Tag Archives: Hollywood

Piano man on Fountain Avenue

We put an old piano out front on the sidewalk hoping someone would take it. Instead, people in the neighborhood are playing it. This guy from NY was driving by, saw the piano on the sidewalk, got out of his car, and began to boogie.

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The Fountain Theatre gives voice to a cry of sexual assault in new play ‘The Lighthouse’

LIGHTHOUSE photo

Garret Wagner, Kelley Mack, Michael D. Turner and Chops Bailey.

By Catherine Womack

“It’s beach week, baby!” A tall, handsome college athlete cracks open a cold beer as he flops onto a worn sofa. The semester is over for Shane and his friends, and the stress of final exams is quickly fading into a blur of sun, sand and mojitos served in red Solo cups.

Onstage at the Fountain Theatre in East Hollywood, six young actors fall easily into the rhythms of day drinking and banter inside the fictional rented vacation home. The set is sparse, but the inside jokes and casual flirtations between its occupants feel so real you can practically smell the salty air and taste the PBR.

But there is an elephant in this living room.

Perched on a tall director’s  chair  in  the  middle of the stage, seemingly invisible to the revelers, sits a silent female lifeguard. Only when she’s left alone with Jesse,    the    play’s    central character, does the lifeguard begin to speak.

“Are you sure you want to be wearing that?” the lifeguard asks, peering disapprovingly over her sunglasses at Jesse’s short denim shorts and tank top. “Are you trying to get laid for attention or validation?”

Hypercritical, judgmental and disparaging, the lifeguard is a constant presence throughout Amanda Kohr’s 80-minute, one-act play, “The   Lighthouse.”   As   the winner   of   the   Fountain’s competition-style Rapid Development Series, the play received two nights of free semi-staged readings last week — all part of an effort to give a louder voice to playwrights under 30.

James B and Jessica B

Jessica Broutt and James Bennett, co-creators/producers of Rapid Development Series.

One of several surrealist elements in the show, the lifeguard plays the part of Jesse’s darkest inner voice following a traumatic sexual assault at the beach house. “The Lighthouse” is Kohr’s indictment of rape culture and the epidemic of sexual assault on college campuses. Kohr said the play was inspired by the 2015 case of Brock Turner, the Stanford swimmer convicted of sexually assaulting an unconscious woman, and was informed by Kohr’s own experiences.

On two printed sheets of folded white office paper that served as the program for the evening, Kohr, 27, wrote candidly about her own story:

“I grew up accepting sexual assault — the act was so prevalent that it swam below the radar under the perception as normalcy. By 16 I had been manipulated into unwanted sexual situations, assaulted and catcalled.”

As an undergraduate at James Madison University in Virginia, Kohr said in an earlier phone interview, she “heard about, witnessed and experienced so much sexual assault and harassment among college-age students that it just become normal.” At times, she said, she felt like it was “harder to find had.”

Kohr  wrote  “The  Lighthouse” in summer 2016. She had read Jon Krakauer’s reported narrative, “Missoula: Rape and the Justice System in a College Town,” and she closely followed the Stanford case as it unfolded. She was appalled by the leniency of Turner’s sentence — six months, reduced to three months for good behavior — and was inspired by the letter that his victim read at the sentencing hearing.

“I am a firm believer that entertainment can help educate,” Kohr said, “so I really strove to draw my audience in through comedy and then bash them with the truth.”

Kohr wrote the play more than a year before the Harvey Weinstein scandal broke, sexual assault and harassment became a national cultural conversation, and #MeToo became a movement.  That’s  one  reason Jessica Broutt, 25, the co-founder and co-producer of the Fountain’s Rapid Development Series, found Kohr’s play so compelling.

Broutt, who interned at the Fountain as a college student and worked briefly as the company’s box office manager, came up with the idea for the series with Fountain associate producer James Bennett four years ago.

“We noticed that there weren’t really a lot of young people going to the theater,” she said. “We would go to all these awesome reading series at other theaters, but it was never young people who were playwrights, and they generally weren’t  L.A.- based.”

Jessica Hailey Broutt, Kieran Medina and Amanda Marie Kohr at Fountain Theatre.

Jessica Broutt, Kieran Medina and Amanda Kohr at Fountain Theatre.

Broutt and Bennett pitched the idea to the Fountain’s management as a sort of theatrical battle of the bands. Broutt would select four plays by L.A. playwrights under 30. The theater would provide the actors and the space, and each play would receive a “snapshot” reading at which audiences vote for their favorite, drawing them more actively into the experience.

The actors and directors are volunteers, and the performances are free.

“We were trying to rule out all the reasons why people our age don’t goto plays,” Broutt said.

This year marks the series’ fourth season. Broutt says that when she read “The Lighthouse,” she knew immediately it was special.

“I just felt like, wow, this is a play that is taking on rape culture and breaking it down in a way that is educational and provides a surrealism and a humor that will engage people,” she said. “It’s very rare for me to see something that is doing all of those things effectively. And then as we were going through development last fall, the Harvey Weinstein stuff came out.”

In just a few months Kohr has been able to work with Broutt to polish the play, have it receive two short readings as it progressed through the competition, and watch it performed onstage in its entirety for the first time.

“When I was in college I had a lot of shorter things staged,” Kohn said, “but this is  my  first  thing  that’s  like borderline professional.”

Audience members on Wednesday night were racially diverse and younger than what’s typical in most

L.A. theaters. They laughed out loud as Jesse’s rapist, Shane, was presented as a hero during exaggerated, game-show-style court proceedings. And some wiped tears from their eyes when Jesse found the strength to silence her inner-critic lifeguard and rediscover her own confident voice.

At  the  end  of  the  “The Lighthouse,” the house lights came up dramatically as Jesse called for people to speak out and shine a light on sexual misconduct. In the front row, Kohr hugged her friends. Her #MeToo story had found an audience.

This post originally appeared in the Los Angeles Times. 

Fountain Folk: “This is where things are happening”

Fountain Folk 2

Karin, Aliza and Victor

by Dionna Michelle Daniel

Our Fountain Family is at the core of our theatre. This week, I had the privilege to sit down with a few of our patrons before the Monday night performance of our hit production,  The Chosen. Our conversations were not only enriching but made me proud of our thriving LA theater community.

At the beginning of the night, I spoke with Fountain first-time patrons Debbie and Cathy.  They expressed how they are usually season ticket holders at the Mark Taper Forum and generally like to view larger productions in the LA area. However, when they heard that Chaim Potok’s The Chosen was being performed, they bought tickets. “It’s one of my favorite books,” Cathy exclaimed.

The exceptional reviews for The Chosen have been bringing more first-time patrons to our door. So has the universal message of acceptance that is at the core of both the book and stage adaptation. The play has also been very inspirational and heartwarming for LA’s Jewish community, bringing some back to the beauty and wisdom of tradition. While speaking with patrons, I met a group of Sephardic theatre goers who were also equally excited to see Chaim Potok’s work adapted for the stage. Here is a snippet of my conversation with Fountain patrons Karin, Aliza and Victor.

Q: Is this your first time at the Fountain?

Victor: No, we were here many years ago. This has been here a long time, no? Maybe like 30 years ago.

Q: Do you like to see theater in LA?

Victor: Yes yes, we love [theatre] …. We used to [go]  all the time at the Ahmanson and  buy their [season subscription] but not this year.

Aliza: Well you have a community that is goes to theater. You have a community for everything [in LA.]

Victor: One of the things that I like about Los Angeles is that there is theater. You know, I’m from Mexico City. We are from Mexico City. (Pointing to himself and Aliza) She is from Buenos Aires, (Pointing to Karin) Mexico City is the place for theatres, ya know. So I am used to the theatre. That’s why one of the reasons I like to be here in Los Angeles is because this is where things are happening. When I moved to California, first I moved to Del Mar and I found it quite boring.

Q: Where is that?

Victor: Del Mar is north of San Diego. Even San Diego itself is no comparison to Los Angeles. Of course, this is no comparison with New York. I wish I were in New York and I’m not in New York so at least I’m in Los Angeles.

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Debbie and Cathy

Q: What brought you tonight to The Chosen?

Victor: Our friend Karin invited us!

Karin: The president of our synagogue, we’re Jewish, told me. We like Flamenco so we told them that they play Flamenco there. He said, “We saw The Chosen there!” So we bought tickets.

Q: Have you read The Chosen?

All: Yes! Of course!

Q: How has your overall experience been so far since getting to the theater?

Victor: I just arrived here and very excited. I like very much plays. As I was telling you, we buy the yearly pass for the Ahmanson Theater. It’s a completely different experience. I think here it’s more the kind of people who are really interested in theater.

Aliza: The good thing in LA is the people. You will have people from India, from Mexico from South America from Europe! You have a mix of cultures and it’s the same in the theater. You will have theaters for certain groups. Every area has its own community!

Q: And will you be back for Forever Flamenco at the Fountain?

Victor: (gesturing to his wife Aliza) We have children who are twins and yesterday was their 18th birthday. And I told Aliza, I wanted to go to a restaurant to see Flamenco. I didn’t know it was here. Because I wanted to see something Flamenco. We are Sephardic, ya know. Sephardic from Spain. There was a Sephardic show in one of the synagogues in Beverly Hills but I wasn’t able to take my children.  I want them to see, so we’ll be here!

If you’d like to share your own experience at The Fountain Theatre on our Fountain Folk blog, please contact Outreach Coordinator, Dionna Michelle Daniel at dionna@fountaintheatre.com

 

Happy 28th Birthday, Fountain Theatre!

FT April 1 2016Twenty-eight years ago today, on April 1st, 1990, co-founders Deborah Lawlor and Stephen Sachs opened the doors of the Fountain Theatre. What began as a dream and an empty building on Fountain Avenue has blossomed into one of the most successful and highly regarded intimate theatres in Los Angeles. 

The Fountain Theatre provides 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.

Enjoy this video, created three years ago to celebrate our 25th Anniversary. It shares who we are, what we do, and why.  

Do you really think a life in the theatre means making a living? Think again.

Tony Kushner

Tony Kushner

by Stephen Sachs

Eight words. A statement declared in eight simple words jumped out at me in a feature story on playwright Tony Kushner in today’s New York Times. The eight words were stated by playwright and Kushner friend Larry Kramer, author of The Normal Heart, which we produced at the Fountain Theatre in 2015.  Commenting on Kushner’s shift from playwriting to screenwriting, Kramer says, “I wish he’d go back to writing plays.”

So, why doesn’t he?

Kushner answered that question himself in 2011 when he shocked many in the arts community by revealing in an interview in Time Out New York that not even the author of Angeles in America can make a living as a playwright.

“I make my living now as a screenwriter. Which I’m surprised and horrified to find myself saying, but I don’t think I can support myself as a playwright at this point. I don’t think anybody does.”

Kushner is right. American playwrights — not even one of his stature — do not earn the bulk of their living writing plays. Many teach. An ever-growing number write for film or cable television.  The tsunami of playwrights today surging into television is so large that it now has become a writer’s career model:  A playwright earns notoriety and success writing plays — or even one successful play, he/she “takes meetings” with Industry producers then quickly jumps to movies and/or television to make real money. The well-meaning intent being that a big-bucks TV salary will financially support the writer, allowing him/her to keep writing plays. What often happens? They write fewer plays.  Some never return to the stage.

“I don’t particularly want to do it,” Kushner said in 2011. “I think that it’s a mistake to do it. So, yes, I’m very worried about it. ” The last play by Kushner premiered in 2009.

The classic tale of playwrights writing for Hollywood is as old as celluloid itself. An avalanche is now underway. Playwrights are flocking to cable TV and streaming networks in record numbers. TV showrunners are aggressively recruiting writers from regional theaters like crazed baseball team owners scouting for hot rookie talent.  One major talent agency in Hollywood has opened a department specifically targeting playwrights for film and televsion. The roster of playwrights now writing for film and TV today is too long to list.  Is that such a bad thing?

Many playwrights I know, and have produced at the Fountain Theatre, also write for film and television. My pal Robert Schenkkan (Building the Wall) is writing a new project for Amazon. Tanya Saracho (El Nogalar) is now creator and showrunner of the Starz drama “Vida” and just signed a three-year deal with the network. Tarell Alvin McCraney (In the Red and Brown Water/Brothers Size) has signed to create, write, and executive produce a new hour-long television drama for the Oprah Winfrey Network. I’m confidant that all three will continue writing plays.

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Stephen Sachs, Shirley Jo Finney, Tarell Alvin McCraney, Fountain Theatre (2014)

I had my own Hollywood crossover by writing the teleplay for Sweet Nothing in my Ear for CBS, based on my play that premiered at the Fountain.  The sale of that one TV script paid me more than I would make running an 80-seat theatre for years.  I am currently writing a screenplay based on my comedy/drama Bakersfield Mist. Does this make me a traitor to my art form? I don’t think so. It makes me a man with a family and a mortgage.

Let’s be honest. There’s a reason why it’s called non-profit theatre. One enters the non-profit arts sector like one enters the priesthood — to serve a higher power. Even so, it would be nice to make a good living doing what you feel is important. To be frank, non-profit theatre-making is an inherently shitty business model. The economics of the art form stack the odds against those who actually make the art happen. So, why do we do it? Here, we cue the piano and launch into “What I Did for Love

Of course, it’s not only playwrights who give their hearts to the theatre at the expense of their wallets. Actors, directors and designers often work for love, and little money. The average member of Actors Equity Association, the professional stage union for actors and stage managers, made an annual salary in 2016 of only $7,700 per year. Like corporate America, it’s the folks at the top in this country’s major regional theaters who are earning large salaries. A few of the larger LORT companies have added playwrights to their theatre’s staff, but they are rare. The model of a permanent repertory company, where artists are paid a yearly salary, is a dying concept, a fossilized relic from an earlier age.

Today, the odds of making a living as a playwright are as remote and precarious as making a living as a poet. Our finest example of excelling at both is, of course, the greatest playwright/poet of them all. Shakespeare wrote multiple plays a year, dozens of sonnets, was a partner in the company, and a co-owner of the theatre building. He was also a ruthless businessman and wealthy grain merchant and property owner.  Unlike the character he created in King Lear, Shakespeare was no fool.

I have dedicated my career to the intimate Fountain Theatre and the non-profit arts community in Los Angeles. I knew twenty-eight years ago when I co-founded this theatre that I would never make a lot of money. I’m okay with that. Most days. I’d be lying if I claimed I haven’t envied men and women my age or younger in the entertainment industry making a huge amount of money more than me.

This is the life I have chosen. Two things keep me going. The impact our work has on others, and the example I am setting for my two sons. Don’t get me wrong. There is nothing wrong with making money. I just want my two boys to know that their father dedicated his life working at something that he loved and knew was important, that he was committed to making the world a better place in the one way he knew how, by exploring and illuminating the human condition, not striving to make himself wealthy. Can one do both? Of course. I just haven’t yet figured out how to do that.

An artist’s life offers riches not found in a bank ledger. In that, I am the wealthiest man in the world.

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

Oscar Weekend: ‘The Chosen’ was a movie before it was a play. So, nu?

CHOSEN movie

Barry Miller and Robbie Benson in “The Chosen” (1981)

It’s Oscar Weekend. The Academy Awards are this Sunday night. Critics and fans are placing their bets, handicapping the nominees, calculating the winners. Fancy gowns and tuxedos have been rented, limousines are standing by. While the movie elite converge on the Dolby Theatre on Hollywood Blvd, the rest of America plops down on the couch to watch it all on TV.

Except for the Fountain faithful who go to the theatre. 

We have a 2pm matinée of The Chosen this Oscar Sunday. It’s been sold out for weeks.  There’s even a waiting list for people standing by, desperate to get in. How can this be possible? Don’t they know that the most-watched non-sporting event in the United States will be dazzling their TV screens that night?

They know. They don’t care. They are theatre people. And, God Bless them.    

The Chosen was actually a movie before it was a play. Before Chaim Potok’s 1967 best-selling novel was adapted for the stage, The Chosen was a 1981 film directed by Jeremy Kagan. It starred Maximilian Schell, Rod Steiger, Robbie Benson and Barry Miller. Author Chaim Potok himself makes a cameo appearance as the Talmud Teacher. 

Chaim in THE CHOSN movie

Chaim Potok, Robbie Benson and Barry Miller (1981)

Like the homes of the two Brooklyn boys in The Chosen, The Fountain Theatre is a short drive from The Dolby Theatre but it might as well be a world away. It’s hard to imagine two venues more different. The glamorous Dolby seats 3,400 people. Our homey theatre on Fountain Avenue holds 78.  The Dolby has the world-famous red carpet holding an avalanche of international press. The only time the Fountain attracted any swarm of paparazzi was when Elizabeth Taylor arrived here to see a play in 1993.   

But the Fountain has one thing the Dolby does not. Diehard theatre people who still feel that experiencing a live performance exceeds watching one on a screen. They are the loyal Fountain Family, highly intelligent and culturally sophisticated connoisseurs of a glorious art form dating back centuries before the first electric light bulb was switched on in Thomas Edison’s first Kinetoscope movie projector.   

Besides, they can always dash home after our Sunday matinée and still get home in time for Jimmy Kimmel’s opening monologue. As a character in The Chosen might say, “What can you do? Azoy gait es!”  

‘The Chosen’ actor Sam Mandel shares advice on hustling between acting jobs

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By Linnea Sage

Name: Sam Mandel

Side hustle: Chief operating officer of the Ketamine Clinics of Los Angeles

Years acting: 13

Favorite acting credits/opportunities: I had a blast working with Chris Rock as recurring guest star Fisher on “Everybody Hates Chris.” My favorite would have to be the role I’m performing right now, making my stage debut as the lead in the west coast premiere of a newly revised version of The Chosen at the Fountain Theatre in Hollywood. We opened Jan. 20 and it’s been a life-changing experience for me; by far my most challenging and fulfilling role to date.

What do you do when an audition or shoot comes up? 
I let my team at the clinic know that I’m going to be out and to plan accordingly. I have a staff of seven; they’re great! They work hard and are very supportive of my acting career. I move meetings and conference calls with outside companies to different days. I catch up on work from home. It’s not always easy, but I give people as much advanced notice as possible and put in the work before and after filming to meet my responsibilities at the office, even if that means catching up on emails at 2 a.m.

Have you ever felt like your side hustle was in jeopardy because of acting? How long did it take you to feel like you had security at this side hustle, even if you took time off for an acting project? 
I don’t think I ever felt like my side hustle was in jeopardy, but I have felt that my acting hustle was suffering. Managing both has been very intense and stressful at times. I am fully committed to both. Acting is my life, my career, my passion, and it means more to me than anything.

On the other hand, I started a business that now has many people counting on me. Not only is it how I eat and pay my bills, but I’ve invested substantial time and money into it. Our patients come to us deeply depressed, some even suicidal. The treatment we offer is the last hope for many of them. It’s literally life and death. That’s a big responsibility and one I don’t take lightly.

I felt I couldn’t fully pursue acting like I wanted to for the first three years of starting my company. I still auditioned and booked work occasionally—a commercial here, co-star spot there—but wasn’t hustling like I wanted for my acting because I was grinding for the clinic. In the last 12 months, I’ve finally started to turn up the heat on the acting and it feels great. That’s largely a result of dedication, patience, and persistence to establish a strong foundation for the company. It took time, but I now have a wonderful team in place. They say, “good help is hard to find” and no aphorism could be truer! No matter how hard you work you need teamwork to create exceptional outcomes. I’m very grateful to my team at the clinic and my team who represent me for my acting.

What skills or talents did you need for this side hustle? How long did it take you to qualify or complete training for your side hustle? 
My role is very expansive. I create policies and procedures, I’m HR and do hiring and training of staff, marketing, advertising, social media, press, website design, establish and maintain relationships with vendors, budgeting and profit and loss, patient satisfaction, and more. If I had to narrow it all down, I’d say the top three skills needed are to be very detail oriented, creative, and relentless.

As far as qualifying for this job or completing training, I’ve used skills and knowledge from every job I’ve ever had since I was a little kid walking my neighbor’s dogs. I draw a lot from the service industries I’ve worked in and my restaurant experience, which I have a lot of. Naturally, as an actor, I’ve held every position in the restaurant at over a dozen places. I focus heavily on the patient experience from our website to the moment they arrive at the clinic, to continuing care from afar long after they’ve completed their treatment. I grow every day in my ability to do my job more efficiently and successfully and lead others to do the same.

How does this side hustle fulfill you? Do you feel like you’re helping people/society/humanity in a tangible way? 
I truly love my side hustle. It’s very fulfilling. I get to help people who are suffering and be part of a team that provides them measurable relief. I get to offer an innovative solution, something new and different. Applying a wide variety of skills and knowledge in my job helps keep it interesting. New challenges and opportunities come up all the time. I love my team. They’re great people with a strong work ethic and they inspire me to keep reaching higher. The creative control and flexible schedule are nice perks too!

Has your side hustle made you better at acting or achieving your acting goals? 
Absolutely. I’ve grown as a person in so many ways through the experience of starting a company. Much of what I have learned I’ve applied to my acting career and the business side of “the industry”. I don’t overthink my acting choices and preparation for roles as much as I used to. I get to it, give it my all, and move on. Less dwelling on “shoulda, coulda, woulda…” after auditions and performances. Don’t get me wrong, it’s still there, but there simply isn’t time; I gotta get back to the other work!

Why did you choose to do this side hustle instead of more stereotypical acting side hustles like serving? 
I got tired of serving. I’ve done every job in the restaurant industry more than once. I also worked in retail, drove for Uber, was a Task Rabbit, dog walker, babysitter, sold stuff on Craigslist, and all the other stereotypical gigs artists do to get by. I’ve done em’ all. I also worked at less stereotypical jobs for an actor like at a bank, other financial companies, real estate, and more. I wanted to make decent money and not stress about the rent while also enjoying some freedom and flexibility. Acting classes and good headshots aren’t cheap! I got a unique opportunity to be part of something great and I jumped on it. I threw every ounce of my being into it, and I couldn’t be happier with the results.

If you produce your own work, do you feel like this current side hustle allows you the freedom/resources to do that? 
Yes and no. My sketch comedy channel on YouTube, Gamer Guy and the Guardians (soon to be renamed The Jungle), is very flexible. My partners Michael Tomasetti, DB Wilson, and I usually shoot on the weekends. We can shoot a whole sketch in eight hours, sometimes two sketches if they’re short or improvised. Bigger projects like a music video I wrote, produced and directed have been tougher. It took significant planning in pre-production, filming, and post-production. That project had some unique challenges and it was my first go at it. I’ve learned a lot from that experience and my clinic is in a totally different place then it was then, so I think taking on a bigger self-produced project would be different today. I plan on creating a short film to direct and act in this year and it will be interesting to see how that goes. I have flexibility within my schedule and financial cushion, but the pressure of keeping things going at the clinic, which is rapidly growing, while also giving all my creative energy to a film is no small task.

Do you have any advice for actors that aren’t sure what path to take while they are waiting for acting to pay all the bills? 
Never give up and work your ass off. Work hard and work smart. Be creative about how to make ends meet until you “make it.” I don’t say this as someone who has “made it” yet, but I feel I am well on my way. I have a long road ahead; one I’m enjoying traveling on. While staying open-minded, I urge actors to explore all work opportunities outside of the clichés with caution. A lot of less-than-savory characters prey on actors for our outgoing personalities and big hearts. If you end up sticking to a restaurant, that’s okay too! There are many advantages to restaurant work, that’s why so many of us do it.

Most importantly, never let go of your identity as an actor and your vision of where you want to go. Whether one week or five years go by without an audition or acting gig, if you are truly an actor in heart and mind, and you stay training and honing your skills, you can come back to it with passion and purpose and create a new rendition even better than where you left off.

This post originally appeared in Backstage. More Info/Get Tickets for The Chosen.