Category Archives: new plays

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.

Get Tickets/More Info

New Casting Update: Seeking black actress for world premiere of ‘Runaway Home’ at Fountain Theatre

RUNAWAY HOME title imageUPDATE: The Fountain Theatre is casting for its upcoming world premiere production of Runaway Home by Jeremy J. Kamps, directed by Shirley Finney. Much of the cast is in place. The Fountain is still seeking the following supporting roles:

[SHANA] 35-45, Black, female. The unofficial “mayor” of the Lower 9th Ward in New Orleans. Moral courage, brash exterior, soft interior, lives by high standards of truth, courage and morality and expects the same from others, loyal and on the flip side, holds grudges, can be stubborn and judgmental, but 100% reliable to be the foundation, indefatigable, righteous in a way that sometimes bleeds into not being realistic. 

STORYLINE: Set in New Orleans, Lower 9th Ward, three years after Hurricane Katrina. In this funny and deeply moving story, 14 year-old Kali embarks on a journey. Rhyming, stealing, and scamming her way through her still-destroyed neighborhood, engaging the lively folk who remain and running from her worried mother, Kali picks through the wreckage of what used to be her life and is forced to confront the cost of moving forward and embrace the loving power of family.

In addition still casting:

[ARMANDO] 35 to 45 years old, Mexican male. Owns and runs the small local store in the Lower 9th Ward, New Orleans. Has two daughters in Mexico. Guarded, vulnerable, empathetic, longing, wistful, independent, self-sufficient, courageous, inner-turmoil, soft but with a temper. He offers Kali a job in his store, trying to help the young runaway girl, which leads to a harrowing but hopeful end.

Rehearsals start August 7th. The production opens September 16th and runs to November 5th.  The Fountain Theatre operates under the new AEA 99 Seat Agreement. Auditions will be held next week.  

Email submissions to casting@fountaintheatre.com 

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.

This slideshow requires JavaScript.

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.

Veteran TV producer and showrunner Clifton Campbell joins Fountain Theatre Board of Directors

Clifton Campbell and Kim Academy Awards cropped

Clifton Campbell and his wife Kim at the 2017 Academy Awards. 

“The feeling I get sitting in a theatre just before the houselights fade is one that is very personal for me,” admits TV producer and writer Clifton Campbell. “Excitement for what’s about to unfold. The anticipation of bold ideas told through flawed and deeply human characters promising to take me to a richer understanding of a world outside my own. In that moment, I sit wondering not if this play is ready for me; but if I am ready for this play. For the shared human experience you can only get from live theatre.”

It is clear that the Fountain Theatre is ready for Clifton Campbell. The Fountain is pleased and honored to announce that veteran TV producer, showrunner and writer Clifton Campbell has joined the Fountain Theatre Board of Directors. 

“Cliff is passionate about developing a new program to engage parents who have children wanting to be writers,” says Fountain Co-Artistic Director Stephen Sachs. “He is also committed to building a bridge between the Fountain Theatre and the TV industry. He is eager to guide the forming of new relationships between the Fountain and TV professionals. Cliff is a smart guy with decades of experience as a TV producer, and his heart has never left the theatre. We are thrilled to have him on our Board of Directors.”

Clifton Campbell has enjoyed a career in television spanning more than 30 years. Recently, Clifton was Executive Producer for the TV series Sleepy Hollow.  He was also Executive Producer of White CollarThe GladesProfilerWiseguy, and others. He has partnered with such producers as Steven Spielberg, Stephen J. Cannell, and Michael Mann. 

Clifton was born and raised in Hialeah, Florida. He graduated from Florida State University and moved to Chicago to pursue a career as a playwright.

“The early eighties was an amazing time for theatre in Chicago,” remembers Campbell. “I was witness to ground-breaking new works and game changing productions from companies like Steppenwolf, St. Nicholas, The Goodman, Body Politic, Wisdom Bridge and Victory Gardens, all of whom were leading the charge in a new age of Regional Theatre. The six years I spent in Chicago theatre was the greatest education of my life.”

His work as a playwright caught the eye of producer/director Michael Mann, landing him a writing job on Mann’s TV series Crime StoryClifton‘s writing career took off and escalated to TV producing, but he always remained a theatre guy. He also became a family guy. Clifton and his wife Kim have been married for sixteen years and together have three grown children; Bailey, Jordan and Paige.

“The Fountain Theatre is everything I think of when I remember those incredible days back in Chicago,” says Campbell. “I am proud and excited to be joining its Board of Directors. ” 

Los Angeles shines as a theatre town

ft-jb-aug-2016

The Fountain Theatre in Hollywood

by Stephen Sachs

Hollywood is heralded around the globe as the mesmerizing “movie capital of the world,” yet more plays are produced each year in Los Angeles than major motion pictures. In fact, Los Angeles has more live theaters and creates more theatre productions per year than any other city in the world. More than New York, Chicago or London. That’s right. Los Angeles. Surprised?

Los Angeles is on the rise. You can feel it. LA is ascending to rightfully take its place as a world city. It is already ranked as one of the world’s most economically powerful cities—a center of business, international trade, entertainment, culture, media, and technology. There are 841 museums and art galleries in the area, over 1,000 performance venues. Hollywood is flourishing, undergoing a multi-billion-dollar renaissance of new commercial, residential and cultural development that is transforming the fabled district. 

Theatre in Los Angeles has never been better. It is diverse, vibrant, first-rate—and everywhere. Stretched across an immense terrain of diverse neighborhoods over 469 square miles, you can experience theatre in Los Angeles in every possible setting. From tiny converted store fronts to festive outdoor stages in city parks to Off-Broadway-style intimate houses on trendy boulevards to grand and glittering show palaces—Los Angeles has it all. 

I’ve been a theatre maker in Los Angeles for more than 30 years. Like so many, I was first an actor, a long time ago in a galaxy far, far away. I transitioned to directing plays in 1987, leaving acting behind and never looking back. While building a career as a stage director, I became intrigued by how theatre companies operated. The business side of making art fascinated me. One day, I volunteered to work temporarily in the office at Ensemble Studio Theatre on Oxford Street in Hollywood. Soon I took over as Theatre Manager. In 1990, I worked with Joan Stein and Suzie Dietz at the Canon Theatre in Beverly Hills, where we launched a 16-month run of A.R. Gurney’s Love Letters starring a parade of famous actors, including Ben Gazarra, Gena Rowlands, Christopher Reeve, Whoopi Goldberg, Charlton Heston, Robert Wagner, Matthew Broderick, Helen Hunt, and many more. That same year, I opened the Fountain Theatre with my colleague Deborah Lawlor and embarked on the most meaningful and rewarding journey of my artistic life.

The Fountain Theatre is a charming two-story Spanish-style building on Fountain Avenue in East Hollywood. Originally The Evergreen Stage, it had been a live theatre for more than 60 years. When Deborah and I first walked in and stood on its empty stage, we knew we had found our artistic home. There was something about the place, the cozy atmosphere, how the intimate seating warmly embraced the stage. It felt inviting and electric. We knew magic could happen there. 

The Fountain is now one of a bright constellation of intimate theatres shimmering throughout Los Angeles. This galaxy of small theatres, each singular in their programming, audience and artistic mission, is a construct utterly unique to Los Angeles. There is nothing like it anywhere in the country. LA’s Center Theatre Group, with its Mark Taper Forum and Ahmanson Theatre, form a theatrical nucleus, yet the more than one hundred intimate theatres across the region swirl around it like spirited electrons, each carrying an electric charge that is fundamental for the survival of LA’s overall cultural organism. In Hollywood, Nederlander’s Pantages Theatre prove nightly that there is a vast audience for live performance. 

LA_Music_Center_Mark_Taper_Forum

Mark Taper Forum, Los Angeles

I’ve seen the intimate theatre community in Los Angeles grow from a cluster of what was then called 99-seat “Equity Waiver” theaters in the 1980s to the vast network of hundreds of intimate theaters today. These theatres weave a rich artistic tapestry that is astounding in its range and variety, matching the cultural, racial and social diversity of this city. Los Angeles is now home to intimate theatres that serve audiences that are Black, Latino, Gay, Straight, Asian, Middle Eastern, LGBT, Deaf, Native American, and everything in between. The content on LA stages is equally wide-ranging. American classics, world premieres of new plays, Shakespeare, Chekhov, musicals, farce, adaptations, the avant garde, immersive pieces, plays staged in the round or in a black box, site specific works performed in empty warehouses, in cars or hotel rooms—an endless menu for every taste. 

hollywood-theatre-row-signLA’s intimate theatres have grown not only in number, they have increased in stature. Top-drawer actors from Broadway, TV and film are routinely seen on LA stages. And while Los Angeles remains an essential destination for acclaimed plays and musicals from New York, London and around the world, LA is now its own vibrant theatre center that creates and develops exciting new work. Much of the most satisfying and challenging new plays are being done in the intimate theaters. Actors long to act in these plays for the same reason we ache to produce them: for the sake of the art. LA’s network of smaller theatres provides a safe, fertile landscape where highly-skilled actors, directors and playwrights can bring new plays to life for audiences that are ever-growing, sophisticated and adventurous. More than 120 plays have transferred from LA’s intimate venues to regional theaters across the United Sates. Such world-class playwrights as Athol Fugard, Tarell McCraney and Robert Schenkkan have launched new plays at our modest home on Fountain Avenue that are now being enjoyed throughout the nation and around the world. 

Even with the staggering amount of high-quality activity on its numerous stages, Tinsel Town fights for the right to be called a “theatre town.” The Hollywood spotlight is blinding. The relationship between the film and television industry and the LA Theatre community is precarious. A forced marriage between two partners who share similar desires yet go about achieving them in vastly different ways and for very different reasons. LA Theatre still struggles to step out from under the shadow of The Industry and stand in its own rightful light. But its blaze is being seen and felt, locally and nationwide, more and more. 

As an artist and a citizen, it has never been a better time to live in Los Angeles. As a haven with invigorating potential and endless possibilities, LA is now peering forward and seeing its future. That vision, as a world city, looks bright. As Los Angeles shines, so does its theatre. And the radiance from our light will illuminate the nation and the world. 

This post originally appeared in Discover Hollywood magazine

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.