Recent Blog Posts
- Fountain Theatre nominated for two Los Angeles Drama Critics Circle Awards
- NEW VIDEO: A backstage look behind the scenes of ‘Hype Man’ at Fountain Theatre
- VIDEO: What is hip hop?
- Celebrity reading of ‘MS. SMITH GOES TO WASHINGTON’ at LA City Hall is “awe-inspiring”
- Meet the young cast of the West Coast Premiere of ‘Hype Man’ at Fountain Theatre
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Category Archives: Music
What is hip hop? A genre of music? A style of clothes? A way of life? Take a look.
In this West Coast Premiere of HYPE MAN by Idris Goodwin, a hip-hop trio is on the verge of making it big on national TV when a police shooting of a Black teen shakes the band to its core, forcing them to confront questions of race, gender, privilege and when to use their art as an act of social protest. When the Hype Man takes matters into his own hands, the ensuing beef exposes the long-buried rifts of race and privilege that divide them. Will it tear them apart or can they find a way to still breathe together?
Written by Idris Goodwin. Directed by Deena Selenow. Starring Chad Addison, Matthew Hancock, Clarissa Thibeaux. Starts Feb 23.
Three young actors. Different personal backgrounds. A trio of distinct professional credits in stage, TV and film. Somehow, under guidance from director Deena Selenow, they must instantly create a close bond to portray a rocketing hip hop band on the brink of national attention in the Fountain Theatre West Coast Premiere of Hype Man by Idris Goodwin, opening February 23.
Meet the talented cast of this funny, powerful and thought-provoking new “break beat play” the Boston Globe describes using “hip hop culture as a crucible where issues of racial identity, gender inequity, ambition, and friendship collide.”
Originally from outside Boston, Chad Addison has been in LA for 13 years. He’s excited to be working in his first play with The Fountain Theatre and to be able to dive into such a poignant piece of art. Music has always been a passion for him, so it’s an honor to combine the two in such a way. He was last seen on stage in the play Connect at Theatre 68. Aside from theater, he’s been pursuing TV/Film. Some notable credits include FOX’s 9-1-1, Most Likely to Die (on Netflix), NCIS: New Orleans, Grimm, Grey’s Anatomy & Bones. He was also a producer/actor on the independent film Paint It Red, which is now streaming on demand.
Matthew Hancock is excited to be back at the Fountain. Favorite theatre credits include: the Los Angeles premiere of the NAACP and Ovation Award nominated The Brothers Size (Oshoosi), I and You (Anthony), Trans Scripts (Zakia). Matthew has recurred on I’m Dying Up Here (Showtime), Emmy Nominated Giants (Youtube), Five Points (Facebook Watch). In addition, he has appeared in Snowfall (FX) and Prince of Peoria (Netflix) While not on the stage or in front of the camera, Matthew enjoys musical endeavors as Michael Siren. He is a LA Drama Critics Circle, Stage Raw award winner and Ovation Nominee for Hit the Wall (Carson). Matthew holds a BFA from Adelphi University (cum laude). To his incredibly supportive Family, Thank you. Follow Matthew on Instagram: @imatthewhancock.
Clarissa Thibeaux is an LA based actor/writer/producer working in television, film, theater, and new media. You can catch Thibeaux in Marvel’s Runaways as Xavin on Hulu. Previously, you may have seen Thibeaux in Echo Theatre Company’s production of The Found Dog Ribbon Dance as Trista, or in the horror films Flight 666, and Ice Sharks. She graduated with her B.A. in Theatre Arts from San Diego State University. Thibeaux currently resides in West Hollywood, CA enjoying every opportunity that comes her way.
Last night, the company of actors, director, design and production team for our upcoming West Coast Premiere of Hype Man gathered together for the exciting first rehearsal. After filling out paperwork and planning schedules, the cast read the script and the award-winning “break beat play” by Idris Goodwin came to life.
Social injustice, racial identity, gender inequity, career ambition and friendship converge — and collide — in Hype Man, directed by Deena Selenow.
Hype man Verb, played by Matthew Hancock (The Brothers Size, I and You at the Fountain, Honky at Rogue Machine, LADCC and Stage Raw awards for Hit the Wall), has been backing up front-man rapper Pinnacle (Chad Addison, seen in Connect, The Perfect Crime, My Plastic Girlfriend and more at Theatre 68) since they were kids. Adding beat maker Peep One (Clarissa Thibeaux of Echo Theater Company’s The Found Dog Ribbon Dance) to their group sparked a flame, and now the interracial trio is flexing serious hip-hop muscle. But when an unarmed black teenager is shot by police, it forces the group to navigate issues of friendship and race.
Opening night is set for a Feb. 23, with performances continuing through April 14.
We put an old piano out front on the sidewalk hoping someone would take it. Instead, people in the neighborhood are playing it. This guy from NY was driving by, saw the piano on the sidewalk, got out of his car, and began to boogie.
By Dave Eggers
This White House has been, and is likely to remain, home to the first presidency in American history that is almost completely devoid of culture. In the 17 months that Donald Trump has been in office, he has hosted only a few artists of any kind. One was the gun fetishist Ted Nugent. Another was Kid Rock. They went together (and with Sarah Palin). Neither performed.
Since his inauguration in January 2017, there have been no official concerts at the White House (the Reagans had one every few weeks). No poetry readings (the Obamas regularly celebrated young poets). The Carters began a televised series, “In Performance at the White House,” which last aired in 2016, where artists as varied as Mikhail Baryshnikov and Patricia McBride performed in the East Room. The Clintons continued the series with Aretha Franklin and B. B. King, Alison Krauss and Linda Ronstadt.
But aside from occasional performances by “The President’s Own” United States Marine Band, the White House is now virtually free of music. Never have we had a president not just indifferent to the arts, but actively oppositional to artists. Mr. Trump disparaged the play “Hamilton” and a few weeks later attacked Meryl Streep. He has said he does not have time to read books (“I read passages, I read areas, I read chapters”). Outside of recommending books by his acolytes, Mr. Trump has tweeted about only one work of literature since the beginning of his presidency: Michael Wolff’s “Fire and Fury.” It was not an endorsement.
Every great civilization has fostered great art, while authoritarian regimes customarily see artists as either nuisances, enemies of the state or tools for the creation of propaganda. The Soviet leader Nikita Khrushchev asserted that “the highest duty of the Soviet writer, artist and composer, of every creative worker” is to “fight for the triumph of the ideas of Marxism-Leninism.”
When John Kennedy took office, his policies reacted against both the Soviet Union’s approach to the arts and that of Joseph McCarthy, who had worked hard to create in the United States an atmosphere where artists were required to be allegiant and where dissent was called treason. Pivoting hard, Kennedy’s White House made support of the avant-garde a priority. The artists Franz Kline and Mark Rothko came to the inauguration, and at a state dinner for France’s minister of cultural affairs, André Malraux, the guests included Arthur Miller, Tennessee Williams, Robert Lowell, Geraldine Page and George Balanchine. Kennedy gave the Spanish cellist Pablo Casals, who had exiled himself to France and then Puerto Rico to protest Franco’s fascism, a forum in the East Room. Casals had performed in the White House once before, at the young age of 27. Now 84, and a man without a country, he played a mournful version of “The Song of the Birds.”
It’s crucial to note that the White House’s support of the arts has never been partisan. No matter their political differences, presidents and artists have been able to find common ground in the celebration of American art and in the artists’ respect for the office of the presidency. This mutual respect, even if measured, made for the occasional odd photo-op. George H. W. Bush met Michael Jackson, who wore faux-military garb, including two medals he seemed to have given himself. Richard Nixon heartily shook the hand of Elvis Presley, whose jacket hung over his shoulders like a cape.
George W. Bush widened the partisan rift, but culturally, Mr. Bush — the future figurative painter — was open-minded and active. He met Bono in the Oval Office. He hosted a wide range of musicians, from Itzhak Perlman to Destiny’s Child. He was an avid reader — he maintained a long-running contest with Karl Rove to see who could read more books in a year. Laura Bush has long been a crucial figure in the book world, having co-founded the Texas Book Festival and the National Book Festival in Washington, now one of the country’s largest literary gatherings.
But perhaps no Republican could match the presidency of Ronald Reagan, whose guest list was a relentless celebration of the diversity of American culture. He and Nancy Reagan hosted Lionel Hampton. Then the Statler Brothers. Then Ella Fitzgerald. Then Benny Goodman. Then a night with Beverly Sills, Rudolf Serkin and Ida Levin. That was all in the fall of 1981. The Reagans did much to highlight uniquely American forms, especially jazz. One night in 1982, the White House hosted Dizzy Gillespie, Chick Corea and Stan Getz. When Reagan visited Mikhail Gorbachev in Moscow in 1988, he brought along the Dave Brubeck Quartet.
But that kind of thing is inconceivable now. Admittedly, at a time when Mr. Trump’s policies have forcibly separated children from their asylum-seeking parents — taking the most vulnerable children from the most vulnerable adults — the White House’s attitude toward the arts seems relatively unimportant. But with art comes empathy. It allows us to look through someone else’s eyes and know their strivings and struggles. It expands the moral imagination and makes it impossible to accept the dehumanization of others. When we are without art, we are a diminished people — myopic, unlearned and cruel.