Category Archives: Arts

As summer ends, what’s next for Fountain intern Annie Barker?

Annie Barker last day Aug 2017

Annie Barker

by Annie Barker

Time is a strange thing. It feels like just days ago I made myself at home at my little desk (so conveniently located next to the air conditioning unit). Yet, at the same time I feel like I’ve been a member of the Fountain Theatre family for months. After ten weeks of commuting everyday from Westchester, five podcasts, and too many laughs, my time as the Fountain Theatre’s Production Intern is coming to a close.

There is no typical day at the Fountain. Some days I spent coordinating groups from Create Now! and A Place Called Home to join us for Building the WallOther days I had my nose in scripts, reading and evaluating over ten plays this summer. The best part about working with the Fountain was that I could be in every aspect of the theatre. As a result, I developed a stronger understanding of not just one thing, but a million things.
Before working at the Fountain, I understood the importance of outreach but did not know how to utilize all of the resources available. While working with Barbara Goodwill (Director of Development), I quickly figured out how to take advantage of these resources. This summer, I also worked with James Bennet (Associate Producer) on casting our world premiere collaboration with LACC, Freddy. 
However, the most important thing I gained from this experience was a family. The people who work at the Fountain are some of the most inspiring and hardworking people I’ve had the opportunity to work with. I never felt as if I was just an intern, rather an integrated part of the work environment. I feel blessed, as many college interns don’t find that in their internships. 
 
Something that really added to my experience was the additional programming with my peer group of interns. Led by Jessica Hanna of the Bootleg Theater, we had two jam-packed days of exploring Los Angeles and its art scene. As an out of state student, I had the opportunity to fully dive into the arts scene. Between tours of various performance spaces, MOCA, the Last Book Store, and the Ace Hotel & Theatre, I found inspiration in the city that I’ve called home for the past three years. While meandering through the rooms at MOCA, I came across a painting by Edward Ruscha entitled “FOUNTAIN, SUNSET, HOLLYWOOD.” While the painting may come across as simple, it made me think about the opportunities I had at this little theatre on Fountain Avenue. While my goal may not be Hollywood, the Fountain is a springboard into a lifetime of creative opportunities. 
Hollywood Fountain
 
What comes next? Well, after enjoying two final weeks of my summer, I start my senior year at Loyola Marymount. I dive right back into theatre as the assistant director for our fall musical, Runaways. I will also be working on my senior thesis project by directing (and producing) Ruby Rae Spiegel’s Dry Land, which goes up in December. Needless to say, I’m looking at a very busy semester. My summer at the Fountain has provided me the skills to confidently tackle this semester. Long term, I am applying for directing fellowships across the country and down the road, earning my MFA in Directing. While I might not be the Fountain’s Production Intern, I know that my home and place at the Fountain will remain for years to come. Who knows–maybe I’ll be directing here someday! I want to thank LA County Art’s Commission for making this internship possible and all of the staff of the Fountain who invited me into their family. This summer was truly inspiring. 
The Fountain Theatre thanks the Los Angeles Board of Supervisors and the LA County Arts Commission for their support through the Summer Arts Internship program. 

Next at the Fountain: Powerful world premiere ‘Runaway Home’ is a poetic mother-daughter tale set in New Orleans

RUNAWAY HOME title image

Sometimes what you’re searching for is right where you started. The Fountain Theatre presents a powerful, funny and deeply moving mother-daughter story by Jeremy J. Kamps. Multiple award-winning Shirley Jo Finney returns to the Fountain to direct the world premiere of Runaway Home for a Sept. 16 opening.

Three years after Hurricane Katrina, the unhealed wounds of New Orleans’ Lower 9th Ward continue to fester. Camille Spirlin (ABC’s American Koko, Fox TV’s Rosewood, Nickelodeon’s Marvin Marvin) stars as 14-year-old runaway Kali. Rhyming, stealing and scamming her way through the still-destroyed neighborhood, she embarks on a journey to pick through the wreckage of what used to be her life. While the rest of the country’s attention drifts, the neighborhood’s residents are left to repair the damage from the inside out. As their attempts at renewal leave a path of destruction in their wake, Kali bears witness to what the floodwaters left behind. Also in the cast are Leith Burke (Citizen: An American Lyric at the Fountain,Neighbors at the Matrix), Jeris Lee Poindexter (The Darker Face of the Earth, Central Avenue, Gem of the Ocean at the Fountain),Armando Rey (Men on the Verge of a His-panic Breakdown at Macha Theatre), Maya Lynne Robinson (In the Red and Brown Water at the Fountain – LADCC Award, Best Ensemble), Brian Tichnell (Dream Catcher at the Fountain, HBOs Silicon Valley, L.A. Theatre Works’ national tour of The Graduate) and Karen Malina White (Citizen: An American Lyric and The Ballad of Emmett Till – Best Ensemble LADCC and Ovation Awards – at the Fountain, currently in As You Like It at Antaeus).

“This play couldn’t be more timely,” says Fountain co-artistic director Stephen Sachs. “Hurricane Katrina may have ceased in 2005, but the storm of racism, poverty and class inequality rages on in our country to this day. We need look no further than Flint, Michigan, to see systemic government prejudice against citizens of color and the poor. But as Jeremy’s play so beautifully demonstrates, the bonds of family and community will weather any storm.”

When Kamps traveled to New Orleans two years after Katrina to volunteer “gutting and mucking” (stripping homes to the studs to remove mold), he had been teaching middle school in Connecticut. He already had an idea in his head about a runaway girl who collects other people’s garbage, finding meaning in the meaningless.

“Kali’s world paralleled the displacement, hope for renewal, fracture and resilience I was seeing in the social-political reality of the Lower 9th Ward,” he explains. “Whenever a character’s inner life and experience are so congruent with an important social issue, that’s the story I want to write.”

While in New Orleans, Kamps met Antoine, a man in his ‘70s who had just returned to what had been his family’s home for generations. Antoine was going from house to house trying to trace relatives, friends, acquaintances and neighbors, to find out what had happened to them in the years since the storm. “His friendship helped me honor the stories of this community in a truthful way — to see the past, present and future of the Lower 9th through their eyes,” says the playwright.

According to Finney, “Because the media painted them as poor and impoverished, most people don’t realize that the residents of the Lower 9th were working class homeowners. Those homes had been in families for generations. Members of the community were expecting government funds so they could rebuild, but because of red tape and bureaucracy, the money never came, or it took so long that people had to end up using it for rent or just to eat.”

“The mother-daughter relationship becomes the pivotal heart space in this story about this community,” she continues. “The play is very funny because Kali is so spirited, but the rage, helplessness and loss that Kali and her mother share are the core of the play. That is the challenge they both struggle with to find their way back to each other and home. What happens to people when they aren’t seen, when they don’t feel safe? How do you begin to rebuild your life when nobody cares?”

Jeremy Kamps’s plays have received awards and recognition including the William Saroyan Human Rights Award Finalist (2016); Page 73 Semi-Finalist (2017); Ruby Lloyd Apsey Award (Gutting); The Goldberg Prize; Woodward International Playwriting (What It Means To Disappear Here); Hudson Valley Writers Center and the NYU Festival of New Works (Water Hyacinth). His play Breitwisch Farm will be produced by Esperance Theater Company in NYC later this year. Recent productions include Gutting, presented by the National Black Theatre of Harlem and What It Means To Disappear Here (Ugly Rhino, NYC). His work has been produced/developed with Esperance Theater Company, Company Cypher at the National Black Theatre of Harlem, Ugly Rhino, Dixon Place, Hudson Valley Shakespeare, The Amoralists and New York Theatre Workshop. His fiction has been published in The Madison Review and The Little Patuxent; has been honored with the H.E. Francis Award, the Howard/John Reid Fiction Prize and was a Lamar York Prize finalist; and has been recognized in Glimmertrain, Inkwell, The Caribbean Writer and New Millenium. He is a member of the Emerging Writers Group at the Public Theater. Also an educator and activist, Jeremy has lived and worked for lengthy periods of time in Latin America, India and East Africa, where he focused on support and empowerment for former child soldiers, displaced peoples and child rights. He recently received the Theatre Communications Group “On the Road” grant to return to Kenya where he conducted drama workshops as part of his research for a new play on flower farms. He has facilitated drama and writing workshops around the world and for all ages. He has an MFA in Dramatic Writing from NYU Tisch School of the Arts.

Shirley Jo Finney has previously directed acclaimed Fountain productions of Citizen: An American Lyric (selected for CTG’s first annual Block Party at the Kirk Douglas Theatre) The Brothers Size, In the Red and Brown Water (for which she earned her second Ovation award), Heart Song, The Ballad of Emmett TillYellowman, Central Avenue and From the Mississippi Delta.  Her work has been seen at the McCarter Theater, Pasadena Playhouse, Goodman Theater, Alabama Shakespeare Festival, Cleveland Playhouse, L.A. Theatre Works, Crossroads Theater Company, Actors Theater of Louisville Humana Festival, Mark Taper Forum, American College Theatre Festival, Kennedy Center for the Performing Arts and at 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. For television, she directed several episodes of Moesha, and she garnered the International Black Filmmakers ‘Best Director’ Award for her short film, Remember Me.She is the recipient of the African American Film Marketplace Award of Achievement for Outstanding Performance and Achievement and leader in Entertainment.

The creative team for Runaway Home includes scenic designer Stephanie Kerley Schwartz, lighting designer Jennifer Edwards, composer/sound designer Peter Bayne, costume designer Naila Aladdin Sanders, props designer DeAnne Millais, choreographer TylerJanet Roston and dialect coach Tyler Seiple. The production stage manager is Jessaica Shields; associate producer is James Bennett; and Stephen SachsSimon Levy and Deborah Lawlor produce for the Fountain Theatre.

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 being honored for its acclaimed 25th Anniversary Season in 2015 by Mayor Eric Garcetti and the Los Angeles City Council; the 2014 Ovation Award for Best Season and the 2014 BEST Award for overall excellence from the Biller Foundation; the inclusion of the Fountain’s Citizen: An American Lyric in Center Theatre Group’s upcoming Block Party at the Kirk Douglas Theatre; and the naming of seven Fountain productions in a row as “Critic’s Choice” in the Los Angeles Times. 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.

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Aerospace Engineer and theatre lover Ejike Ndefo joins Fountain Board of Directors

Ndefo CITIZEN opening night 2015

Ejike and Victoria Ndefo, Stephen Sachs, Opening Night ‘Citizen: An American Lyric’

The Fountain Theatre is pleased to welcome retired Aerospace Engineer Ejike Ndefo to its Board of Directors. Ejike and his wife, Victoria, are avid theatre lovers, and have been part of The Fountain Family for more than fifteen years.

“Victoria and I have been residents of Los Feliz for more than 30 years,” says Ndefo. “We love theatre and we fell in love with The Fountain Theatre the first time we saw a play there about 15 years ago.”

What was it about the Fountain that caught their eye and captured their hearts?

“We are continually impressed by the originality and quality of the plays at the Fountain, as well as the intimate environment,” he explains. “As such, The Fountain is a great place to see the plays of great writers.  We will be remiss if we do not mention the professionalism and friendliness of The Fountain staff. They have always been gracious.” 

Ejike NdefoEjike graduated from the University of California, Berkeley with a doctorate in Mechanical and Aerospace Engineering.  While he was at the University of California, Berkeley, Ejike played a major role in the travelling theatre group raising money in support of the humanitarian effort in the Nigerian-Biafran war.  He worked in several Aerospace companies including Northrop Corporation, TRW, and The Aerospace Corporation on such programs as Space Defense Initiative, Space Shuttle, and design of large rockets for launch of spacecraft and satellites.  He retired as the Director of Fluid Mechanics Department from The Aerospace Corporation in August 2015 after forty one years.  For the past two years, Ejike has served as a member of the Board of Trustees of Normandie Church of Christ, Los Angeles.

“It’s deeply gratifying when a longtime Fountain supporter like Ejike chooses to assume a role of leadership by joining our Board of Directors,” says Co-Artistic Director Stephen Sachs. “We share a love of the Fountain and a commitment to creating meaningful theatre for the city of Los Angeles. Ejike joins our Board at a pivotal time as we look forward and seek to broaden and enhance our artistic service to the community. ”  

A passion for theatre and baseball

Dodger_Stadium_Panoramaby Stephen Sachs

The red-hot Dodgers are the best team in baseball right now. They have a MLB leading record of 66 and 29, have won 11 in a row, and their current 30-4 run is now entering historic territory. They are the first National League team to achieve a run of this dominance since the 1936 Giants. This is a great year to be a Dodger fan. 

This is also a great season to be a theatre fan. In regional theaters across the country and on Broadway, thought-provoking and powerful new plays are being developed and produced to illuminate the urgency of our times. Right here in Los Angeles, theatre has never been better. 

My passion for both theatre and baseball were ignited at an early age and remain heated to this day.  I am dedicated to both as a lifetime commitment, a sacred calling. America’s Pastime and The Great Invalid both require a fierce devotion, unyielding faith, a resilience to overcome disappointment, and the joyful capacity to celebrate excellence. To quote ABC’s Wide World of Sports, theatre and baseball each contain “the thrill of victory and the agony of defeat.”   

Granted, not every aspect of baseball and theatre are identical. In the theatre, only critics, pen and notepad in hand, keep score of the players as the action unfolds. Unlike baseball, a theatre audience does not stand en masse three-quarters into the play to sing, “There’s No Business Like Show Business.” Yet, one can’t help but see similarities between baseball and professional theatre.

  • In both theatre and baseball, the crowd gathers together in a common place to engage in a live, shared dramatic experience.
  • Theatre and baseball can happen anywhere, indoors and outdoors, in settings large and small. On neighborhood streets, in city parks, and in grand municipal buildings.  
  • A baseball game and a stage play both have a beginning, middle and end escalating toward a final resolution in which the dramatic question “who will win?” is ultimately answered.
  • A stage play and a baseball game are driven by the same engine: conflict. Both have good guys and bad guys, heroes and enemies, humor, action, spectacle,  courageous deeds and foolish gaffes, turns of direction and a climax resulting in either a sad or happy ending.
  • Both theatre and baseball require teamwork and collaboration. We focus on the players in front of us but there is a huge staff of unseen professionals behind the scenes who make the whole experience possible.
  • Theatre and baseball require years of training and a tremendous amount of practice. Contrary though it may seem, on the field and on the stage, repetitive drilling frees the player so he can let go and perform spontaneously, alive in the moment.
  • A baseball team, like a cast of actors on stage, are both an ensemble who not only play well together but must also rely on the skill of lead players.
  • Theatre and baseball are romantic. We idolize our favorite stars on stage and on the field. We swap stories about our favorite memories, spin yarns, follow careers of favorite players, share legends, recall highlights and laugh (or agonize) over famous flops.
  • Baseball and theatre savor a rich and colorful history, a reverence for tradition, and eccentric superstitions.  
  • Stage plays and baseball games are made of moments. A great baseball game and a powerful play can each have the power to contain that one unforgettable moment — that one crystallized instant of perfect artistry, of joyous elation or agonizing heartbreak that sears itself into your soul forever. You remember it, that baseball play or that moment on stage,  for the rest of your life.

My family video of the seventh-inning stretch at Dodger Stadium. 

In baseball and theatre, we invest ourselves in the live dramatic event that is unfolding in front of us in real-time. We watch the struggle of other human beings engaged in dramatic conflict and care deeply about their outcome. Who will perish? Who survive?

As to survival, both theatre and baseball have been assailed as dying art forms for years. Both suffer from a decreasing appeal to young people, while viewership for both are getting older. Baseball games and dramatic plays are too slow and too long for this new generation raised on TV and video games. 

Even so, my stat-obsessed sport tells me this: Live attendance to Major League Baseball games each year outnumber both NFL and NBA games combined, nationwide.  Likewise, attendance for live theatre across the country is on the rise. These facts give me hope and tell me one thing. In this digital age, human beings still crave a fundamental need to assemble together in a shared public event that brings thought, drama, spectacle and enhances their lives.

Batter up. And “places for the top of Act One”.     

Free play reading of powerful new play ‘We Will Not Be Silent’ Thurs July 20 at 7pm

We Will Not Be Silent imageThe Fountain Theatre is hosting a free reading of the powerful new play, We Will Not Be Silent, on Thursday, July 20 at 7pm. Written by David Meyers and directed by Cameron Watson, the cast for the reading features Steven Culp, Jim French and Elizabeth Lanier. Recently presented at the Contemporary American Theatre Festival, BroadwayWorld applauded the play as “gripping” and DC Theatre Scene hailed it as “superb.”

The true story of Sophie Scholl, a German college student who led the only act of public resistance to the Nazis during World War II, David Meyers’ play examines the moral strength and clarity that led a group of students to risk their lives for a righteous, but hopeless, cause.

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The Fountain offers the free staged reading as an adjunct to its currently running production of Building the Wall.

Free to the public. Reservations necessary. (323) 663-1525 or click here.

Fountain Theatre intern Annie Barker: Artists are the gatekeepers of truth

Annie at County Intern event June 2017

Annie Barker with fellow interns at LA County Arts Intern Summit.  

by Annie Barker

This past week, I left my desk at the Fountain Theatre to join my fellow interns at the Los Angeles County Arts Commission Summer Intern Summit. During this all-day event, I had the opportunity to meet with the over 130 interns that work at different non-proft arts organizations across Los Angeles county. While we come from different schools, backgrounds, and organizations, we are connected through the love of the arts.  This event brings us together for a day of workshops, conversation, tours, and much more.

I started my morning off with two workshops–Creative Organizing: The Role of Art in Advancing Justice Movements and What Happens Next: Advice from Former Interns. In the first workshop, we had the opportunity to talk about how we can use different art forms to voice political and social concerns. This relates perfectly to the Fountain Theatre and our current production Building the Wall. The quote that really resonated with me during this talk was “Artists are the gatekeepers of truth. We are civilization’s radical voice.” I truly believe that at both the Fountain Theatre and beyond, I have the ability to create change through art.

The second workshop helped me understand the possible paths that my career could follow as I look forward to my senior year. A double major in English and Theatre, I often worry about my future. Through this workshop, my worries were put to ease with simple advice from Center Theatre Group‘s Camille Schenkkan. At the time, her career path seemed aimless. However, this is the time in one’s life that one must do and try everything. It is through the not knowing that you find your path.

After lunch with some of the other LMU interns (they are SIX of us) and some dancing led by CONTRA-TIEMPO, we headed out to tour different arts spaces in Santa Monica. Through the afternoon, we explored City Garage Theatre, Highways Performance Space, and the 18th Street Arts Center. Originally from Portland, I am still learning about all of the different venues around LA. It is so inspiring to see different artists in their element and home, creating work that they are proud of.

While the day was jam-packed with activity, I left The Broad Stage feeling more inspired and excited for the next six weeks of my internship. While the commute can get long sometimes and early mornings are not my thing, my position with Fountain Theatre and the LA County Arts Commission cannot be traded for anything in the world. Not only am I learning the skills needed to work in non-profit theatre, I am working with people who love the work they do. Everyday, I get to go to an office with people who not only love theatre, but they work to create change through this beautiful, crazy art form. Here’s to another six weeks of adventures with my family here at the Fountain Theatre.

This internship is sponsored by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission

From Schenkkan to Shakespeare, the same urgent warning

BUILDING THE WALL prod photo VP 2

Victoria Platt and Bo Foxworth in ‘Building the Wall’

By Stephen Sachs

One play was written more than 400 years ago, the other last October. Both written by playwrights worried about the future of their countries. One author took months to pen his work, the other took one week.  One writer has been dead 400 years, one is very much alive, chronicling the current political crisis of his time with a dire new play now playing on our Fountain stage. Both authors and their plays have been in the news in recent weeks, igniting a firestorm of national conversation on the role of theatre to express political outrage, and its fundamental right and responsibility to do so. The Fountain Theatre is a voice in that debate. 

As many know, The Public Theater’s production this month in New York of Shakespeare’s Julius Caesar drew fire from Right-Wing Conservatives for its depiction of the ruler as a petulant Trump-like politician with blondish hair and a sullen Slavic wife.  Outrage from Conservatives targeted the play’s depiction of Caesar’s assassination, missing the larger meaning of the play, as if director Oskar Eustis was advocating the killing of the current president. Delta Airlines and Bank of America withdrew their corporate sponsorship. Right-Wing groups hired demonstrators to picket the venue and harass theatergoers. Protesters heckled the live performances and wildly stormed the stage to stop the play mid-show. The demonstrators’ feeble attempts may have halted a performance momentarily but, in each instance, the show went on. If anything, it drew national focus to the very thing it schemed to suppress. Art cannot be stopped.

Most discouraging to me, the National Endowment for the Arts, a federal agency that hails itself as providing all Americans with diverse opportunities for arts participation, distanced itself from the production by releasing a statement declaring that NEA funds were not used to support this staging of Julius Caesar. An ironic stance for a federal arts agency whose very existence Trump has vowed to destroy.

Julius CaesarBy William Shakespeare Directed by Oskar Eustis Featuring Tina Benko (Calpurnia); Teagle F. Bougere (Casca); Yusef Bulos (Cinna the Poet); Eisa Davis (Decius Brutus); Robert Gilbert (Octavius); Gregg Henry (Caesar); Edward James Hyland (Lep

‘Julius Caesar’ at The Public Theater, NY

Meanwhile, on the other side of the country, the Fountain Theatre has been running our sold-out world premiere of Robert Schenkkan’s new play, Building the Wall. It is a riveting drama set in the near future exposing the vulnerability of one man caught up in the horrific unraveling of Trump’s anti-immigration policies.  Robert and I knew the play would generate some interest from the press. Neither of us anticipated the avalanche that has ensued. We’ve been bombarded by interview requests from everywhere. The play and the Fountain production were featured in national news outlets across the country, like the New York Times, the Washington Post, the Wall Street Journal and TIME magazine. Plus international coverage in the UK and France. “Theatre in the Age of Trump” is now suddenly a hot topic.

untitledThe Public Theater’s production of Julius Caesar and the Fountain Theatre’s production of Building the Wall coincided this month.  Newspapers on both coasts featured stories on both productions, with Oskar Eustis and Robert Schenkkan speaking out boldly for not only the right, but the necessity of freedom of speech and unrestricted artistic expression in this country.  The subject of ‘The Politics of Theater’ became a significant Arts cover feature in last Sunday’s Los Angeles Times.     

The Right-Wing protesters who stormed the outdoor Delacorte Theatre in Central Park no doubt never read Julius Caesar and certainly knew little about it. They focused on the killing of the king, unaware of the greater warning the tale foretells: Beware when you get what you want. A tyrant in power mandated to save the republic can lead to the destruction of the very republic he vows to protect. Shakespeare demands us to recognize that more than a ruler is assassinated in this tragedy. It is democracy itself that is murdered.

Julius Caesar and Breaking the Wall expose the same fatal wound within ourselves. Our susceptibility to become what we hate. Rick’s slow and seamless transformation in Building the Wall, from well-meaning Trump follower to death camp superintendent is so nightmarish and appalling because it seems somehow plausible. This is how Schenkkan and Shakespeare caution us. This dark truth is perfectly crystalized by Shakespeare when Cassius warns, “The fault, dear Brutus, is not in our stars, but in ourselves.” It is not fate, but weakness of character that forces a person to act against his will.

RS in FT rehearsal March 2017

Playwright Robert Schenkkan in rehearsal, Fountain Theatre

“The danger is always giving over your moral calculus to the state,” Robert Schenkkan has said. Fighting a tyrant does not mean imitating him. Julius Caesar no more advocates the killing of a king than Building the Wall promotes the mass detention and extermination of immigrants. Neither play is about genocide or the murder of a tyrant. Each is about the killing of social and political order, played out in the souls of specific human beings. Building the Wall is a razor-sharp two-character play that takes place in one room. Two people in extreme close up.  

Shakespeare based his play Julius Caesar (some say he stole entire sections of it) from Plutarch’s biography of the ruler. Of his examination Plutarch said, “It is not histories I am writing, but lives.”

Plays, too, are about lives, not ideas. Good plays, plays that matter and live forever, have compelling themes and thought-provoking viewpoints and concepts but they are told through the dramatization of human lives. The power of Building the Wall lies in how it puts a human face on the inhuman. It reveals the dichotomy of opposites alive in one man: the wish to do what is right versus the inability to see, and speak out against, what is wrong.   

For all of us at the Fountain Theatre, Building the Wall is more than a play. It is a defining moment, one of many that help set our compass as a company and as artists. Who are we? Why do we do what we do? What is our service, our responsibility, to the community, to our nation?   

This administration fears artists for the same reason it has banned TV cameras from live press briefings. It is terrified that the American people will see the truth. Our role as theatre artists, like that of a free press, is to be truth-tellers.  And to fight for the freedom to speak it, through art.

I am so proud that the Fountain Theatre took the stand of leadership in launching Robert’s new work, and that it continues to ignite this firestorm of conversation, artistic soul-searching and journalistic examination.  That our world premiere production is not only still running after four sold out months but has been extended through August is a testament to its urgent necessity and the overwhelming will expressed by our audiences to engage. 

When art and politics collide like this on a local and national level, theaters like ours, and the art we create, become indispensable not only to our city, but our nation. 

Stephen Sachs is the Co-Artistic Director of the Fountain Theatre, Los Angeles.