Category Archives: stage

She strolled into the theatre lobby that night and my heart jumped

canon theatre LL 2 - Copy (1)

The Canon Theatre, Beverly Hills

by Stephen Sachs

She called to take me up on my offer. I struggled to place who she was. A young woman from my Playwrighting Group in Hollywood willing to volunteer to usher at my theatre in Beverly Hills for the perk of seeing our long running hit play for free. I pretended to recognize her name but my mind raced. Who was she? A fellow writer? An actress?

“Sure, you can usher,” I muttered distractedly to the mysterious voice on the other line. “Be here at the theater tonight. Wear a black skirt or slacks. A white blouse. I’ll show you what to do.”

Part of my job as the theater manager at the Canon Theatre in Beverly Hills was to recruit volunteers to usher. The theatre was enjoying a celebrated 16-month run of A.R. Gurney’s play about friendship and romance, Love Letters, starring a rotating parade of famous actors, including Ben Gazarra, Gena Rowlands, Christopher Reeve, Whoopi Goldberg, Charlton Heston, Robert Wagner, Richard Thomas, Matthew Broderick, Helen Hunt, and many more. Because the celebrity roster changed every week, recruiting volunteer ushers eager to see the play wasn’t difficult. It often meant mobilizing a house staff of enlisted actors, wannabe screenwriters, middle-aged theatre junkies, and westside seniors looking for something to do. Then came the phone call from the enigmatic young woman.

She arrived that night precisely on time. I was standing in the theatre lobby, busily counting programs for that evening’s performance. I turned and glanced at the front entrance. Gliding in through the glass doors, the sun setting behind her and highlighting her slim form, strode a beautiful blonde in a black skirt, a white blouse, flashing a warm, inviting smile. My body jolted, even in my pressed suit. I stopped breathing. This is Los Angeles. Attractive women are everywhere. Something about her was different.

My hands shook as I demonstrated to her how to properly tear a theater ticket stub. Did she spot I was trembling? She leaned forward. Her warmth smelled delicious. Inside the theater before opening the doors, I stumbled down the carpeted aisle of empty seats with her, doing my best to outline our audience seating protocols, all the while my thoughts catapulting into a pathetic frenzied mantra, Ask her out, you idiot! Ask her out! Don’t let her get away. When the night’s performance ended, as we picked up littered programs from the floor and flipped up the seats, I asked her to join me for a bite to eat. She said yes.

We strolled south down Beverly Drive to an Italian restaurant still open and had pizza. Over wine, I explained that I was coming out of a long-term relationship and just wanted to stay casual. She confessed that she was ready to give up on dating and didn’t know how to be casual. We talked, we laughed, and we closed the place down.

Soon, we were catching new plays at The Music Center, having a ball at a jazz club in Encino, savoring intimate dinners on Melrose. We’d step out of my small apartment in Beachwood Canyon for late night strolls through the Hollywood Hills, talking non-stop, plotting our careers and confiding aspirations. The production of Love Letters at my theater provided the perfect background for our blossoming relationship. The play chronicles the bond that develops between a man and a woman as they share their hopes and ambitions, their dreams and disappointments, their triumphs and heartbreak.

Because Love Letters starred a new pair of celebrity actors each week, our theater was bombarded with flowers delivered to the stage door by fans. I would collect the dozens of bouquets and vases and display them around our lobby, filling the entranceway with bright color and sweet fragrance. Never imagining that one bouquet would help change the course of my life.

Late one night, following another sold out performance, I was locking up the Canon Theatre for the evening. The audience had gone home, the theatre was dark and empty. She was waiting patiently for me outside as I closed. We were on our way to a party in Brentwood. It was a warm August evening and she wore a lovely white linen dress. She beamed, fresh and radiant. I grabbed a large bouquet of flowers from the lobby and presented them to her with a flourish under the front marquee outside. She blushed and kissed me. We then turned and walked down Canon Drive to the car.

What happened next is difficult to describe.

As we strolled down the narrow sidewalk, she suddenly took my arm. We marched forward, arm in arm. I then glanced at her. At the two of us, together, arms interlocked. My suit. Her white dress. Flowers clutched in her hand. In that instant, I saw us. In a flash, time stopped, collapsed, and rushed forward. It was like peering into a looking glass, a crystal ball and a rear-view mirror, all at the same time. I saw our past, present and future together, as best friends, as life partners, as husband and wife, compressed into one perfect vision. I saw it.

“It’s you, isn’t it?” I whispered.

A recognition of the other.

It’s you.

We were married, exactly one year from the night we first met. One year to the day from that first afternoon when she stepped through those glass doors and into the lobby, and my life, forever.

Stephen Sachs is the Co-Founder and Co-Artistic Director of the Fountain Theatre in Hollywood. Stephen and his wife, Jacqueline, have been married twenty-seven years and have two sons. 

Advertisements

Fountain opens 2018 season with newly revised stage version of Chaim Potok’s ‘The Chosen’

THE CHOSEN 5

The cast of ‘The Chosen’ in rehearsal.

Friendship, faith and fatherhood. Jonathan ArkinAlan BlumenfeldDor Gvirtsman and Sam Mandel star in The Chosen, the award-winning stage adaptation by Aaron Posner and Chaim Potok of Potok’s beloved novel. Simon Levy directs for a January 20 opening at the Fountain Theatre, where performances continue through March 25. The Fountain celebrates the novel’s 50th anniversary (last April) with the West Coast premiere of Posner’s new, streamlined version.

Set in Williamsburg, Brooklyn against the backdrop of World War II, the revelation of the Holocaust and the desperate struggle of Zionism, The Chosen is a moving coming-of-age story about two observant Jewish boys who live only five blocks, yet seemingly worlds, apart. When Danny, son of an ultra-Orthodox Hasidic tzaddik, injures the more traditionally Orthodox Reuven during a baseball game between their rival yeshivas, their two universes collide and a unique friendship is born.

“This powerful story shows how essential it is to consider the views of those who are different from us,” says Levy. “It’s an antidote to the toxicity of our times. Potok beautifully depicts what it means to bridge chasms — between modernity and tradition, the secular and the sacred, Zionism and Hasidism, adolescence and adulthood, friendship and family, fathers and sons, the head and the heart, and the struggle to choose for ourselves, to fight for what we believe in and who we want to be.”

According to Posner, “Through the story of two remarkable boys and their remarkable fathers, Potok asks us to contemplate a world where we chose to fill our lives with greater meaning… and where complexity, understanding, compassion and reconciliation are among our highest values.”

In 1967, Potok burst upon the literary scene with The Chosen, his first novel, sometimes referred to as a “Jewish Catcher in the Rye.” A best-seller, it was nominated for the National Book Award and through the years has become a must-read both in and out of the classroom. In 1992, in celebration of its 25th anniversary, it was republished as a young reader’s classic. A film starring Rod Steiger was released in 1981, and a short-lived off-Broadway musical debuted in 1988. Before his death in 2002, Potok collaborated with Posner on the stage version, which debuted in 1999 at the Arden Theater in Philadelphia, where Posner was a co-founder and resident director. Now, nearly 20 years later, Posner has rewritten the script to create a new version, which premiered last month at the Long Wharf Theatre in New Haven, CT.

In an interview with the Connecticut Jewish Ledger, Posner explained that he has made a number of changes to the script. “I think it’s now a more dynamic, more streamlined play,” he said. “I’m really very excited about this new version. I think it’s going to be stronger in every way. I love the old version, too but I’m hoping this is even better.”

The creative team for The Chosen includes scenic and props designer DeAnne Millais, lighting designer Donny Jackson, video designer Yee Eun Nam; composer and sound designer Peter Bayne, costume designer Michele Young, hair and makeup designer Linda Michaels and dialect coach Andrea CabanRabbi Jim  Kaufmanconsults. The production stage manager is Miranda Stewart; technical director is Scott Tuomey; associate producer is James Bennett; and Stephen Sachs 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 inclusion of the Fountain’s Citizen: An American Lyric in Center Theatre Group’s Block Party at the Kirk Douglas Theatre. 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

Iconic 1960’s dancer Fred Herko leaps to life in Deborah Lawlor’s ‘Freddy’ at LACC

herko

Fred Herko

She knew him in the final years of his life. He shared her apartment months before he died. His memory, and the inspiration his passionate spirit ignited, has firmly gripped her for fifty-three years. Next week, Fountain Co-Artistic Director Deborah Lawlor pays tribute to her gifted and troubled friend with Freddy, her new theatre/dance work opening as a co-production between the Fountain Theatre and Los Angeles City College Theatre Academy.  It runs September 27 – October 14 at the Caminito Theatre.

Even today, no one is sure if Fred Herko intended to kill himself when he jumped out of the window of his friend Johnny Dodd’s Greenwich Village apartment in 1964. The 28-year-old dancer and performer – one of the central figures of New York’s 60s avant-garde and a star of Andy Warhol’s first movies – was high on speed, and possibly LSD.

He was a founder member of the experimental Judson Dance Theater and co-founder of the New York Poets Theater, both famed for their unconventional work, “happenings” and productions, and the manner of Herko’s strange death – leaping naked from a fifth floor window, Mozart on full blast – merely added to his mythology.

Fred Herko leaped from the top floor of this apartment building in NYC.

Herko was born and raised in a blue-collar home. His first two years were spent on the Lower East Side and Brooklyn, before the family settled in Ossining, north of New York, the location of the notorious Sing Sing maximum security prison. His father ran a diner. His mother was a housewife. Herko showed early proficiency in piano and was also a great flautist. He was groomed to be a concert pianist, and attended Juilliard, the prestigious performing arts conservatory.

Forde is amassing material for his biography through those who knew him and memoirs of figures like the poet Diane di Prima, Herko’s great friend; Herko himself left no diaries or letters.

Within a year of starting ballet training, Herko performed with established choreographers like his mentor, the dancer, artist and designer James Waring. In 1962, with figures like David Gordon, Lucinda Childs, and Yvonne Rainer, Herko co-founded Judson Dance Theater, which defined what became known as modern dance – elliptical, pared-back sound and movement with a deliberate lack of linear narrative.

Fred Herko
Herko and Aileen Passloff in James Waring’s In the Mist, 1960. Photograph: Vladimir Sladon/Public domain

“Just as pop artists were proposing that cartoons and trucks could be art,” says Forde, “at Judson they showed dance could be combing your hair, rubbing your thighs together, running on the spot, or barking like a dog. It completely rejected Martha Graham’s narrative dance, and Merce Cunningham’s pure dance.” Herko performed in 16 performances between 1962 and 1964, and six original pieces of his own choreography. He also appeared on Ed Sullivan’s TV show, supporting stars like Rosemary Clooney and Pearl Bailey as a backing dancer.

Away from the stage, Herko was having lots of sex. One of Di Prima’s poems was called, For Freddie, Fucking Again, a diatribe which followed him being late for a restaurant date with her. “He liked hanging out at sleazy bars,” says Forde. “He was extremely aware of his sexual power.”

In 1963-4, Herko hung out with the Warhold Factory posse, “an extremely flamboyant crowd who were unashamed of their sexuality”, says Forde. He had relationships with the son of a wealthy Hollywood family, and was rumored to have been kept by a wealthy member of the De Rothschild family in an Upper West Side apartment. He had a relationship with the poet Alan Marlowe, who was then married to and had children with Di Prima.

Herko was very close to Warhol, and performed in some of the artist’s earliest cinematic experiments. One 40-minute film, Roller Skate, is entirely devoted to Herko, dancing all over New York on one rollerskate. The films features him bleeding and hobbling, but smiling and wearing a YMCA Good Guys sweatshirt.

Fred Herko
Herko as Icarus in James Waring’s At the Hallelujah Gardens with costume by Robert Indiana, February 1963. Photograph: Judith Searle

In his memoir Popism, Warhol said Herko had been taking more and more amphetamines. “He destroyed himself: speed, LSD and marijuana,” says Forde. “Everyone was taking speed at that time. Doctors were prescribing it for slimming pills, kids were using it to cram for exams. People snorted it, mainlined it. Drugs became a problem with Freddie at the end of 1962. He was injecting it.”

Herko was reaching a point where he couldn’t perform. “He was choreographing and teaching, but he realised he had fucked his career up,” says Forde. “Doors were closing for him: he was unreliable, strung out, unpredictable; a once sweet boy had become aggressive and had started disappointing people. He’d also become homeless.”

Warhol said that Herko had let himself into Dodd’s home on 27 October 1964. A former lover of Herko’s, Dodd also did the Judson Memorial Church lighting for performances.

However, Forde says Dodd found Herko dancing on the counter of a diner, out of control. “Freddy was covered with filth, and he was dancing on the counter,” Dodd recalled to Warhol biographer David Bourdon. “He said he hadn’t had any drugs for three days, but he was wacked out and his body was quivering.”

Dodd took Herko to his fifth-floor Cornelia Street apartment. Forde says Herko had a shower, and put on the Coronation Mass by Mozart. Warhol told Bourdon that Herko said he had a new ballet to do “and he needed to be alone. He herded the people there out of the room.”

“He danced naked around the living room. The window was open and at the moment of the Sanctus,” says Forde, “Herko leapt out of the window to his death.”

In Bourdon’s version: “Freddy poured a bottle of Dodd’s perfume into a tub of steaming hot water and took a long bubble bath” – Forde says the tub was too squat for this. “He seemed to cheer up as Dodd, who knew that ‘Freddy was a Mozart freak,’ put a recording of the composer’s Coronation Mass on the phonograph. Herko dried himself, then started dancing naked around the living room, whirling round and round, periodically making a long run toward the front windows. Dodd couldn’t help but wonder whether this was going to be the ‘suicide performance’ that Freddy had been promising his friends for so many weeks. ‘It was obvious that Freddy had to do it now: the time and the place were right, the decor was right, the music was right.’

“Herko made another long run and, like Nijinsky in Le Spectre de la Rose, leaped out an open window, his momentum carrying him almost to the opposite side of the street. He was 29 years old. Several of Andy’s friends heard him lament on various occasions that he had not been there to film it.”

Fred Herko
Herko as Peter Peterouter in Rosalyn Drexler’s musical comedy Home Movies with Charlotte Bellamy as Sister Thalia and Al Carmines as Father Shenanigan, 1964. Photograph: Van Williams/New York Public Library for the Performing Arts

However, Forde doesn’t believe Herko’s was a performed death. As part of a piece he was preparing, he would routinely go up to the gallery of Judson Memorial Church (which has helped organize the 50th anniversary events) and leap off a 20-foot ledge, landing perfectly. “Every ballet dancer has the sense they can fly, and for seconds suspended in mid-air, they do.”

Had he lived, Forde thinks Herko may have formed his own company, a forerunner of the kind of dance Michael Clark became famous for 20 years later. “There wasn’t any figure taking Freddy’s direction in the 60s and 70s. But people said he didn’t have much discipline. One report from Juilliard said he had problems making up his mind. He was making costumes, collage and painting; he was interested in too many things. In combination with the drugs, it led to his downfall.”

Warhol later said, “For the 26 nights following Freddy’s death, the group at Diane di Prima’s apartment met formally to read the Tibetan Book of the Dead … There was a memorial service for him at Judson Church, but so many people showed up that there was another one for him, at the Factory. We showed the three films.”

Now, 50 years later, for Herko’s surviving loved ones, friends and downtown obsessives, the celebratory events in his name aim to accord him his rightful place in the avant-garde pantheon, in what was a too short – but dramatic – life.

Freddy at LACC Theatre Academy More Info/Get Tickets

This post originally appeared in The Guardian

New Video: Timely new play ‘Runaway Home’ is lyrical and powerful

Previews start this Wednesday, September 13. Opens Saturday, September 16th.

More Info/Get Tickets

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

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

Building the Wall (323) 663-1525 More Info/Get Tickets

Fountain Theatre pledges it will not be silent

group-on-stage

Fountain Family: We will not be silent.

Have you heard of Rabbi Joachim Prinz? Probably not. In August of 1963, he and Martin Luther King, Jr. were among the ten leaders of the March on Washington.  Preceding King to the platform on the steps of the Lincoln Memorial before King declared his dream to the world, Prinz delivered a stirring speech against silence in the face of injustice.  It was an expression of his life-long commitment to equality and tolerance. 

rabbi-prinz“Neighbor is not a geographic term. It is a moral concept,” he said. “When I was the rabbi of the Jewish community in Berlin under the Hitler regime, I learned many things. The most important thing that I learned under those tragic circumstances was that bigotry and hatred are not ‘.the most urgent problem. The most urgent, the most disgraceful, the most shameful and the most tragic problem is silence.”

This past weekend, more than 50 years later, women across the nation marched on Washington once again. And on the Thursday prior to marching, on the eve of the Presidential Inauguration,  the Fountain Theatre made a pledge. It would not be silent.

Streaming live on Facebook, the Fountain joined 728 other theaters in all 50 states who gathered outside theaters nationwide to create a “light” for these dark times ahead. The Ghostlight Project offered theater artists and patrons the opportunity to renew a pledge to stand and protect the values of inclusion, participation, and compassion for everyone, regardless of race, class, religion, country of origin, immigration status, (dis)ability, gender identity, or sexual orientation.

The Fountain Theatre joined theaters across the country to reaffirm and declare our commitment and solidarity to provide safe, brave spaces that will serve as lights in the coming years. List of participating theaters in ALL 50 STATES

What is a ghostlight? When our theaters go dark at the end of the night, we turn on a “ghost light” – offering visibility and safety for all who might enter. This is our theatrical tradition and the inspiration for this national event. Like a ghostlight, the light we created on January 19th represents our commitment to provide safety, a safe harbor, for everyone. To resist intolerance at all levels.

Fountain folk were asked to make signs, affirming “I Am” and “I Fight For”. Take a look.

On Thursday night, a crowd of Fountain Family members — actors, directors, stage managers, patrons and supporters — gathered outside the theatre at exactly at 5:30pm to join the live feed on Facebook. A statement was read by Fountain Co-Artistic Director Stephen Sachs, and the group switched on the portable lights they were asked to bring, in symbolic gesture of adding light into the coming darkness.

The ceremony continued inside. Morlan Higgins played guitar and sang a song by Woody Guthrie. Stephen Sachs listed three Fountain productions of plays that dramatized the issues of tolerance, equality, and inclusion. My Mañana Comes brought to life the struggle of immigration, The Ballad of Emmett Till shed light on racism, and the The Normal Heart articulated the fight against AIDS and social prejudice in the gay community. Stephen then introduced cast members from these productions, each performing selections giving voice to these themes. It was very powerful and moving.

 

Quoting Rabbi Prinz, Sachs then announced the Fountain Theatre’s pledge that it “will not be silent.” He then instructed the group to once again switch on their portable lights, as he turned on the Fountain ghostlight that stood on stage, as a beacon of hope.

The Fountain ceremony ended with everyone joining Morlan on guitar and singing together the lively gospel song,  “This Little Light of Mine”.  Afterwards, the group gathered upstairs in the cafe for excited conversation, pizza and beer.

It was an inspiring and joyous evening. Like the light we shine, we will carry our pledge forward into the new year, and the years forever after. We will not remain silent.