Category Archives: Arts education

Fountain workshop teaches young people how theatre can be a gateway to empathy

GirlPower and Fountain Theater (Dionna)

Dionna Daniel and the GirlPower group at A Place Called Home.

by Dionna Daniel

I had the pleasure of joining the GirlPower group at A Place Called Home on November 1st, 2017. The Fountain Theatre is always excited to have the students of APCH come see the productions at our theatre. For the first time ever, I was able to lead a short post-show workshop with the youth through our educational outreach program, Theatre as a Learning Tool.  

When I visited the students at their space, we began the afternoon together with a round of theater games.  The laughter echoed in the room as we all introduced ourselves with funny gestures and sounds. Then we began to discuss the Fountain’s production of Runaway Home and how they connected with the show. Many of the students said that they connected with the rocky relationship between the character Kali and her mother. We then began to talk about the historical context of Hurricane Katrina. It was eye opening for me to realize that these students were just babies when one of the most disastrous storms to ever make landfall hit the southern United States. They really didn’t have much context to this show at all.

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The group dives into a writing exercise.

As I showed the students video coverage of the devastation that Katrina caused, our discussion shifted to the themes of displacement in Runaway Home and how it relates to people in Los Angeles. Many Angelenos are being displaced due to the growing housing crisis in LA and the rise of gentrification in LA’s east side. We discussed the erasure of black and brown neighborhoods and communities that is currently taking place in LA. A lot of the gentrification looking very similar to what happen to New Orleans’ black communities. We ended our session together with a quick free-write and said one word that resonated with us in that moment. While some students said such words as “inspired” and “hopeful”, I reflected on how this experience was equally inspiring for me.

As I say often, I believe art must do something. During my time at APCH, I witnessed that theater can be utilized as a gateway to empathy, to not only discuss the historical context of the traumas of people in New Orleans but to also reflect on ourselves and our own communities. Art is vital to understanding the human condition. Theatre matters.

Dionna Daniel is a playwright, performer, and Outreach Coordinator at the Fountain Theatre.

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Students feel an intimate connection with ‘Runaway Home’ at the Fountain Theatre

OLYMPUS DIGITAL CAMERATo many college students, class assignments can seem boring and meaningless. But for teacher Alan Goodson and his students at Fashion Institute of Design & Merchandising, the ongoing visits to the Fountain have become one assignment they eagerly look forward to undertaking. For years, Goodson regularly pulls his students out of the classroom and into the Fountain to benefit from the educational and life-enhancing experience of live theatre.  

The student visits are made possible by Theatre as a Learning Tool, the Fountain Theatre’s educational outreach program that makes live theatre accessible to young people throughout Southern California. 

The FIDM students arrived at the Fountain on November 4th to see our acclaimed world premiere of Runaway Home by Jeremy J. Kamps.  The play is set in New Orleans, three years after Hurricane Katrina. 14 year-old runaway Kali embarks on a journey to pick through the wreckage of what used to be her life. Rhyming, stealing, and scamming her way through the still-destroyed neighborhood, she grapples with the real cost of what she lost and is forced to confront the higher risk of moving forward. A funny, moving, and powerful new play about community and the power of family.

Returning back to their classroom, the students wrote essays expressing their thoughts and feelings on seeing the production. Take a look at these excerpts:  

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“The small black box-style theater that The Fountain offers made for an utterly intimate show, leaving tears swelling in every audience member’s eyes as they watched these characters and their troubles unfold. . . . As someone who had no experience with the post-Katrina trauma, this show was a huge learning experience for me. In a way, it caused awareness for tragedies like Katrina, and how the devastation is anything but short-term. In my mind, three years sounds like a very long time, but seeing how devastated these families and communities still were three years later really put it into perspective. Also, the intimate environment of the venue made me feel even closer with these characters, and I truly felt a connection with each and every one of them throughout the show. Kamps’ writing exposed the ugly truths of a natural disaster, but mainly expressed the importance of acceptance, family, and growing up.”

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“This play was directed in a way that really involved the audience emotionally. When watching the play, there were times when I literally felt as if I was in the scene. Aside from that I was sitting in the first row, I felt as if I was immersed in each scene, embracing every dramatic and/or even comedic moment. The actors in the play all performed extremely well. They really embraced the importance of how the aftermath of the hurricane effected so many people.”

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“My personal opinion of the play is that it was a very emotional, but strong story. The actors played the parts effortlessly, especially the actress that played Kali. . . . Overall, the play was very inspiring. It was told in a different way, with these monologues that were extremely poetic. The experience was very cool being so close to the actors. It felt like I was in the story. The was definitely worth watching.”

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“These close quarters allow for audience members to analyze every detail of the actors on stage, whether that be gestures, dialogue, or facial expressions, we can see it all. With that said, the small proximity of the theatre made the execution of Runaway Home that much more impressive and admirable. For audience members like myself, I could tell that each cast member was fully engaged in the story and connected to the characters they played.”

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“Intimacy and raw emotion are concepts that are commonly taken for granted, but when they are used to enhance a piece of art, they suddenly become indispensable. With a smaller-sized venue located at the Fountain Theater in Hollywood, and a close-knit cast of animated actors, they were able to incorporate intimacy as well as capture raw emotion in one jam-packed performance. . . . This play provided not only insight into an event, but shed light on the darker aspects of our government’s behavior. Both the venue and the personnel chose to play each character worked perfectly in articulating the message that Kamps was trying to convey. The audience can expect to get giggly as well as a bit teary eyed during this performance. The range of emotion and intimacy that is put on display makes for an extraordinary production.”

Dionna Michelle Daniel joins Fountain Theatre to plant seeds for social change

Dionna Michelle Daniel

Dionna Michelle Daniel

Greetings! I am Dionna Michelle Daniel and I am excited to announce that I have joined The Fountain Theatre as the new Outreach Coordinator. At The Fountain, I will be focusing on educational programming and community engagement.

In May, I graduated from the California Institute of the Arts with a Bachelor of Fine Arts in Acting and a minor in Creative Writing. I am coming to the Fountain after a month-long run at the Edinburgh Fringe Festival of my new play Gunshot MedleyGunshot Medley stretches across the Antebellum American south through present day to weave a rich history of the Black-American experience, blending poetry and song to respond to the historical expendability of Black bodies and the lives lost to hatred, racism, and police brutality. At the Fringe it received four 5 out of 5 star reviews and ultimately became a crowd favorite.

While at The Fountain, I will also be working as a youth instructor teaching creative writing at the Boyle Heights Arts Conservatory through CAP. Building a nurturing community for young artists and educating students is one of my personal missions, so I am excited to embark on helping expand The Fountain’s educational program, Theatre as a Learning Tool.

Theater that is rooted in social activism has always been a passion of mine. I believe that art, especially live performance, has the potential to dramatically change hearts and minds. Theater has the ability to plant the seeds of empathy, inquiry, and discussion. From those seeds, real social change begins.

College students and professional actors share struggle and truth, declare “I am Freddy”

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The company of “Freddy”. 

The passionate life and self-destructive death of 1960’s dancer Fred Herko inspired friend Deborah Lawlor to write her play, Freddy, opening Wednesday at LACC Theatre Academy as a co-production with the Fountain Theatre. Her new theatre/dance work has, in turn, motivated the students and professional artists involved. 

In this honest, poignant and empowering video, the company from Freddy share their thoughts and feelings on the often challenging journey of being an artist, the inner demons they face, and the wings they develop to enable them to soar.

Freddy Sept 27 – Oct 14 More Info/Tickets  

New Video: Inspiring and changing young lives with Theatre as a Learning Tool

See our TAALT web page

Fountain partners with LACC Theatre Academy for world premiere on 1960s dancer ‘Freddy’

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Marty Dew is Fred Herko in ‘Freddy’. 

A naïve young woman falls under the spell of Fred Herko, a brilliant ballet dancer of extraordinary charisma and talent and a fiery denizen of Andy Warhol’s Factory. Written by Fountain Theatre co-artistic director Deborah Lawlor, the world premiere of Freddyopens on Sept. 27, inaugurating a new partnership between the Fountain Theatre and the Los Angeles City College Theatre Academy at LACC’sCaminito Theatre.

Set in Greenwich Village in 1964 and based on a true story, Freddy fuses theater, music, dance and video to capture the explosive spirit of a passionate artist and a turbulent era. Marty Dew (Steven Spielberg’s Ready Player One, Mascot) stars as Fred Herko, a founding member of Judson Dance Theater who was a legendary figure of New York’s avant-garde in the 1960s. Susan Wilder (Still Life at Rogue Machine Theatre) portrays Shelley, whose memories create the framework of the play, while Katie McConaughy (American Idiot at Cupcake Theater) plays her younger self.Mel England (Indie films Best Day Ever and Ron and Laura Take Back America, Swimming with the Polar Bears off-Broadway) takes on the role of dancer, artist and designer James Waring, Herko’s friend and mentor. The cast is rounded out by Los Angeles City College Theatre Academy students Alexandra FiallosJamal HopesTristen KimJackie Mohr, Lamont Oakley, Connor Clark Pascale, Justice Quinn, Savannah RutledgeBrianna Saranchock, Trenton Tabak and Jesse Trout. Frances Loydirects.

Lawlor, who began her career as a dancer, choreographer and actor in New York, was a personal friend of Herko’s.

“I carried around all those memories for a very long time before I finally sat down to write,” she says. “Freddy and I were students of Jimmy Waring together, and we were both involved with the Judson Church, which was at the heart of the downtown dance scene. Freddy was a brilliant talent and good friend to many people. His death shocked us all.”

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Fred Herko, 1964.

Fred Herko (1936-1964) was a central figure in New York’s downtown avant-garde. A musical prodigy, he studied piano at the Juilliard School of Music before switching to ballet at the age of twenty. In 1956 he won a scholarship to study at American Ballet Theatre School and within a few years was dancing with established choreographers including John Butler, Katherine Litz, Buzz Miller, Glen Tetley and James Waring. He was a founding member of Judson Dance Theater, presenting six of his own works in the group’s concerts between 1962 and 1964 and dancing in works by Al Hansen, Deborah Hay, Arlene Rothlein and Elaine Summers. He was a co-founder of the New York Poets Theatre, which staged one-act plays by poets and provided a podium for happenings by Ray Johnson, Allan Kaprow and Robert Whitman; dances by Yvonne Rainer and Trisha Brown; music by La Monte Young, John Herbert McDowell and Philip Corner; and films by Brian De Palma, Stan VanDerBeek and Andy Warhol. Herko starred in seven of Warhol’s earliest cinematic experiments in 1963, including Jill and Freddy Dancing, Rollerskate/Dance Movie and Salome and Delilah. His untimely death in 1964, at the age of 28, robbed New York’s underground scene of one of its most exuberant and versatile performers who was equally at home performing Comb Music by Fluxus composer George Brecht or camping it up in Rosalyn Drexler’s musical comedy Home Movies.

Freddy was always conceived as an off-site project because it requires a larger performance area than what we can offer at the Fountain,” explains Lawlor’s co-artistic director, Stephen Sachs, who is an alumnus of the LACC Theatre Academy. “In addition to sharing their remarkable facility, this collaboration gives Academy students the opportunity to work with professional actors and designers, and it gives us the chance to mentor young people who will become theater artists of tomorrow.”

The creative team for Freddy includes dance and movement director Cate Caplin, scenic designer Tesshi Nakagowa, lighting designer Derek Jones, sound designer Vern Yonemura, costume designer Jillian Ross and props master Amrit Samra. The production stage manager is Jasmine KalraJames Bennett and Leslie Ferreira produce for the Fountain Theatre and LACC Theatre Academy respectively.

Deborah Lawlor began her career as a dancer, choreographer and actor in New York before moving to South India, where she lived for five years. There, she was involved in the initial development of the international township of Auroville and created two full-length outdoor dance/theater pieces celebrating the community. She spent the next ten years in Australia and France studying ancient cultures of India and Egypt and translating several books in these fields from French into English. Returning to the U.S. in 1986, she became deeply involved in the intimate theater scene and, in 1990, she and Stephen Sachs co-founded the Fountain Theatre. Lawlor is responsible for the Fountain’s extensive dance involvement, including the company’s renowned “Forever Flamenco” series. Other dance projects at the Fountain include The Women of Guernica, Lawlor’s flamenco-based adaptation of Euripides’ The Trojan Women, which she also directed, and three full-evening dance-theater pieces which she created and directed: Declarations: Love Letters of the Great Romantics; The Path of Love, which she also directed in South India; and the dance opera, The Song of Songs, with music by Al Carmines. Actor’s Equity Association honored Lawlor with its Diversity Award for her dedication to presenting work at the Fountain that is culturally diverse.

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Deborah Lawlor and Frances Loy

A British director currently living in Los Angeles, Frances Loy creates text-based, ensemble driven work inspired and ignited by the darker experiences of humanity. She has a strong aesthetic towards up-close and intimate theater that puts the audience in the heart of the world created by the actors, and has particular experience in alternative performance spaces and immersive theatrical experiences. Frances was co-founder and artistic director of Theatre Delicatessen, described by Time Out London as “the leading light of pop-up theatre,” and she is artistic director of Ferment Theatre, whose production of Tonight/Jungle was given a New York Times “Critic’s Pick” by Ben Brantley. Frances also creates content for VR 360 films and is currently in pre-production for her first short film.

The Fountain Theatre is one of the most successful intimate theaters in Los Angeles, providing a creative home for multi-ethnic theater and dance artists. The Fountain has won over 225 awards, and Fountain projects have been seen across the U.S. and internationally. Recent highlights include the Fountain’s Citizen: An American Lyric being selected by Center Theatre Group for its inaugural launching of Block Party at the Kirk Douglas Theatre; and grant awards from The Greenberg Foundation, The Shubert Foundation, and a $50,000 gift from Drama-Logue founder Bill Bordy. The Fountain’s most recent production, the world premiere of Building the Wall by Pulitzer Prize-winning playwright Robert Schenkkan, ran for five months and was named “L.A. hottest ticket” by the Los Angeles Times.

Established in 1929, the theater training program at Los Angeles City College is one of the oldest and most respected training programs in the country. It has trained countless numbers of students who have gone on to successful careers in the entertainment industry in acting, directing, casting, production, writing, production coordination, design in lighting, sound, costuming and sets, technical production, technical direction, owners and directors of various theater-oriented businesses and organizations, and numerous technical and costuming specializations. Graduates from LACC have won numerous awards, including recipients of the Academy Award, Emmy Award, Tony Award and Bravo Award. Its teaching excellence has been heralded by the Kennedy Center/American College Theatre Festival, the California Community College Academic Senate, the California Educational Theatre Association, the Los Angeles Community College District, the County of Los Angeles and the City of Los Angeles. Further, the Los Angeles Drama Critics Circle gave LACC a special award for “maintaining consistently high standard of programming and production.”

More Info/Get Tickets

Students see hit political play at the Fountain discover “we must make the change we want to see in the world”

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Teacher Alan Goodson introduces his college students to the Fountain Theatre. 

They come to the Fountain Theatre each semester to experience the power of meaningful plays about urgent social and political issues performed in an intimate setting.  For teacher Alan Goodson and his college students at Fashion Institute of Design & Merchandising, the ongoing visits to the Fountain have become a pilgrimage they look forward to making. Not only are the young people enriched by seeing new plays that move and inspire them, they enjoy the opportunity to personally engage with the professional actors following the performance.

The student visit was made possible by Theatre as a Learning Tool, the Fountain Theatre’s educational outreach program that makes live theatre accessible to young people throughout Southern California. 

The FIDM students arrived at the Fountain on August 11th to see our smash hit world premiere of Building the Wall by Pulitzer Prize and Tony Award winning playwright Robert Schenkkan.  They then chatted with actors Victoria Platt and Bo Foxworth.

Returning back to their classroom, the students wrote essays expressing their thoughts and feelings on seeing the production. Take a look at these excerpts:        

“During the political state our country is currently in, it is very possible that history could repeat itself. It isn’t just a theme in a play, it is real and it is happening. That is why I feel this play is very important and the idea it expressed that we, the citizens of the United States of America, must stand up against the immoral actions of the government. If viewers take anything away from seeing this play, it should be that it could happen here, but don’t let it get that far, stop it before history repeats itself.”

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“It felt as if being an audience member was no different than being a fly on the wall with the two actors. Without a doubt, the play would not have been nearly as effective if it were set in a larger theatre. As an audience member, you felt as if you were watching a real interview take place on your TV screen.”

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“I was able to see the worth in Shenkkan’s exaggeration in comparison to how someone may have felt during WWII, and see that it is true, this could happen, even today. History will continue to repeat itself unless we as humans realize the power of unification and take actions to protect ourselves and others.”

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Building the Wall is a play for people who want to gain perspective on the current events that are taking place and could occur in the near future, considering past events that have taken place while an authoritarian leader is in control of a nationalist country. Personally, I appreciated the statement that it conveyed and became more aware of the impact Donald Trump’s place in office has made in the United States. Theater arts are a form of resistance and often give a lesson and theme to the viewers. Building the Wall was a reminder that history can and will repeat itself if the citizens don’t take a stand and show their voice. Hopefully, those that have attended this play, just as I did, will recognize the seriousness of the message that Robert Shenkkan has made and they plan to make their voices heard.”

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“Robert Shenkkan’s Building the Wall could not have been made into a play at any other better time. People need to go watch his play and see for themselves a visual experience of what America could be headed for under Trump’s presidency.”

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“This performance is set in place to heighten our collective vigilance as a society, allow us to determine wrong from right, empathize, and to take action as citizens of the United States of America. In the closing remarks, we are informed that, included in the playbill, provided by the Fountain, is a call to action, a postcard, stamped and addressed to our dear leader, Mr. Donald Trump, leaving the viewer to decide for themselves what the right thing to do is. This production in itself makes a statement and warning, the postcard is an added confirmation that we have the power to do something, as a governed group and as individuals, and if that is not a defined statement of passion and concern for citizens, then I’m not sure what is.”

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 “It is common to say that the past is often repeated in the future. Robert Shenkkan took the past experience of the Holocaust and wrote it into the near future of America under the Presidency of Trump and his concept of deporting immigrants. It may be bold of Shenkkan to take America to the horrible extent of the Nazis, but nothing is impossible. Robert Shenkkan reinforced the significance of everyone’s individual conscience and choices with the concept play, Building the Wall. He promotes resistance against fear, racism, division. The future of our country, according to Shenkkan, “…of course will depend entirely on what you do.”

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Building the Wall was relevant and had audience members thinking. In its understated message, questioning where the current presidency may lead is a concept everyone can relate to, making the content of the play laudable. At first, I saw its comparisons to the Nazi regime a bit excessive and not believable, until watching the news recently and seeing the riots taking place in Virginia. Current events have strengthened the credibility of this play.”

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Building the Wall is an excellent drama that I believe will stand the test of time. While the history books are still being written on this time in our modern history, we must be able to understand the situation we are in while we are in it. We must make the change we want to see in the world.”

Final 2 performances of Building the Wall are this weekend, Aug 26 & 27. Get Tickets