Tag Archives: NNPN

American Theatre Wing releases new documentary film on Fountain Theatre’s ‘Building the Wall’


Judith Moreland and Bo Foxworth, ‘Building the Wall’, Fountain Theatre

You know them as the New York-based organization that presents the Tony Awards and the Obies each year. But the American Theatre Wing provides a myriad of other remarkable services nationwide. It provides grants and scholarships, connect talents at all stages with educational and professional opportunities, and creates content that illuminates and preserves theatre. Founded in 1917 on the eve of America’s entry into World War I by seven suffragettes, American Theatre Wing has spent a century using theatre to advance human experience, empathy and cultural growth by providing a platform for strong and fearless voices in the American theatre.

This week, American Theatre Wing released a new short documentary film it commissioned on the creation and development of the Fountain Theatre’s world premiere production of Building the Wall by Robert Schenkkan.  The riveting new play opened at the Fountain Theatre on March 18, 2017 and was extended to sold-out houses to August 27th. It earned international attention and launched the National New Play Network’s Rolling World Premiere.

The documentary film, Working in the Theatre: Building the Wall, is an episode in The Wing’s Emmy® Nominated series produced to entertain audiences by revealing theatre’s inner-workings, profiling industry luminaries, and taking a closer look at unique stories that surround important work.

“We’re very proud and honored to have our production chronicled by the American Theatre Wing, ” says Fountain Co-Artistic Director Stephen Sachs. “Robert’s play is triggering a national conversation. It’s a privilege to have our process at the Fountain Theatre documented and permanently archived by The Wing for the field of the American Theatre.”

For playwright Robert Schenkkan, the documentary carries forward the crusade that began when he first wrote the play in a fury of outrage over the 2016 presidential campaign. For Schenkkan and the Fountain, theatre can serve as a spark for social action.

“Theatre, of course, is about bringing together very disparate groups of people, during which they share a story, ” says Schenkkan. “A story about themselves, about their society, about their culture. And in the sharing of that story, hopefully they learn something about themselves, they are provoked to think more deeply about themselves, to ask better questions, and to leave in some fundamental ways, altered and perhaps more open to the possibility of change.”



After 3rd sold-out month, ‘Building the Wall’ extends again to August 27 at Fountain Theatre


Judith Moreland and Bo Foxworth in ‘Building the Wall’ at Fountain Theatre

Now in its 3rd sold-out month, The Fountain Theatre’s acclaimed world premiere of the powerful new play Building the Wall has been extended to August 27th.

In the newest play by Pulitzer Prize and Tony Award-winning playwright Robert Schenkkan (The Kentucky Cycle, All the Way, Hacksaw Ridge), the Trump administration has carried out his campaign promise to round up and detain millions of immigrants. As a writer interviews the former supervisor of a private prison, it becomes clear how federal policy has escalated to a terrifying, seemingly inconceivable, yet inevitable conclusion.

Directed by Michael Michetti, the original cast features Judith Moreland as Gloria, and Bo Foxworth as Rick. Victoria Platt will assume the role of Gloria starting June 24th.

The Fountain Theatre’s world premiere, the first in a series of productions taking place across the U.S. as part of a National New Play Network Rolling World Premiere, has received national and international attention from TIME magazine,  The New York Times, Washington Post, BBC News Hour, Radio Canada, Agence France-Presse, Breitbart News and more. The Los Angeles Times calls it “L.A.’s Hottest Ticket!”


L.A.’S HOTTEST TICKET… terrifyingly plausible… should be seen and shuddered over, if only to heighten our collective vigilance.” — Los Angeles Times


MESMERIZING… logically illustrates, step by step, how fascism can gradually take root among people who abhor it.” —The Hollywood Reporter

COMPELLING… Don’t miss this play” — KCRW

RIVETING… an urgently important call to arms” — Arts In LA

A TOUR DE FORCE… riveting, harrowing and illuminating” — Broadway World

ONE HELL OF A SCARY PLAY… a necessary wake-up call to action.” — EDGE

GRIPPING… timely and relevant” — LA Splash

SEE IT WHILE YOU CAN” — People’s World

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PHOTOS: Dazzling opening night of ‘Building the Wall’ at Fountain Theatre

WALL Opening Night 6

An electrifying thrill filled the air Saturday night, March 18, as the Fountain Theatre opened the highly-anticipated world premiere of Building the Wall by Tony Award and Pulitzer Prize winning playwright Robert Schenkkan.  Even before opening, our bold National New Play Network Rolling World Premiere has earned national attention in the New York Times, the Washington Post, and other outlets across the country.

The sold-out house Saturday night at the Fountain was packed with patrons, donors, board members, Fountain family and the press. Following the powerful performance, the crowd gathered upstairs in our indoor/outdoor cafe to enjoy a catered reception prepared by our new chef, Baltazar.  Playwright Robert Schenkkan and the cast were surrounded by well-wishers, congratulating them on an unforgettable evening in the theatre. By all accounts, it looks like the Fountain has another hit on its hands.  

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Take a look at what audiences are saying about ‘Building the Wall’ at the Fountain Theatre

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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

Big news day for Fountain Theatre and Robert Schenkkan’s ‘Building the Wall’

wall-title-imageMondays at the Fountain Theatre are usually slow and quiet. The traditional day off for folks in the theatre, Mondays at the Fountain are usually spent catching up on office paperwork and reconciling reports from a weekend of performances. But yesterday was anything but quiet when a series of national news stories on our upcoming world premiere of Robert Schenkkan’s new play, Building the Wall, posted on line and in newspapers across the country, triggering an avalanche of activity. 

The New York Times featured a story by Michael Paulson profiling playwright Robert Schenkkan and his “white-hot fury” to write the first draft of the play in just one week after the election.   The Times outlined that four theatres across the country are producing the new play — lead by the Fountain’s world premiere on March 18 — as part of an National New Play Network (NNPN) Rolling World Premiere. Each theatre had to move fast.

“We no longer live in a world that is business as usual — Trump has made that very clear — and if theater is going to remain relevant, we must become faster to respond,” Mr. Schenkkan said.  

In the Times article, Fountain Co-Artistic Director Stephen Sachs adds:

“We had our season in place, with another production planned, but as soon as I read this script I knew we had to move fast,” said Stephen Sachs, an artistic director of the Fountain Theatre. “It’s a raw, passionate warning cry, and I knew we had to be bold and make this statement.”  


Playwright Robert Schenkkan (photo by Chad Batka, New York Times)

The Washington Post, in a story by , examined how theatres have changed their season programming in response to the Trump administration. The article highlights Building the Wall.

The same day, Playbill posted a story by Robert Viagas with the headline, ‘Four Theatres Sign on for Trump Play by Pulitzer Prize Winner’. The article summarizes how the Fountain Theatre in Los Angeles, Curious Theatre in Denver, Borderlands Theater in Arizona, and Forum Theatre in Maryland have partnered in the NNPN Rolling World Premiere.

This flurry of national press activity — all on the same day — generated a blizzard of phone calls and emails to the Fountain. Social media lit up, with our Facebook, Twitter and Instagram accounts buzzing with posts, re-posts, likes, and comments. The office at the National New Play Network in Washington DC also reported a flood of emails and calls yesterday. Interest in the play is expected to increase as we move closer to opening.

The National New Play Network Rolling World Premiere of Building the Wall opens at the Fountain Theatre on March 18, directed by Michael Michetti. Set in the very near future, 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.

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Meet ‘I And You’ Playwright Lauren Gunderson

Lauren Gunderson

Lauren Gunderson

At The Fountain, we’re always pleased and excited to introduce important playwrights to Los Angeles audiences.  As we gear-up to start performances of our funny and powerful Los Angeles Premiere of I  And You,  we’re eager for you to meet award-winning playwright Lauren Gunderson. Audiences have been enjoying her plays in regional theatres around the country. Now Lauren makes her Los Angeles debut with us here at the Fountain. We couldn’t be more thrilled. 

Lauren Gunderson is the 2014 winner of the Steinberg/ATCA New Play award and was a finalist for the Susan Smith Blackburn Prize for I and You.  She studied Southern Literature and Drama at Emory University, and Dramatic Writing at NYU’s Tisch School where she was a Reynolds Fellow in Social Entrepreneurship. Her work has been commissioned, produced and developed at companies across the US including South Cost Rep (Emilie, Silent Sky), The Kennedy Center (The Amazing Adventures of Dr. Wonderful And Her Dog!), The O’Neill, Denver Center, Berkeley Rep, Shotgun Players, TheatreWorks, Crowded Fire, San Francisco Playhouse, Marin Theatre, Synchronicity, Olney Theatre, Geva and more.  Her work is published at Playscripts (I and You, Exit, Pursued By A Bear, and Toil And Trouble) and Samuel French (Emilie). She is a Playwright in Residence at The Playwrights Foundation, and a proud Dramatists Guild member. She is from Atlanta, GA and lives in San Francisco.

In her play  I And You,  two high-school teenagers who meet under extraordinary circumstances.  Caroline is sick and hasn’t been to school in months. Anthony suddenly arrives at her door bearing a beat-up copy of Walt Whitman’s ‘Leaves of Grass’ and an urgent assignment from their high school lit teacher. As these two let down their guards and share their secrets, the poetry assignment unlocks a much deeper mystery that has brought them together.

A Quick Chat with Lauren Gunderson

What is ‘I And You’ about?

This play is really about connection and the surprises we find when we really get to know people. In many ways it’s a Hero’s Journey but in miniature, so the heroes that we wouldn’t expect are two teenagers doing a project on Walt Whitman, but through a kind of, what might seem like a kind of vanilla assignment, blossoms this understanding and healing and a kind of transcendent communion that happens between these two unlikely heroes. So through that we found out about how we’re all connected to each other and life and death and meaning.

Jennifer Finch and Matthew Hancock in "I And You"

Jennifer Finch and Matthew Hancock in “I And You”

 What does this play mean to you?

This is a very special play for me because it reminds us that we’re all heroes and we’re all the main characters of our own stories even though we may seem not that in the privacy of our own homes, in this case, in Caroline’s teenage girl room. But from these really beautiful, profound, and private moments can come great stories, universal tales, about connection and meaning. That’s really where it stems from. I think that teenagers can teach us a lot, as much as we can teach them, so I hope that this is a play that finds some of its power in that teenagers can bring their parents and parents can bring their teens and everyone can come around this play and feel like it’s speaking to them and about them.

What was your inspiration behind all this?

Jennifer Finch and Matthew Hancock

Jennifer Finch and Matthew Hancock

Well I’ve always loved Walt Whitman— who doesn’t?—so it starts there. And I was really fascinated about how people find each other and how we impact each other in ways we don’t even know when we first meet. So that, spinning it all together with a bunch of surprises, a bunch of profound, funny moments, and really meaningful, deeper stuff, all weaving up into a play that’s about what we mean to each other. So in that way it’s a play I’ve been wanting to write for a long time, and through writing it, I’ve kind of changed how I know playwriting, how I tell a story, what a story is really about and what we want a story. so it’s changed me a lot through writing it, as much as I hope it’s changed people through seeing it.

Are there any similarities between you and these characters?

Jennifer Finch and Matthew Hancock

Jennifer Finch and Matthew Hancock

That’s a good question. I think there’s probably more similarity between Caroline and me than I would 11 like. But that’s what’s fun about writing, when you think about trying to write about really real characters, is you steal from yourself, you steal from your family and friends, you steal little details about life, and I think it’s those details that make it actually feel more universal. So Caroline likes cats a lot, she likes Jerry Lee Lewis, she likes Elvis, she has a very snarky attitude about things, but she’s very plugged in to herself. But in many ways I’m very like the other character, Anthony, too. I love jazz, he loves jazz. He kind of has a nerdy relationship to things that he’s passionate about, which I might relate to. But it’s really about really curious, smart, funny kids, and I think all of us hope that that part of ourselves is still alive and well no matter how old we get.

What do you hope audiences will get from this play?

I would love this community to get a sense that we’re all in one story together. Even though we might not think a 16- year-old has much to tell as 60-year old or a 50-year-old or a 40-year-old, of course they do, because we’re all human beings and we’re all looking for meaning, and we’re all looking to live a life that matters, a life of love and compassion and being understood. And those things don’t ever change, whether you’re six or 60. So I think that’s the biggest gift. It’s also an interesting thing to resuscitate Walt Whitman, not that he has any press problems, but when you look at a poem that’s over 150 years old and you find that it’s still relevant, I think it’s a metaphor for theatre as a whole. It’s an art form that’s so old and so basic, in a real fundamental way, still matters to us now, and can pull it together in one room and have on great cathartic experience together. I think that’s theatre at its best, and I hopefully this play is part of that tradition.

Previews start April 2nd. It opens April 11th. Get Tickets/More Info