a spark to the Civil Rights movement. We need that spark now at the death of Noah, Jack, Rachel, Emilie and 22 others (numbers for just this killing and not for any of the 11 others that have occurred in the last 2 years or the month since). We must make this, and every other death by guns, mean something or we truly are, and will remain, severely impoverished as a nation.”
Perhaps the impetus of the Newtown tragedy will lead to change in the way our country deals with guns and violence.
History tells us that Mamie Till Mobley’s bravery changed America irrevocably for the better.
Will Veronique Pozner’s bravery come close to being Newtown’s ‘Emmett Till moment’? Only time will tell.
Oya can run faster than anyone—but not fast enough to escape her destiny. Shirley Jo Finney directs the long-awaited Los Angeles premiere of In the Red and Brown Water. Lyrically weaving together elements of urban contemporary realism with West African mysticism, Tarell Alvin McCraney’s lusciously theatrical and boldly original new play opens at The Fountain Theatre on October 20.
How far will fast, beautiful Oya go to make a mark in the world? The first of McCraney’s acclaimed “The Brother/Sister Plays,” In the Red and Brown Water is an intoxicating story that charts a young girl’s thrust into womanhood, her family struggle, the two men vying for her heart, and her subsequent fall into the murky waters of life. McCraney mixes the mundane with the mythic, drawing on Yoruban influences while setting the play in a modern urban context—a housing project in the fictional Bayou city of San Pere, Louisiana.
“This production was three years in the making,” says Fountain Theatre artistic director Stephen Sachs. “When ‘The Brother/Sister Plays’ exploded onto the theatrical scene in 2009, it was clear that Tarell was an important and rising new voice. We immediately began our fight for the rights to do this play and refused to give up. The Fountain Theatre is a theater of the heart—and this is where we want the play to live in Los Angeles.”
“I began to investigate how to use ancient myths, stories, to tell urban ones,” McCraney wrote. “I began taking old stories from the canon of the Yoruba and splicing them, placing them down in a mythological housing project in the south. This made the stories feel both old and new, as if they stood on an ancient history but were exploring the here and now.”
Tarrell Alvin McCraney
Lauded by The New York Times as “something rare in the theater, a new, authentically original voice,” and by the Chicago Tribune as “without question, the hottest young playwright in America,” 32-year-old Tarell Alvin McCraney has won numerous awards, including the Paula Vogel Playwriting Award, the Whiting Writing Award, London’s Evening Standard Award for Most Promising Playwright and the National Endowment for the Arts Outstanding New American Play Selection. His plays include Wig Out! (developed at Sundance Theatre Lab, produced in New York by the Vineyard Theatre and in London by the Royal Court) and the trilogy entitled The Brother/Sister Plays, including: The Brothers Size (simultaneously premiered in New York at the Public Theater, in association with the Foundry Theatre, and in London at the Young Vic, where it was nominated for an Olivier Award); In the Red and Brown Water; and Marcus, or the Secret of Sweet. His other plays include Without/Sin and Run, Mourner, Run (adapted from Randall Kenan’s short story), both of which premiered at Yale Cabaret. He holds a B.F.A. in acting from DePaul University, and he graduated from the playwriting program at the Yale School of Drama. He is the Royal Shakespeare Company’s international writer in residence and is currently under commission at Manhattan Theatre Club and Berkeley Rep. His new play, Head of Passes, will have its world premiere in April at Steppenwolf Theatre Company, directed by Tina Landau.
In the Red and Brown Water stars Dorian Christian Baucum, Peggy A. Blow, Gilbert Glenn Brown, Justin Chu Cary, Diarra Kilpatrick, Stephen Marshall, Simone Missick, Iona Morris, Theodore Perkins and Maya Lynne Robinson. Set design is by Frederica Nascimento; lighting design is byJosé Lopez; sound design is by Peter Bayne; costume design is by Naila Aladdin Sanders; prop design is by Misty Carlisle; choreography is by Ameenah Kaplan; vocal coach is Brenda Lee Eager; dialect coach is JB Blanc; assistant director is Erinn Anova; production stage manager is Shawna Voragen; assistant stage manager is Terri Roberts; and Stephen Sachs and Deborah Lawlor produce.
Shirley Jo Finney with NAACP Theater Award
Shirley Jo Finney previously directed award-winning productions of From the Mississippi Delta, Central Avenue, Yellowman and The Ballad of Emmett Till at the Fountain Theatre. Her work has been seen at the McCarter Theater, Pasadena Playhouse, Goodman Theater, Alabama Shakespeare Festival, Cleveland Playhouse, LA Theater Works, Crossroads Theater Company, Actors Theater of Louisville Humana Festival, Mark Taper Forum, American College Theatre Festival, Kennedy Center for the Performing Arts and, most recently, the State Theater in Pretoria, South Africa, where she helmed a critically acclaimed production of the South African opera, Winnie, based on the life of political icon Winnie Mandela. Ms. Finney has been honored with Ovation, Los Angeles Drama Critics Circle, Back Stage Garland, LA Weekly and NAACP awards. For television, she directed several episodes of Moesha,and she garnered the International Black Filmmakers ‘Best Director’ Award for her short film, Remember Me. In 2007 she received the African American Film Marketplace Award of Achievement for Outstanding Performance and Achievement and leader in Entertainment.
Don’t miss this extraordinary new play at the Fountain. From the director of our unforgettable smash hit The Ballad of Emmett Till.
In the Red and Brown Water Oct 20 – Dec 16 (323) 663-1525 More
We have been married for 41 years and are retired teachers who enjoy live theatre in Los Angeles. Season subscribers to eight theatres and the Los Angeles Stage Alliance, we are thrilled to be in the L.A. area where there is always great live theatre. We’re not limited to theatre and attend Early and Chamber Music concerts and view exhibits at local art museums.
The Fountain Theatre stands out for its bold presentations that inform and challenge us with regard to politics, race relations, war, people’s complex lives, and more. Many of the Fountains plays are first runs and premiers or ones too challenging for larger stages. It’s hard to pick a favorite play, but some are: Master Class (Terrence McNally), Bakersfield Mist(Stephen Sachs), The Ballad of Emmett Till (Ifa Bayeza), Coming Home (Athol Fugard) and several by Tennessee Williams. With picks like these what is not to like?
We hope the Fountain continues to survive and thrive in these difficult times. – Christa and William Wilk
"The Ballad of Emmett Till" (2010). Photo by Ed Krieger
Today is World Theatre Day. For those of us who create and/or attend and support theater, today is the appropriate time to ask ourselves: “Why?” Why are we so passionate about this extraordinary art form? What is it about seeing a play or musical that has the power to change lives and open eyes, minds and hearts? This sacred ritual of human beings gathering together in a space to share the life-enhancing experience of being told a story that illuminates what it means to be a human being.
Why do we do it? Why is it still important to see theater and support it? Why do YOU create and/or support theater?
Here is one person’s answer: theater artist and teacher Patsy Rodenburg:
Theater Artists are “Healers” Who “Witness the Truth”
“To be present or not to be present?” is the question Patsy Rodenburg would ask all of us; she’s trying to bring the highly practical techniques that make actors successful to the rest of us. There’s often an inflexible screen between us human beings and the performances we’re shoehorned into every day, and we need to tear it out — establishing a space she calls “the Second Circle“: a state of mind and body where confident, relaxed control allows us establish intimacy and human connection where and when we want it.
With years behind her already as the eminent proponent of the use of Shakespeare in teaching for the present day (not just for actors, but for public speakers, prison inmates, and the mentally ill; see her book Speaking Shakespeare), she’s also spent years as a voice coach, perhaps Britain’s most highly-regarded. The actors on her formidable roster of have-taughts include Judi Dench, Ian McKellen, Daniel Day-Lewis, many other Oscar-nominees and winners, as well as other shining figures of the silver screen and the stage.
As a teacher of acting, Rodenburg is known for her emphasis of the primacy of the human voice. In her book The Actor Speaks, she illustrates how solving the frustrating physical challenges of line delivery — questions as pragmatic as “When do I breathe?” to more philosophical ones like “How to get my message across to other actors?” — can open up new paths to performances which go beyond stage-ready to unforgettable.
She currently serves as Director of Voice at the Guildhall School of Music and Drama and teaches voice at Michael Howard Studios in New York City.
How would YOU answer the question: Why I do Theater?