Tag Archives: Naila Aladdin-Sanders

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.

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Fountain Theatre highlighted on “Best” Lists for Theatre in 2015

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The Painted Rocks at Revolver Creek

As the year draws to an end, the Fountain Theatre is delighted to be highlighted on many of the annual “Best of 2015” lists that are starting to appear.

Los Angeles Times theatre critic Charles McNulty selected our west coast premiere of Athol Fugard’s The Painted Rocks at Revolver Creek to his Best Theater of 2015, hailing it as “Another in the Fountain Theatre’s series of expertly acted productions of the great South African playwright.”

The LA Theatre website Bitter Lemons named The Painted Rocks at Revolver Creek as its Top Rated Production of 2015.

And critic Travis Michael Holder honored the Fountain Theatre with several of his TicketHolder Awards for 2015:

BEST PRODUCTION OF 2015

The Painted Rocks at Revolver Creek

  • RUNNERS-UP: Citizen: An American Lyric

BEST ENSEMBLE CAST IN A PLAY

Gilbert Glenn Brown, Thomas Silcott, Phillip Solomon, Suanne Spoke, The Painted Rocks at Revolver Creek

  • RUNNERS-UP: Bernard K. Addison, Leith Burke, Tina Lifford, Tony Maggio, Simone Missick, Lisa Pescia, Citizen: An American Lyric
CITIZEN Fountain Theatre feel most colored

Citizen: An American Lyric

NEW DISCOVERY 2015

Phillip Solomon, The Painted Rocks at Revolver Creek

BEST PLAYWRIGHT

Athol Fugard, The Painted Rocks at Revolver Creek

BEST ADAPTATION

RUNNERS-UP: Stephen Sachs, Citizen: An American Lyric

BEST DIRECTION OF A PLAY

Simon Levy, The Painted Rocks at Revolver Creek

  • RUNNERS-UP: Shirley Jo Finney, Citizen: An American Lyric

BEST COSTUME DESIGN

RUNNERS-UP: Naila Aladdin-Sanders, The Painted Rocks at Revolver Creek

BEST SOUND DESIGN

RUNNERS-UP: Peter Bayne, Painted Rocks at Revolver Creek

BEST VIDEO DESIGN

RUNNERS-UP: Yee Eun Nam, Citizen: An American Lyric

SPECIAL ACHIEVEMENTS 

Anastasia Coon, Movement, Citizen: An American Lyric

A marvelous end to a memorable year marking our 25th Anniversary season. More “best” lists will be appearing.  

 

PHOTO SLIDESHOW: Artists and Audiences Celebrate at Opening Night Party of ‘The Painted Rocks at Revolver Creek’

Maya Lynn Robinson and Gilbert Glenn Brown

Maya Lynn Robinson and Gilbert Glenn Brown

Cast, company and audience members swept into our upstairs cafe Saturday night to celebrate the opening night performance of our west coast premiere of Athol Fugard’s new play, The Painted Rocks at Revolver Creek. Food, drink and joyfulness followed a marvelous performance that earned a standing ovation.

Internationally acclaimed playwright Athol Fugard returns to the Fountain Theatre with this beautifully heartfelt new drama. Directed by Simon Levy, it features Gilbert Glenn Brown, Thomas Silcott, Philip Solomon, and Suanne Spoke.

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The production runs to December 14th. Info/Get Tickets

West Coast Premiere of a new play by Athol Fugard at the Fountain Theatre

Painted Rocks_graphic_medThe Fountain Theatre continues its 15-year relationship with master playwright Athol Fugard, presenting the West Coast premiere of his newest play. Directed by Simon Levy, The Painted Rocks at Revolver Creek  opens on November 7 at the Fountain Theatre in Hollywood.

Both Fugard and the Fountain come full circle with Painted Rocks, a play inspired by the work of real-life outsider artist Nukain Mabuza. In 1972, a personal encounter with outsider artist Helen Martins, a reclusive and ostracized figure in a small, ultra-conservative Afrikaans community who had created an extraordinary collection of statues in her back yard, led to Fugard’s celebrated play, The Road to Mecca. And it was the Fountain’s Los Angeles premiere of that play in 2000, directed by Fountain co-artistic director Stephen Sachs, that introduced the playwright to the theater he would come to call his “artistic home on the West Coast.”

“Forty years later [after my encounter with Helen Martins], I became aware of another outsider artist worthy of the same attention, working in completely different circumstances and also with a different medium,” wrote Fugard on the website of South Africa’s Stellenbosch Institute for Advanced Studies, where he is currently an artist-in-residence. “The environment of present-day South Africa made me realize the true potential of Nukain’s story, and that, even though he worked on the fringes, it can in fact not be fully realized without taking on the realities of his existence in apartheid South Africa.”

In the play, the aging Nukain (Thomas Silcott) has spent his life transforming the rocks at Revolver Creek into a vibrant garden of painted flowers. Faced with the presence of the final unpainted rock — and at the insistence of his young companion, Bokkie (Philip Solomon) — he is forced to confront his legacy as an artist and a black man in 1980s South Africa. When the landowner’s wife (Suanne Spoke) arrives to demand he stop painting, the deep racial conflict of the country is viscerally exposed. Twenty years later, in what has become the new South Africa, the man called Bokkie as a child (Gilbert Glenn Brown) returns to restore Mabuza’s lifework.

“Possibly, at this moment in our history, the stories that need telling are more urgent than any of the stories that needed telling during the apartheid years,” Fugard said in an interview with NPR.

“At the heart of Athol’s beautiful new play is the issue of seeing and being seen – as an artist, as a man, especially as a black man,” says Levy. “It’s an on-going, universal problem that Athol has spent his life exploring and exposing and humanizing. To be seen for who you really are, and to be loved and honored for that. It’s a beautiful message, and one we need to hear over and over again.”

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The author of over 30 plays and recipient of countless accolades including an Academy Award, Obie and the 2011 Special Tony Award for Lifetime in the Theatre, Athol Fugard is best known for his plays about the frustrations of life in contemporary South Africa and the psychological barriers created by apartheid. Widely acclaimed around the world, his plays include Boesman and Lena (Obie Award, Best Foreign Play), Sizwe Bansi Is Dead (Tony Award, Best Play), A Lesson from Aloes (New York Drama Critics Circle Award, Best Play), the semiautobiographical Master Harold…and the Boys (Writers Guild Award, Outstanding Achievement) and The Road to Mecca(New York Drama Critics Circle Citation, Best Foreign Play, London Evening Standard Award, Best Play). The first white South African playwright to collaborate with black actors and workers, some of his works, such as Blood Knot, were initially banned in South Africa. In his first two post-apartheid plays, Valley Song (1995) and The Captain’s Tiger (1998), Fugard addressed more personal concerns, but in Sorrows and Rejoicings (2001) he focused on the complex racial dynamics of South Africa’s new era. In 2005 his novel, Tsotsi (1980), was adapted for the screen, winning the Academy Award for Best Foreign Language Film.

When Fugard saw the Fountain’s Los Angeles premiere of The Road to Mecca in 2000, he was so impressed that he offered the company world premiere rights to an as-yet-unwritten new work. In 2004, Stephen Sachs directed the world premiere of Exits and Entrances. The production garnered production and direction awards from both the Los Angeles Drama Critics Circle and the Ovations, and Sachs went on to direct acclaimed regional productions around the country, including an off-Broadway production at Primary Stages and the UK premiere at the 2007 International Edinburgh Festival. Since then, the Fountain has produced four premieres of Fugard’s plays including the American premiere of Victory (two LADCC awards and four LA Weekly nominations, and named “Best of 2008” by the Los Angeles Times);the West Coast premiere of Coming Home (three LA Weekly awards including “Ensemble” and “Direction,” LADCC award for “Lead Performance”); the U.S. premiere of The Train Driver (three LA Weekly awards); and the U.S. premiere of The Blue Iris (LA Weekly Award nomination for best ensemble).

The Painted Rocks at Revolver Creek premiered to critical acclaim at the Signature Theatre in New York City earlier this year. The New York Times called it “tender and ruminative” and Newsday wrote, “Fugard stamps indelible human faces on faraway reports of the world’s news.”

Set design for the Fountain Theatre production of The Painted Rocks at Revolver Creek is by Jeffrey McLaughlin; lighting design is by Jennifer Edwards; sound design is by Peter Bayne; costume design is by Naila Aladdin Sanders; props are by Dillon Nelson; dialect coach is Nike Doukas; assistant stage manager is Terri Roberts; production stage manager is Rita Cofield; associate producer is James Bennett; and Stephen Sachs and Deborah Lawlor produce for the Fountain Theatre.

Currently celebrating its 25th anniversary, 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 with the 2014 Ovation Award for Best Season and the 2014 BEST Award for overall excellence from the Biller Foundation; the Fountain play Bakersfield Mist in London’s West End starring Kathleen Turner and Ian McDiarmid; the sold-out Forever Flamenco gala concert at the 1200-seat John Anson Ford Amphitheatre; and the last six Fountain productions consecutively highlighted as Critic’s Choice in the Los Angeles Times. The Fountain has been honored with six Awards of Excellence from the Los Angeles City Council for “enhancing the cultural life of Los Angeles.”

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PHOTO SLIDESHOW: First Rehearsal for Athol Fugard’s ‘The Painted Rocks at Revolver Creek’

Gilbert Glenn Brown, Suanne Spoke, Thomas Silcott, Philip Solomon

Gilbert Glenn Brown, Suanne Spoke, Thomas Silcott, Philip Solomon

“Maybe one day you will also walk many roads.”                                      Nukain Mabuza, The Painted Rocks at Revolver Creek 

Our company of theatre artists began their walk together on the road toward our upcoming west coast premiere of Athol Fugard’s beautiful new play,  The Painted Rocks at Revolver Creek  Actors Gilbert Glenn Brown, Thomas Silcott, Philip Solomon, and Suanne Spoke met with the production and design team under the eye of director Simon Levy. This marks Silcott’s second Fugard play at the Fountain, who co-starred in Coming Home in 2009.

The Painted Rocks at Revolver Creek is the seventh Fugard play produced at the Fountain since 2000. Producer Stephen Sachs spoke about the Fountain’s longtime relationship with Fugard and its fifteen year history of producing his new work. Director Simon Levy shared his thoughts on the play. Also present at the first meeting were associate producer James Bennett, assistant stage manager Terri Roberts, set designer Jeff McLaughlin, costume designer Naila Aladdin-Sanders, props designer Dillon Nelson, dialect coach Nike Doukas, and publicist Lucy Pollak.

Nukkain Mabuza

Nukkain Mabuza

This beautifully heartfelt new drama by Athol Fugard is inspired by the life of South African artist Nukain Mabuza. Aging South African farm worker Nukain has spent his life painting the rocks at Revolver Creek into a vibrant garden of flowers, the young orphan boy Bokkie now at his side. But when the landowner’s wife arrives with demands to stop his painting, the deep racial conflict of a country is viscerally exposed, and the seed of the painter’s legacy is planted to blossom in the rise of the next generation.

The Painted Rocks at Revolver Creek opens November 7 (323) 663-1525  Get Tickets/More Info

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‘Citizen’ Rehearsals Trigger Thought-Provoking Talk Between Actors at Fountain Theatre

Cast of 'Citizen" have table talk.

Cast of ‘Citizen’ have table talk.

Rehearsals are now underway for our exciting world premiere stage adaptation of Claudia Rankine‘s acclaimed book about race in America, Citizen: An American Lyric. Only a few days into rehearsal , the new play has already inspired an honest, open and insightful dialogue between the actors, sharing thoughts and feelings about race, identity, human connection, self-awareness and what it means to be a citizen in this country. 

Adapted for the stage by Stephen Sachs and directed by Shirley Jo Finney, the free-flowing and fast-moving theatre piece opens August 1st. 

The talented ensemble cast includes Bernard K. Addison, Leith Burke, Tina Lifford, Tony Maggio, Simone Missick, and Lisa Pescia.  

Before the cast was permitted to turn to page one of the script and begin the painstaking process of exploring and analyzing the text, it was essential to Director Finney that the actors have a frank conversation with each other about their own life experiences concerning race, social/cultural interaction and human relationships. To get to the heart of the issues exposed in this play, Finney insisted, it must be personal. The result was a spirited dialogue at the rehearsal table that was raw, insightful, painful, funny and enlightening.    

Actor Tony Maggio.

Actor Tony Maggio and company discuss the play.

This powerful  and thought-provoking stage adaptation fuses theatre, music, sound, movement,  and video imagery. Snapshots, vignettes, a meditation on the acts of everyday racism. Remarks, glances, seeming slips of the tongue. Those did-that-really-just-happen-did-they-really-just say-that slurs that happen every day. And the larger incidents that become national firestorms. As Rankine writes, “This is how you are a citizen.”

Rankine’s acclaimed book is the Winner of the 2015 National Book Award, the 2015 Los Angeles Book Award, and the PEN Award.

At Monday night’s first rehearsal, producer Simon Levy guided the company through production business, scheduling and paperwork. Costume designer Naila Aladdin Sanders took measurements of the actors. Director Shirley Jo Finney spoke about her vision for the play. The script was then read aloud by the cast.  Also present were Co-Artistic Director Deborah Lawlor, Director of Devlopment Barbara Goodhill, designers Yee Eun Nam, and Dillon Nelson, movement director Anastasia Coon, publicist Lucy Pollak, and intern Isabel Espy.  

The meditation on race and truthful questioning of social interaction dramatized in this new work is timely for our city and our country.  Our world premiere stage adaptation of Citizen: An American Lyric promises to be the theatrical event of the summer and will certainly generate much-needed conversation. We urge all citizens to join us for this illuminating and important ride! Opens August 1st. 

Photo Slideshow: Table Talk

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The Fountain Theatre launches its 25th Anniversary with the Los Angeles premiere of “Reborning”

Ryan Doucette, Kristin Carey and Joanna Strapp.

Ryan Doucette, Kristin Carey and Joanna Strapp.

How far would you go to create a family?

Launching the Fountain Theatre’s 25th Anniversary Season, Simon Levy directs Kristin Carey, Ryan Doucette, Joanna Strapp — and some very unusual, one-of-a-kind dolls — in the Los Angeles premiere of Reborning by Zayd Dohrn. How far would you go to create a family?. A darkly funny psychological thriller that takes an unsettling look at work, motherhood and the power of healing, Reborning opens at the Fountain Theatre on Jan. 24.

In Reborning, a young artist who crafts custom-made dolls begins to suspect that a demanding client may be the mother who abandoned her at birth. As she tries to unravel the mystery, she discovers the path to her own “reborning.”

“The play is funny and twisted, but also deeply emotional and very moving,” says Levy.

Ryan Doucette and Joanna Strapp

Ryan Doucette and Joanna Strapp

A reborn doll is a manufactured vinyl doll that has been transformed to resemble a human baby with as much realism as possible. Although many consumers collect reborns as they would regular dolls, others use them to replace a child they once lost or a child that has grown up. The dolls often come with fake birth or adoption certificates, and their “parents” care for them as they would an infant. Because of their realistic appearance, reborn dolls have occasionally been mistaken for real babies and rescued from parked cars after being reported to the police by passers-by.

“It’s a pretty dark play, but kind of a comedy too,” explains Dohrn, who first became aware of reborn dolls when his wife was pregnant and they were searching for baby clothes online.

“We stumbled across numerous sites and forums for reborn dolls,” he says. “Buyers would testify how the dolls comforted them. I was trying to balance my own fears and hopes about becoming a father with my work as a writer and an artist, and I became fascinated. These dolls are realistic enough to be upsetting — beautiful and grotesque and odd all at once.”

Reborning received a workshop production at The Public Theater in New York City, followed by a world premiere production at The SF Playhouse in San Francisco. San Francisco’s Eagle News called it “A major triumph… a taut thriller that will keep audiences on the edge of their seats. You don’t want to miss it,” while the Chronicle praised the play’s ability to balance “humor, suspense, and trauma.” The SF Weekly wrote, “Reborning proves that grim topics and taboos can also be damn funny.”

Zayd Dohrn

Zayd Dohrn

Zayd Dohrn’s other plays include Outside People (The Vineyard Theatre/Naked Angels), Want (Steppenwolf First Look) and Sick (Berkshire Theatre Festival. His work has also been produced and developed at Playwrights Horizons, the Atlantic Theater Co., Manhattan Theatre Club, Goodman Theatre, South Coast Rep, Ars Nova, Kitchen Dog, Theatre for One, Boston Playwrights’, New York Theatre Workshop and the Royal Court Theatre in London, among others. He has written screenplays for the American Film Company, Bedlam Productions, and Vox3 Films, as well as a pilot for HBO. He earned his MFA from NYU and was a Lila Acheson Wallace Fellow at Juilliard, where he twice received Lincoln Center’s Lecomte du Nouy Prize. He teaches playwriting and screenwriting at Northwestern University.

Simon Levy

Simon Levy

Simon Levy was honored with the 2011 Milton Katselas Award for Lifetime Achievement in Directing by the Los Angeles Drama Critics Circle. Directing credits at the Fountain include The Normal Heart (LADCC Award for Best Revival), Cyrano (LADCC Awards for Direction and Production), A House Not Meant to Stand; Opus (LA Weekly Awards, Best Director); Photograph 51;The Milk Train Doesn’t Stop Here Anymore (Backstage Garland Award, Best Direction); The Gimmick (Ovation Award-Solo Performance); Master Class (Ovation Award-Best Production); Daisy in the Dreamtime (Backstage Garland Awards, Best Production and Direction); Going to St. Ives; The Night of the Iguana; Summer & Smoke (Ovation Award-Best Production); The Last Tycoon, which he wrote and directed, (5 Back Stage  awards, including Best Adaptation and Direction); and Orpheus Descending (6 Drama-Logue awards, including Best Production and Direction). What I Heard About Iraq, which he wrote and directed, was produced worldwide including the Edinburgh Fringe Festival (Fringe First Award) and the Adelaide Fringe Festival (Fringe Award), was produced by BBC Radio, and received a 30-city UK tour culminating in London. He has written the official stage adaptations of The Great Gatsby, Tender is the Night, and The Last Tycoon for the Fitzgerald Estate, all published by Dramatists Play Service.

Set design for Reborning is by Jeff McLaughlin; lighting design is by Jennifer Edwards; sound design is by Peter Bayne; costume design is by Naila Aladdin Sanders; prop design and set dressing are by Misty Carlisle; consulting doll artist is Amy Karich; associate producer is James Bennett; assistant stage manager is Shawna Voragen; and the production stage manager is Terri Roberts

Reborning  (323) 663-1525  MORE INFO/Get Tickets