Category Archives: playwriting

From Schenkkan to Shakespeare, the same urgent warning

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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.

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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.

New Video: How Robert Schenkkan’s ‘Building the Wall’ came to the Fountain Theatre and why

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Fountain Theatre launches 2017-18 season for social action with world premiere of Robert Schenkkan’s new play, ‘Building the Wall’

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The Fountain Theatre will open its 2017-18 season of new plays with an urgent warning against the proposed policies of the Trump administration, followed by statements on social justice, inclusion, acceptance of “the other,” prejudice, the role of government and the need for human connection.

“The Fountain has always been committed to speaking out for social justice and inclusion,” asserts Fountain co-artistic director Stephen Sachs. “These are disturbing and tumultuous times — for our local intimate theater community in Los Angeles and our nation. The Fountain is a place for theater to serve as a vehicle for public discourse: to express outrage, compassion and hope.”

The 2017-18 season will include four world premieres — Building the Wall by Robert Schenkkan; Runaway Home by Jeremy J. Kamps; Freddie by Deborah Lawlor; and Arrival and Departure by Stephen Sachs — as well as the Los Angeles premiere of The Chosen by Aaron Posner. The Fountain’s 2015 production of Citizen: An American Lyric, written by Claudia Rankine and adapted for the stage by Stephen Sachs, will be presented at the Kirk Douglas Theatre as part of Center Theatre Group’s inaugural Block Party. And, in addition to the Fountain’s ongoing, monthly ‘Forever Flamenco’ series, the Fountain will host Flamenco Fiesta, a two-day, outdoor flamenco concert celebration.

Over the past 27 years, The Fountain Theatre has established itself as one of the most successful intimate theaters in Los Angeles, providing a creative home for multi-ethnic theater and dance artists. Fountain projects have been translated into numerous languages, produced across the U.S. and worldwide, and made into a TV movie.

The Fountain Theatre’s 2017-18 season is as follows:

March 18 – May 21 (previews March 15-17)
building-wallWorld premiere of Building the WallThe newest play by Pulitzer Prize and Tony Award-winning playwright Robert Schenkkan (The Kentucky Cycle, All the Way), directed by award-winning Michael Michetti. It’s the very near future, and the Trump administration has carried out his campaign promise to round up and detain millions of immigrants. Now, a writer interviews the supervisor of a private prison as he awaits sentencing for carrying out the federal policy that has escalated into the unimaginable. This riveting, harrowing and illuminating drama delivers a powerful warning and puts a human face on the inhuman, revealing how when personal accountability is denied, what seems inconceivable becomes inevitable.

April 30 – May 7 (previews April 28-29)

citizenCitizen: An American LyricCenter Theatre Group will remount the Fountain’s award-winning 2015 production at the Kirk Douglas Theatre as part of CTG’s inaugural Block Party: Celebrating Los Angeles Theatre. Written by Claudia Rankine, adapted for the stage by Stephen Sachs and directed by Shirley Jo Finney, Citizen fuses poetry, prose, movement, music and video images in a provocative meditation on everyday acts of racism in America. Actors returning from the original production include Simone Missick, who co-stars as Misty Knight on Netflix’s Luke Cage.

Summer 2017
runaway-homeWorld premiere of Runaway Home Three years after Hurricane Katrina, the unhealed wounds of New Orleans’s Lower 9th Ward continue to fester. In this powerful, funny and deeply moving mother-daughter story by Jeremy J. Kamps, 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, engaging the vivid, lively denizens who remain, she grapples with the real cost of what she has lost as she is forced to confront the even higher cost of moving forward and the possibility of redemption.

Fall 2017
the-chosenLos Angeles premiere of The Chosen The Fountain Theatre celebrates the 50th anniversary of Chaim Potok’s beloved novel with the L.A. premiere of the award-winning stage adaptation by Aaron Posner. A silent father, an ancient tradition and an unexpectedly important game of baseball forge bonds of lifelong friendship between two Jewish boys from “five blocks and a world apart” in this funny, poignant, timely and timeless story about recognition and acceptance of “the other.” Directed by Simon Levy.

Fall 2017
freddieWorld premiere of Freddie This hybrid dance/theater work by Fountain Theatre co-artistic director Deborah Lawlor will be presented at Los Angeles City College, inaugurating a new partnership with the LACC Theatre Academy. Set in Greenwich Village in 1964 and based on a true story, Freddie fuses theater, music, dance and video to capture the explosive spirit of a passionate artist and a turbulent era. A naïve young woman falls under the spell of Freddie Herko, a brilliant ballet dancer of extraordinary charisma and talent and a beloved luminary of Andy Warhol’s Factory. Frances Loy directs.

Spring 2018
arrival-departWorld premiere of Arrival and Departure Troy Kotsur and his real-life wife Deanne Bray star in a modern-day, re-imagined deaf/hearing stage adaptation by Stephen Sachs (Bakersfield Mist, Cyrano) of the classic 1945 British romantic film, Brief Encounter. A deaf man and a deaf woman, married to different people, meet accidentally in a train station. A friendship develops over time, escalating into a passionate love affair that both struggle to permit themselves to consummate. An unforgettable love story about the challenges of communication, social isolation, diversity and self-empowerment.

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Fountain Theatre’s ‘Citizen: An American Lyric’ chosen for CTG’s Block Party at Kirk Douglas Theatre

CITIZEN Fountain Theatre in Memory 2

‘Citizen: An American Lyric’ at the Fountain Theatre

The Fountain Theatre’s acclaimed and award-winning world stage premiere of Citizen: An American Lyric  by Claudia Rankine, adapted for the stage by Stephen Sachs, has been chosen by Center Theatre Group for the inaugural Block Party: Celebrating Los Angeles Theatre at the Kirk Douglas Theatre. Directed by Shirley Jo Finney,  Citizen will begin previews on April 28, open April 30 and close May 7.

“We’re thrilled to be partnering with CTG on its first-ever Block Party at the Kirk Douglas Theatre,” said Sachs. “It’s particularly meaningful to us that ‘Citizen’ was chosen because racism and white dominance in America is as timely now, since the election, as it ever was. The project also reflects the diversity of our work at the Fountain Theatre.”

The Fountain Theatre’s world stage premiere of Citizen earned rave reviews and an extended run in 2015. The Los Angeles Times heralded it as “Powerful” and highlighted it Critic’s Choice. Stage Raw declared it “a transcendent theatrical experience,” later honoring Stephen Sachs with the Stage Raw Theatre Award for Best Adaptation.

The original cast featured Bernard K. Addison, Leith Burke, Tina Lifford, Tony Maggio, Simone Missick, Lisa Pescia. The extended run included Monnae Michaell, Karen Malina White, and Nikki Crawford.

A meditation on race that fuses poetry, prose, movement, music and the video image,  Citizen: An American Lyric is a provocative stage adaptation of Claudia Rankine’s internationally acclaimed book of poetry about everyday acts of racism in America. Of Rankine’s Citizen, The New Yorker wrote that it was “brilliant… explores the kinds of injustice that thrive when the illusion of justice is perfected.” The New York Times wrote that “Rankine brilliantly pushes poetry’s forms to disarm readers and circumvent our carefully constructed defense mechanisms against the hint of possibly being racist ourselves.”

Center Theatre Group received seventy-six submissions for its new Block Party program and selected three local intimate theatre productions. It will also remount Coeurage Theatre Company’s production of Failure: A Love Story by Philip Dawkins, and Echo Theater Company’s production of Dry Land by Ruby Rae Spiegel.  Each production will have a two-week run presented April 14 through May 21, 2017.

The selected shows will receive the full support of Center Theatre Group and its staff in order to fund, stage and market each production. Full casting will be announced at a later date. Tickets will go on sale to the general public in February.

Theatre: Entertainment or art? Can it be both and still be challenging and relevant?

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Zelda Fichandler (1924-2016)

by Howard Shalwitz

The loss of my friend and colleague Zelda Fichandler, the legendary founder of Arena Stage, has got me thinking about the role of theatre in our society.

Over the past decade, I had a few cherished opportunities to compare notes with Zelda about the founding of our respective theatres. As different as Arena Stage and Woolly Mammoth are, there’s one word that always came up for both of us: art. Here’s a quote from Bob Levey’s obituary of Zelda in the Washington Post:

“From the start, Mrs. Fichandler wanted… to reverse what she called, with characteristic dramatic flourish, ‘the contraction and imminent death of the art of the theater.”

And here’s a quote from Woolly Mammoth’s founding manifesto that I wrote with Roger Brady in 1978:

“Among all the art forms, theatre is the one which is least often taken seriously as a form of art… [and] it should be so taken. That is the long and short of what we propose.”

What do we mean when we proclaim that theatre is “art” rather than “entertainment?” We certainly don’t mean that theatre shouldn’t entertain, shouldn’t captivate audiences with diversion and delight and amazement. The survival of our theatres depends on this. The difference lies in what we ask our audiences to do when they’re in our theatres.

When we set out to entertain, we ask our audiences to sit back, relax, and enjoy themselves on terms they already understand. When we set out to make art, we ask our audiences to sit forward, to encounter something different, and to meet the artists halfway in figuring out how it works and what it means. Entertainment nestles us comfortably inside the lives we already lead. Art challenges us to stand outside our own experience and look at our lives and our world in new ways.

Art and entertainment are not mutually exclusive. Every play, every production, has elements of both. But in our conversations, Zelda was concerned that theatres across America were tipping too far toward entertainment and away from art. Some of the reasons are obvious: competition for ticket sales, pressure from new forms of diversion, loss of arts education in our schools, shrinking government support.

However, Zelda saw a potentially deeper problem. A couple of years ago, she asked a question I’ll never forget: “What’s happened to the arrogance of the artist in our country?” She talked about path-breaking playwrights like Arthur Miller, Caryl Churchill, and August Wilson, who boldly expanded the stylistic framework and political range of our theatre, and European stage directors like Liviu Ciulei and Lucien Pintilie, whose experimental approaches completely changed the way we look at classic works.

The forward motion of theatre as an art form depends on playwrights, directors, designers, and actors with the arrogance, the chutzpah, to try things that are different. It also depends on audiences who have the confidence to meet them with openness, empathy, and a spirit of inquiry. When we wrestle with the play itself, then we’re led to wrestle with what the play is about, what it’s saying, why it matters. This is what gives the art form of theatre its relevance in relation to the pressing questions our society is facing.

Howard Shalwitz is the Artistic Director at Woolly Mammoth Theatre in Washington, DC. 

‘Baby Doll’ reveals how far we’ve come and how little has changed

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John Prosky as Archie Lee in ‘Baby Doll’.

by Stephen Sachs

When the movie Baby Doll was released in 1956, it was the film’s sexuality that drew all the attention.

Time magazine called it “possibly the dirtiest American picture ever legally exhibited,” and the film was condemned for lewdness by the Legion of Decency.

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Cardinal Spellman

The week before Christmas, Cardinal Francis Spellman, New York’s rigid archbishop at the time, pronounced from the pulpit. “Dearly beloved in Christ, I have a statement to make. I am anguished to learn of a motion picture that has been responsibly judged to be evil in concept and which is certain to exert an immoral and corrupting influence on those who see it. The revolting theme of this picture, Baby Doll, and the brazen advertising promoting it constitute a contemptuous defiance of the natural law.” Essentially, he admonished, it was a sin for any Catholic to see the film.

Today, mainstream movies depict sexuality in ways that make Baby Doll look quaint. But in 1956, when the red-hot charge of “un-Americanism” was being branded on anyone or any idea deemed remotely threatening, Baby Doll was more than a movie. To many, it was a threat.

For me, the deeper, more insidious threat dramatized in Baby Doll is not about sex. Yes, Baby Doll is sexy and steamy and seductive.  Yet more than that, Baby Doll is sadly relevant to the systemic racism and anti-immigration paranoia still seething in our nation today.

It’s easy to now snicker at Spellman’s condemnation that Baby Doll was “immoral” and “evil” in 1956.  But that same righteous judgement of sex and morality is echoed in the right-wing ideology of Christian Conservatives today. Throughout sections of our country, views of sex have not changed much since 1956. Neither have opinions on race or immigration.  Turn on Fox News and witness the rise of the dangerous, white supremacist, anti-immigrant views of the Alt-Right.

In Baby Doll, Archie Lee is a Southern white male, a middle-aged, cotton gin owner whose business is failing. He is financially drowning, struggling to stay afloat. Archie Lee is a traditionalist, set in Old Southern Ways , baffled and overwhelmed by the shattering realization that what has made his family and his land flourish for generations is now no longer working. His once-stately mansion and plantation is, literally, falling apart around him. Decomposing. He is afraid. And he is angry.

Today, Archie Lee would be a Donald Trump supporter.

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John Prosky (Archie Lee) and Daniel Bess (Silva) in ‘Baby Doll’.

Enter Silva Vacarro.  The Italian who now runs the cotton gin across the way. Silva Vacarro is an immigrant.

In Tennesee Williams’ early years, there was a significant immigrant population in the Delta—notably Syrians, Chinese, and Italians. Italian farmers first came to America through the port of New Orleans and worked in cotton and sugar cane fields. Many suffered from the same system of discrimination that kept African Americans in poverty long after slavery was abolished. From the south of Italy, Sicilians immigrated to the Delta, settling in towns where they established new businesses of their own, in competition with local farmers. These hardworking people inspired multiple characters in Williams’ plays, including Silva Vacarro in Baby Doll.

To the white male Archie Lee, Silva Vacarro is the immigrant outsider who has come to this country to steal what Archie Lee has worked so hard all his life to preserve. The immigrant is the invader, hellbent to corrupt Archie Lee’s American Dream into a nightmare. The immigrant is the problem. Sound familiar? Listen to the anti-immigrant ranting at any Donald Trump rally. Illegal aliens are vilified as murderers, drug dealers and rapists.

In Baby Doll, the dark immigrant is also a sexual threat.  Silva Vacarro targets Archie Lee’s young bride, Baby Doll, who has refused to consummate her marriage to her husband until she turns twenty in two days. This, of course, dramatizes the classic fear of the bigoted white male in America: the dark man stealing his woman. In Baby Doll, the dark man seducing the blonde virgin white girl is every racist white man’s nightmare come true.

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Lindsay LaVanchy and John Prosky

But Archie Lee has recourse. He has “friends” who know how to take care of dirty outsiders like Silva.

I! Got position! Yeah, yeah, I got position! Here in this county! Where I was bo’n an’ brought up! I hold a respected position, lifelong! –member of the— Yes sir, on my side‘re friends, longstandin’ bus’ness associates, an’ social! See what I mean? You ain’t got that advantage, have you, mister? Huh, mister? Ain’t you a dago, or something? Excuse me, I mean Eyetalian or something, here in Tiger Tail County?

Archie Lee’s “friends” who know how to take care of people like Silva is an obvious reference to the Klu Klux Klan.

Silva aligns himself with black workers and asserts his right to work and succeed as an immigrant in this country. He’s here to stay. He’s not going anywhere.

I’m a dark man and a Catholic in a county of Protestant blondes —disliked, distrusted, despised. You call me ‘dago’ and ‘wop’ like you call your workers ‘nigger,’ because of a difference in blood. But I came here with a purpose. You can’t freeze me out or burn me out. I’ll do what I came to do.

No one in Baby Doll — not even the well-seeming Silva — is wholly good. Each, in their own way, are manipulative, vindictive, selfish, in some cases mean. But none of are purely evil either. They are complex human characters struggling in a drama of social, sexual, and cultural politics taking place in a specific state in our country in a specific time in our history.

But racism and anti-immigration phobia in this country are timeless. Deeply planted and tilled into the soil of our nation’s history. They are the worms and repellent insects in our national garden that survive in the dark fetid soil under rocks.  Always there, hiding in plain sight, just below the surface. Plays like Baby Doll — and the terrifying propaganda of the current election campaign — turn the rock over and expose the distasteful vermin underneath — and, because we are all citizens of this country, remind us that they are ourselves.

When Baby Doll builds to its explosive conclusion, with the defeated Archie Lee hollering in anguish and being carted off to jail, it seems to be Williams’ intent to demonstrate that the era of Archie Lee is, if not over, at least changing. One of the last lines he says to the Sheriff as he is hauled away, is “I’m a white man. You can’t do this to me!”

Today, sixty years later, as the ethnic and cultural complexion of our country’s population continues to evolve into more widespread diversity, I want to hope that our tolerance will evolve with it. We shall see.

I was first eager to produce the west coast premiere of this new stage adaptation of Baby Doll — the first approved by the Williams Estate — because it offered the rare opportunity to present a “new” Tennessee Williams play never seen by our audiences.

I knew it would be sensual and poetic. I was surprised by how timely and relevant it would be.

Stephen Sachs is the co-founding Co-Artistic Director of the Fountain Theatre.

Baby Doll has been extended to Oct 30th.

Acclaimed hit ‘Baby Doll’ extends to Oct 30 at Fountain Theatre

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Due to popular demand and sold-out houses, our critically acclaimed hit west coast premiere of Tennessee Williams’ Baby Doll, adapted by Pierre Laville and Emily Mann, will extend to October 30th.

Sizzling with sexual tension and darkly comic, this enthralling tale of prejudice, sexual politics and passion is the first-ever Williams Estate-approved stage adaptation of the Tennessee Williams screenplay. Nineteen-year-old married virgin “Baby Doll” Meighan must consummate her marriage in two days, on her 20th birthday — as long as her middle-aged husband, Archie Lee, upholds his end of the bargain to provide her with a comfortable life. When Archie Lee burns down his neighbor’s cotton gin to save his failing business, his rival, Sicilian immigrant Silva Vacarro, arrives to seek revenge. What ensues is a complex mix of desire and desperation, with Baby Doll as both player and pawn.

Directed by Simon Levy, the production features Daniel Bess, Karen Kondazian, Lindsay LaVanchy, John Prosky, and George Roland. Steve Hofvendahl will assume the role of Archie Lee (currently played by John Prosky) for all performances in October.

The production has earned rave reviews and audience response has been passionately enthusiastic. Adapted from the Williams screenplay of the controversial 1956 movie, our west coast premiere of Baby Doll offers the rare opportunity to experience a “new” play by Tennessee Williams. Clearly, audiences and critics are relishing the ride.     

EROTIC… Lindsay LaVanchy draws out all the sensuality and sadness, the petulance and helplessness of Baby Doll … allows us to once again hope that maybe this time romance will live up to its promise” — Charles McNulty, Los Angeles Times

 “BURSTS WITH SCORCHING SENSUALITY… pays exquisite homage to Williams’s screenplay” — Travis Holder, Arts In LA

SIZZLING… Don’t miss Baby Doll!… the ensemble is divine… directed with stunning clarity” — Don Grigware, Broadwayworld

FOCUSES THE HEAT like a magnifying glass in the sunlight… This Baby’s pedigree shows” — Bill Garry, Discover Hollywood

SPECTACULAR… a phenomenal show that will leave your every sensation aching for more.” — Michelle Sandoval, EdgeMediaNetwork

STEAMY… a must see for those who love the heat. Michael Sheehan, On Stage Los Angeles

OUTSTANDING… Don’t’ miss your opportunity to see this Tennessee Williams premiere.” — Carol Kaufman Segal, Review Plays

WOW!… A just-right darkly comedic tone and pitch-perfect performances… ‘Baby Doll-icous’ ” —Steven Stanley, Stage Scene LA

VIOLENCE, SEX AND MADNESS, what more could you want?” — Ernest Kearney, The Tvolution

EXCITING TO WATCH… waves between dark humor, heat, and menace.” — Evan Henerson, Theater Mania

“If you love Tennessee Williams, DON’T MISS THIS PRODUCTION.” —Paul Myrvold,Theatre Notes

FOUR STARS… The Fountain’s lavish, excellent production does Williams proud.” — Will Manus, Total Theater

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