Tag Archives: theater

NOW CASTING: LA Premiere of Lucy Kirkwood’s timely and riveting “The Children”

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?

NOW CASTING

[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

Submit to: Actors Access or email casting@fountaintheatre.com

Angie Kariotis talks Walking the Beat and its August 25 final presentation: BLACKOUT 2021

Angie Kariotis, co-creator of Walking the Beat

by France-Luce Benson

Among the many lessons learned in 2020, the most crucial may be our urgent need to have open and honest conversations about race in America. As the grisly video of George Floyd’s murder surfaced, it became painfully clear that we could not afford to look away. Protesters spilled into the streets of cities across the country with a powerful message: If we are silent about injustice, we are complicit.

Angie Kariotis, Program Facilitator and Curriculum Director for Walking the Beat Los Angeles, has devoted her work to fostering these difficult conversations. Kariotis, along with Fountain Theatre Board member Theo Perkins, created Walking the Beat as a tool for community building for high school students. The nine-week multi-media workshop combines performance, creative writing, film, and research to initiate positive interactions between youth and police.

The Arts Education program began in New Jersey in partnership with Elizabeth Youth Theatre Ensemble, and in 2019 the Fountain Theatre launched Walking the Beat Hollywood. This year, the Fountain expanded the program, making it possible for students and police officers outside Hollywood to participate. On August 25, the Fountain will screen Walking the Beat Los Angeles’ culminating multi-media presentation, BLACKOUT 2021.

I had the pleasure of talking to Kariotis about the evolution, impact, and future of this vital program. 

What kind of impact did the events of 2020 have on the students, based on your work with them this past month?

If we are scared as a nation, we will forget all the lessons hard learned. You can see it happening already. No one is talking about all the changes we want to keep. What do we want to keep? Instead of rushing to “normal” (which wasn’t!), 2020 necessitated an activation. We’re activated. One thing the students are is ready.

Was it difficult getting the officers and students to open up?

No, it wasn’t difficult for anyone to open up, by themselves and with each other. People, and I believe most people, want to do just that. But they need permission and they don’t want to be alone doing it.

How has the program evolved since its inception, particularly in the last year?

We got research-heavy this year. We turned this workshop into a popular education. We practiced critique and analysis. We studied. We grew into our work as research-based performance artists. We aimed to challenge public policy formally. We are working to move our practice into the theater that is public policy.

How have your own background and experiences prepared you to do this?

I am studying design thinking and collaborative group processes. This framework is about divergent thinking, collaboration, experimentation, and honoring failure. Creativity — and not just the art-making transactional kind — is a necessary skill. We need people who are able to identify problems before they become problems.

Who should see BLACKOUT 2021? Why?

Anyone who wants to know how to have hard conversations with others. People interested in learning how to get people to the table. How to talk about things no one knows how to talk about. Right now we all want to talk about a lot, but we don’t know how.

What is your vision for the future of Walking the Beat and beyond?

For Walking the Beat, my vision is doing policy brief work, where we move beyond survivance and reconnect with the Earth. I wonder how our workshop can tackle the larger theme of power and how that affects our relationship with the planet.  We talk about public safety. Do we have planetary safety? What does that mean? How is the way we treat each other impacting climate? This is the ethos moving me into this space and beyond.

* * *

It is this passion and progressive vision that have inspired the ensemble of students and officers to create work that is bold, brave, and charged with the urgency of this moment in our country. In addition to serving as Program Facilitator and Curriculum Director of Walking the Beat, Kariotis offers community workshops for parents on How to Raise Anti-Racist Kids, works at Brookdale Community College as Director of Diversity and Inclusion/CCOG, and has published a chapter in Musing the Margins, an anthology examining the influence of culture and identity on the craft of fiction.

BLACKOUT 2021 will premiere on the Fountain Theatre’s outdoor stage this Wednesday, August 25, at 7pm. It will also be available to view on Fountain Stream in the fall.

France-Luce Benson is an award-winning playwright and the Community Engagement Coordinator at the Fountain Theatre.

Fountain Theatre hosts Monday press conference celebrating “Save the Performing Arts Act”

State Senator Susan Rubio in front of the set for An Octoroon at the Fountain Theatre’s Outdoor Stage

On Monday, August 16th, from 9:30-10 a.m., performing arts leaders and Hollywood celebrities will join State Senator Susan Rubio (D – Baldwin Hills) and Councilmember Mitch O’Farrell (13th District, City of Los Angeles) on the Fountain Theatre’s Outdoor Stage to celebrate Governor Gavin Newsom signing into law Senate Bill 805, entitledSave the Performing Arts Act of 2021.” Fountain Theatre Artistic Director Stephen Sachs will emcee the event.

“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 the California 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.

Kirsten Vangsness, tech-kitten Penelope Garcia on the Criminal Minds franchise, and a longtime member of Theatre of NOTE, which 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.

Jon Imparato, Producer and Artistic Director of the Lily Tomlin/Jane Wagner Cultural Center at Los Angeles LGBT Center

Arianna Ortiz, Western Regional Councilor for Actors’ Equity Association

Martha Demson, President of Theater Producer’s League Los Angeles and Artistic Director of the award-winning Open Fist Theatre Company, both of which are members of the Senate Bill 805 Coalition.

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.  

WarnerMedia awards grant to Fountain Theatre’s cops/kids program ‘Walking the Beat’

Students in Walking the Beat Los Angeles

The Fountain Theatre has been awarded a WarnerMedia Arts and Culture grant funded by the AT&T Foundation to support Walking the Beat Los Angelesa 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 2021an 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 Kariotis with 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 WednesdayAug. 25 at 7 p.m. and ThursdayAug. 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.

Larry Powell’s “The Gaze,” aired on Fountain Stream in 2020, earns 2 Daytime Emmy Award nominations

Writer/creator Larry Powell’s digital series The Gaze…No Homo has received two Daytime Emmy Award nominations, including Outstanding Lead Actress in a Daytime Fiction Program for Sharon Lawrence. Joey Scoma has been nominated for Outstanding Multi-Camera Editing for a Drama or Daytime Fiction Program.

The Fountain Theatre digital platform, Fountain Stream, partnered with Powell and Angelica Robinson of Tell Me a Story Productions in 2020 to present this bold and funny 12-part series. It later aired on Facebook Watch and YouTube.

The National Academy of Television Arts & Sciences announced the nominees for the 48th Annual Daytime Emmy Awards Children’s & Animation and Lifestyle categories. The remainder of the year’s Daytime Emmys will be celebrated in two live-streamed events on July 17 (children’s and animated programming) and July 18.

For the full list of nominees, click here.

Fountain Theatre honors Juneteenth with free celebration and other events

The Fountain Theatre commemorates the emancipation of enslaved women and men in Texas on June 19, 1865 — the last state to abolish slavery in the U.S. following the Emancipation Proclamation in 1863 — with a special event at the Fountain’s new Covid-safe outdoor venue in East Hollywood. The Fountain’s Juneteenth Celebration will take place on Saturday, June 19 beginning at 7:30 p.m. Admission is free and open to the public.

The Fountain event will feature dancing with D.J. Earry Hall as well as special guests. Food and handcrafted items will be available for purchase from Black vendors and artisans, including Mama Aunties Vegan GoodiesGloria Shelby-Dyer (SoBeltClothing.com and Affirmation Mirrors); Nappilynaturals/Sharon WilliamsB.T. Williams Handmade Jewelry; and Brilliance Ltd.

The celebration will immediately follow a 5 p.m. matinee performance of the Obie award-winning play An Octoroon by Branden Jacobs-Jenkins, a Los Angeles premiere production that is inaugurating the Fountain’s new outdoor stage (separate, ticketed admission).

Counting down to the June 19 event, the Fountain will also host a virtual Juneteenth panel discussion, moderated by playwright, performer and founder/artistic director of Minneapolis-based Carlyle Brown & Company Carlyle Brown and featuring panelists Miami Herald journalist Bea L. Hines; performance artist, educator and linguist Vanya Allen; and playwright/screenwriter Keith Josef Adkins, on Monday June 14 at 1 p.m. PT. The discussion will be available live on Zoom, and will also be live-streamed on the Fountain’s social media platforms, where it will remain available to view on demand throughout the week.

On Tuesday, June 15, the Fountain will post a spoken word video created in honor of Juneteenth by Loyola Marymount University’s Theatre in Color. The LMU video will also remain available to view on demand throughout the week.

Juneteenth, also known as Freedom Day, Jubilee Day, Liberation Day and Emancipation Day, has been celebrated by African Americans on June 19 every year since the late 1800s.

Earlier this year, the Fountain received approval from the City of Los Angeles to install the outdoor stage for the purpose of safely presenting live performances and other events during the pandemic. Construction is now complete, with the opening of An Octoroon slated for June 18.

An Octoroon is Jacobs-Jenkins’s gasp-inducing deconstruction of a moustache-twirling melodrama by 19th century playwright Dion Boucicault that twists a funhouse world of larger-than-life stereotypes into blistering social commentary.

For more information about the Juneteenth events, An Octoroon and the Fountain Theatre, call 323-663-1525 or go to www.fountaintheatre.com.

Now Casting: L.A. Premiere of ‘An Octoroon’ opens new Outdoor Stage at Fountain Theatre

The Fountain Theatre is now casting roles for its Los Angeles Premiere of the Obie Award-winning play, An Octoroon, by Branden Jacobs-Jenkins. The production will launch the new Outdoor Stage at the Fountain Theatre. Judith Moreland directs.

Rehearsal Dates: 5/12/2021 – 6/10/2021

Preview Dates: 6/11/2021 – 6/16/2021

Opening Date: 6/18/2021

Closing Date: 9/19/2021

Performance Schedule: Fridays – Mondays 7pm

ROLES:

[BJJ/George/M’Closky]

30 to 45 years old, Black/African American male. A frustrated contemporary playwright.  Probing, idealistic, quick-witted, mocking. Puts on whiteface to make sense of Boucicault’s 19th century melodrama, playing both the cartoonish white villain (M’Closky) and the white hero (George) who falls in love Zoe. Seeking a skilled versatile actor who moves well. Strong sense of comedic timing a must. 

[Assistant/Pete/Paul]

30 to 45 years old, male. Native American, Asian, Middle Eastern or South Asian. Seeking fearless versatile actor to don blackface to play older slave Pete (offensive caricature —think Stepin Fetchit) and Paul (cartoonish pickaninny-type slave child—think Alfalfa from Our Gang). Actor must find the humanity in these disturbing stereotypical characters. 

[ZOE]

25 to 35 years old, female. Caucasian, Biracial, or multi-racial. White in appearance, Zoe is The Octoroon (person 1/8th Black by descent) of the title. Raised as a white-passing free woman but legally a slave. Educated, kind-hearted, dutiful, loyal – yet filled with self-loathing. Treated as though she has no mind of her own and no right to make her own decisions. Seeking classically-trained actress to bring heart to Zoe’s tragic journey.

[DORA]

30 to 40 years old, Caucasian female. A fading Southern Belle. Self-absorbed, privileged, spoiled, a wealthy plantation heiress vying for George’s affection.  Actress must have strong comic timing.

[MINNIE]

35 to 50 years old, Black/African American female. House slave on the plantation, new at the job. Brash, unfiltered, no-nonsense, opinionated. A gossip. A slave, yet her language is modern. Must have strong comic timing.    

[DIDO]

35 to 45 years old, Black/African American female. Long-time house slave on the plantation. Wise, responsible, dry, with a sly sense of humor. Knows her place, as well as where the bodies are buried. A slave, yet her language is modern. Must have strong comic timing. 

[GRACE]

25 to 30 years old, Black/African American female. Pregnant domestic slave. Jaded, cynical. Not afraid to call things out with her own realistic spin, stand up for herself, or use her fists if she needs to.  Yearns to run away, even though she is pregnant. A slave, yet her language is modern. Must have strong comic timing.   

STORYLINE:

An Octoroon is a play about a play. A modern-day Black playwright is struggling to find his voice among a chorus of people telling him what he should and should not be writing. He adapts his favorite play, The Octoroon by Dion Boucicault, a 19th-century melodrama about illicit interracial love written seven years after Uncle Tom’s Cabin. The Black Playwright quickly realizes that getting white, male actors of today to play evil slave owners will not be easy. So, he decides to play the white male roles himself – in whiteface. What ensues is an upside down, topsy-turvy world where race and morality are challenged, mocked and savagely intensified. A highly stylized, theatrical, melodramatic reality is created to tell the story of an octoroon woman (a person who is ⅛ black) named Zoe and her quest for identity and love. Racial stereotypes are brutally satirized. Funny and profoundly tragic, Branden Jacobs-Jenkins’ An Octoroon is a whirlwind of images and dialogue that forces audiences to look at, laugh at, and be shattered by America’s racist history. Winner of the OBIE Award for Best New American Play.

To submit: Via Breakdown Services and Actors Access.

Questions? Email us at casting@fountaintheatre.com

Happy Birthday, Fountain Theatre: 31 years!

CALLING ALL LOS ANGELES WRITERS, COMPOSERS, AND LYRICISTS

JOIN US IN THE CREATION OF NEW WORK THROUGHOUT THE MONTH OF APRIL

The Fountain Theatre is thrilled to participate in The Dramatists Guild’s annual End of Play Initiative. Throughout the month of April, Dramatists across the U.S. are committing to completing one new theatrical work. Whether it be a new play, song, score, screenplay or revised draft of an existing work in progress – End of Play is here to help you achieve your goals through community support and encouragement.

Beginning April 1, DG will offer a variety of programming designed to motivate and inspire, including silent writing retreats, workshops, and readings.

In collaboration with the Southern California DG Region, The Fountain Theatre will host four of these events:

Silent Writing Retreats
Saturdays April 3, 10, and 17 from 9am-10:30am.

Playwrights around the U.S. (and the world) will come together for a full focused hour of writing, followed by some time to chat, share, and network. All are welcome!

Readings of New Works

May 1st 5pm-6:30pm

To celebrate the fruits of our labor, The Fountain will present excerpts from works created as a result of End of Play.

You do not need to be a member of the Dramatist Guild to participate in any of the End of Play events.

To register for the Silent Writing Retreats and/or information regarding the readings, click here

Troy Kotsur and Paul Raci: When good things happen to good people

Troy Kotsur and Paul Raci

by Stephen Sachs

Theirs is a unique relationship unlike any I have witnessed in my thirty-five years of creating theater.

They have been paired for decades. They have worked, travelled, and partied together, side by side, for so long they seem to share the same mind while, at the same time, remaining two distinct personalities. Like brothers, they love each other and sometimes piss each other off. Both are married, have families. Now, after logging in countless years of career ups and downs, together and individually, they each are bathing in a dizzying moment of public acclaim and professional success. It makes my heart glad.

Troy Kotsur is an extraordinary actor who happens to be Deaf. Paul Raci is hearing, a child of Deaf parents, fluent in American Sign Language, and a powerful veteran performer. For years, they have been linked on stage – an actor who signs and an actor who speaks – creating mesmerizing blends of sign language and voice on stage, dazzling deaf and hearing audiences in Los Angeles and in regional theaters across the country. I have known and loved both for a long time. We have created new plays together at the Fountain Theatre. My soul sings to now see them bask in the warmth of a bright day in the sun, each in his own light.       

Troy co-stars in “CODA,” a touching coming-of-age dramedy about a young girl in conflict with her Deaf parents and brother as she attempts to pursue singing. In January, it received top honors at the 2021 Sundance Film Festival. It ignited a bidding war, setting a record when the worldwide distribution rights were picked up by Apple Studios for $25 million — the highest sum ever for a film premiering at Sundance.

Paul has a supporting role in the film “Sound of Metal.” The movie – and Paul’s performance –has been gobbling up accolades and awards since its release. The film has been nominated for six Academy Awards, including Best Picture and, in a life-changing nod to Paul’s work, Best Supporting Actor.

It fills me with joy that each are enjoying a moment of triumph at the same time. And it makes sense. When they played brothers on stage in the world premiere of my play “Cyrano,” they were called upon to become the same person. In this Deaf spin on the classic romantic story, Paul portrayed Chris, the hearing sibling who spoke and ASL-interpreted for his lovelorn Deaf brother Cyrano (Troy). Hands and voice became one. After our acclaimed run at the Fountain, we travelled to New York Theatre Workshop for a special performance. We then brought the play to Mixed Blood Theatre in Minneapolis.

Troy Kotsur and Paul Raci in “Cyrano” at the Fountain Theatre

Troy and Paul later co-starred in a Deaf West production of David Mamet’s “American Buffalo” that opened in Los Angeles and then toured other cities.  

The relationship between a Deaf actor and their hearing counterpart who “voices” for them on stage is tricky and delicate. It demands respect on both sides, with the understanding that it is the Deaf actor who dominates, who must lead the way. The “voice actor” partners with the Deaf actor to help make the performance accessible to hearing audiences – but the focus must be on the Deaf actor’s performance. This kind of unique inter-dependence between artists requires that each much surrender a degree of their autonomy. That can be hard. All kinds of feelings come up. A trust and respect must develop between them. It also demands a level of skill that the average person cannot comprehend.

Paul and Troy are men with big hearts, strong opinions, and powerful personalities. They are both blessed with their own unique skills. Most valued by me, they share a vital trait: the capacity to love.  They are each kind and compassionate men and longtime actors, deeply talented, who have paid their dues.

In this year following a long period of despair, the recent triumphs of Troy Kotsur and Paul Raci are a spiritual shot in the arm. There is reason to rejoice. Every once in a while, the good guys come out on top.  

Stephen Sachs is the Artistic Director of the Fountain Theatre.