The Fountain Theatre is proud to announce that esteemed teacher, researcher, and consultant Margaret E. Phillips, PhD, has joined its Board of Directors. Her special interests are in cultural influences on organization behavior, management development in multicultural contexts, and organization diagnosis and design for sustainability.
“During my long career as an international business professor, a cross-cultural management researcher, and an organization design consultant, I have spent much of my time exploring challenging topics that incite conversation and ignite social change,” Phillips explains. “Much like the Fountain does every day using the medium of theatre. That is likely why the invitation to join the Fountain’s Board of Directors was so intriguing to me, especially coming at the time of my retirement from academia.”
Her work has been published in books and academic journals and included in compendiums of key contributions to the fields of cross-cultural management and international human resources management. Her book, Crossing Cultures: Insights from Master Teachers is a resource for teachers and trainers with proven methods for developing coping strategies and problem-solving skills in the cross-cultural arena. She co-authored the comprehensive chapter on “Conceptualizing Culture” for the Handbook for International Management Research and “Contextual Influences on Culture Research: Shifting Assumptions for New Workplace Realities” in the International Journal of Cross Cultural Management.
She has served on the governing boards of several organizations, for-profit and not-for-profit, with culturally diverse stakeholders.
“I have been a committed supporter of the Los Angeles theatre community for over 50 years,” she states. “Yet have only recently become a fan of the Fountain after experiencing the performance of Citizen: An American Lyric at Center Theatre Group’s first Block Party, and engaged with the theater after experiencing the powerful Walking the Beat this past summer. Subsequent performances and interactions with the Fountain family have allowed me to see that the values conveyed from the stage are lived in this company. This, and of course the charm and passion of the board colleagues themselves, have enticed me to join with you all as the Fountain moves toward its 30th year and beyond. I am proud and delighted to be along on this journey.”
Maggi Phillips enjoys opening night of Between Riverside and Crazy, 2019.
Dr. Phillips has been a member of the Western Academy of Management, the Academy of Management, the Academy of International Business, the International Organization Network, and the European Group for Organization Studies. She has conducted teaching exchanges and faculty workshops for several of these organizations in multiple international settings, and has made presentations and convened symposia for all, including Designing Culturally Sustainable Organizations for the 2012 EGOS meeting in Helsinki.
Dr. Phillips received her PhD in Management from the Anderson School at UCLA, an MS in Administration from the Merage School at UC Irvine, and a BA in Psychology from UCLA’s College of Letters and Science.
Dr. Phillips’ husband, Professor Mario Gerla, PhD, a pioneer in computer networks who had supervised more than 100 Ph.D. graduates during his long career, passed away in February after a prolonged battle with pancreatic cancer. Dr. Phillips has two daughters, Marisa and Cristina.
Post-show blues. It’s a common phrase among theatre folk.
As we close the final performance of the Fountain Theatre’s arts education program, Walking the Beat Hollywood, as panels are struck and lights come down, as kids head safely home to their families, and cops return to patrolling the streets, the phrase takes on new meaning. In the context of Walking the Beat Hollywood, the phrase alludes not only to the malaise that accompanies the end of an affecting production, but also to the image of an LAPD uniform.
Walking the Beat Hollywood is a theatrical residency for high school students across Los Angeles and the police officers who patrol their neighborhoods. Together, students and officers devised a piece of theatre they titled “A Wall is Just Another Door,” about community policing informed by their personal experiences. During the show, performers begged the question in a rap battle, “When you see me in my uniform what do you see?” The question asks us all to challenge the assumptions we make and to acknowledge our biases, disadvantages, and privileges.
I have often been told that if I want to make a change in the world, I’m in the wrong business. I’ve heard that political theatre preaches to an audience that is already in agreement. This assumes that the audience attending theatre is of the same ilk. And yet, after Walking the Beat Hollywood I have never been more convinced that theatre changes lives.
Perhaps that is because the theatrical community that created and witnessed Walking the Beat Hollywood was not typical. (Walking the Beat Hollywood challenged convention as soon as the doors opened.) Development offices at theatres all over the world work hard to gather demographic information about their audiences. As a result, we know that theatrical audiences are largely white, liberal, affluent, and over 50. Working for a theatre festival during college, I was tasked with reviewing and digitizing hard-copies of audience surveys. One respondent answered the race and ethnicity question: “Really white.”
This respondent’s answer still makes me laugh. However, it’s also true and has far-reaching and troubling consequences. The ambition to democratize theatre can paradoxically become pretentious and self-serving. This is when theatre-makers become white-saviors. “Democratizing” can often look more like condescending to a group of people those in power ostensibly want to “uplift.” This is tokenism. The antidote to this kind of practice is recognizing that individuals are individuals and not representatives of a group. They are people of worth and power. Walking the Beat Hollywood succeeded in democratizing theatre precisely by self-consciously circumventing that goal.
It would be untrue to claim that the regular homogeneity of most theatrical audiences was unrepresented at Walking the Beat Hollywood. But largely this audience and this cast were unconventional. In fact, the ensemble worked hard to disrupt and challenge convention. Their tools in dismantling systems of oppression were their own stories. The ensemble gave generously of themselves and as a result moved their audience.
Melina Young and Barbara Goodhill welcome guests to “Walking the Beat” at LACC.
Angela Kariotis, a visionary theatre-maker, teaching artist, and WTBH playwright writes, “Telling a story is simple, but not easy. Easy and simple are not the same thing… We never think we have any stories. But then all of a sudden, they come tumbling out because we cracked open the door a little. And here they are all demanding, demanding to be told.” That demand imbued Walking the Beat Hollywood with honest urgency. Sitting inside the Caminito Theatre, the call for truth was palpable and stirring. My father wept as he listened to each student’s identity poem and so did I. I already knew and loved these kids and by the end of the performance I think he did too.
When I handed one of the students her final pay check, she looked at me with a telling pout and said, “I don’t want this one.” When I asked her why, she said “because it means it’s the end. And I don’t want to say goodbye to everyone.” Her reluctance was evidence of love. Sixteen strangers—ten kids and six cops—became friends.
Theatre. Changes. Lives.
I saw these kids change. I saw them grow. Many students started this process shy. Many didn’t. Some are still shy and some still aren’t. But I know that they know their worth. I know that they proclaimed their worth in front of an audience eager to bear witness to it. That is genuinely important.
Sure, this was a production focused on cops and kids coming together to discuss the problems of community policing. But the final performance did not offer a solution. Rather, it highlighted human beings of different experience coming together to listen to one another.
I return to the idea of post-show blues. How did Walking the Beat Hollywood change our proverbial uniforms? If only for an evening, we have been armed with an open mind and with the impulse to listen.
I want to challenge theatre-going audiences to continue the legacy of this performance. Be silent and be moved. Listen. After all, “Listening is an act of love.”
Cops, kids and staff of Walking the Beat at the Fountain Theatre.
The Fountain Theatre is pleased to announce that HBO is making a generous contribution of $10,000 to support Walking the Beat, the Fountain’s educational arts program that brings together LAPD police officers and inner city students over an 8-week period to write and create a theatre piece that they perform themselves.
“We are thrilled to welcome HBO to the Fountain Family,” says Co-Artistic Director Stephen Sachs. “HBO’s pedigree in providing ground-breaking, high-quality entertainment is matched by its commitment to young people and communities nationwide. Walking the Beat is an innovative program that uses theatre to promote empathy, self-expression and empowerment.”
HBO’s Senior Vice President of Corporate Social Responsibility Dennis Williams explains the cable network’s philosophy of giving as “how we can do the best with the resources that we have.”
“If you’re in a position of power or privilege, the question you should always ask yourself is, ‘Are you using your powers for good?’” continues Williams. “At HBO, we’re in a position to inspire change and start conversations in a way that others might not be able to do themselves. We must use our powers for good.”
Walking the Beat was devised by Theo Perkins and Angela Kariotis at Elizabeth Youth Theater Ensemble in New Jersey. HBO supported the project there for three years, and continues its sponsorship with the Hollywood program at the Fountain.
HBO and EYTE join other sponsors and partners for Walking the Beat at the Fountain, including the Hollywood Police Activities League, Los Angeles City College Theatre Academy, Deborah Culver, The Vladimir and Araxia Buckhantz Foundation, Dorothy Wolpert, Robert and Carrie Meadow, the Central Hollywood Neighborhood Council, Councilmember Mitch O’Farrell and District 13, and Los Angeles County Supervisor Sheila Kuehl and District 3.
Home Box Office is the oldest and longest continuously operating pay television service in the United States, with 140 million subscribers worldwide as of 2018. HBO’s Corporate Social Responsibility team unites employees, talent and non-profit partners to elevate social issues connected to communities. At the heart of HBO’s effort is a passion for making a difference, to use its platform to educate, inspire thoughtful action and help make the world a better place.
My name is Melina Drake Young and I’m the new Development Intern at the Fountain Theatre. This is supposed to be a chatty-get-to-know-me kind of piece, so let’s chat and get to know—well—me. I would say each other, but since this isn’t a real conversation I can’t, so I didn’t.
Relax. Take off your shoes.
Pour yourself a glass of Rosé.
Did you do it?
Me neither. I’m at work. But it’s nice to pretend.
That’s what I like to spend my time doing—playing pretend. Since I was a little girl I’ve wanted to be a pretend-player—a storyteller—so naturally I wound up in The Theatre. (I hope you read that to yourself in the voice of Katherine Hepburn because that’s exactly how I hear it in my head.)
I’m an actress and writer (a rare bird in Los Angeles, California?) and a (VERY) recent graduate of Bard College’s Theatre & Performance and Literature programs. I was born in Silver Lake just before it became Silver Lake. And I think I liked it a little bit more when the neighborhood wasn’t italicized. What I mean is, LA is my home. Oh mother LA, how I love you. When I was studying in the Hudson Valley, I would often identify LA in movies (as one does) by its light. It’s golden, warm, heavenly, distinctly-LA light.
I’m thrilled to return to it and to re-discover LA’s artistic vibrancy as a young adult. How lucky am I to be starting my theatrical career at the Fountain?
A typical day in the life at the Fountain Theatre for this Development Intern includes time spent discussing theatre, organizing, crafting surveys, writing, chatting with co-workers, and being dazzled and moved by the students participating in Walking the Beat . Created and led by Angie Karoitis and Theo Perkins in Elizabethville, New Jersey, Walking the Beat is new to the Fountain and new to me. The program seeks to create a discourse between and eventually a performance devised by and starring ten remarkable students from LA high schools and LAPD officers.
Melina guides students through paperwork at the orientation for Walking the Beat.
Before my time at the Fountain, I would like to say that you’d have found me traipsing around the beautiful Hudson Valley, but the truth is more likely than not I was in rehearsal. If I wasn’t, I was writing at my desk.
This is still true.
The setting, however, has changed.
TIME: The present.
LOCATION: 5060 Fountain Ave, Los Angeles, CA.
CAST OF CHARACTERS: A blonde 20-something who doesn’t like to be identified as such. She wears glasses sometimes. Her eyes are myopic, but she isn’t. She’s grateful to be where she is and she hopes that you can tell.
Take a look as actor/teacher Theo Perkins visits Hollywood High School to interview students for the Fountain Theatre’s new educational outreach program, Walking the Beat. Our innovative program will bring together ten students from six high schools with five LAPD officers, using theatre as a tool to create understanding and empathy.
In partnership with Elizabeth Youth Theater Ensemble,Hollywood Police Activities League, and the Los Angeles City College Theatre Academy, The Fountain Theatre will introduce Walking the Beat, a summer theater arts based program for inner city high school youth and police officers in the Hollywood area. This pioneering arts education program, originated by New Jersey’s Elizabeth Youth Theater Ensemble in 2016, and now expanding into Hollywood with The Fountain Theatre, will provide transformative experiences for police officers and underserved youth in Hollywood. Utilizing performing arts as a vehicle for youth empowerment and community building, Walking the Beat has transformed lives with a results-based arts education methodology and curriculum. This 10 week program builds confidence, character, communication skills, and community. Walking the Beat inspires — in students and officers alike — an appreciation for their common humanity, and a commitment to community and social justice.