Tag Archives: Peter Bayne

Fountain Theatre’s ‘Citizen: An American Lyric’ to highlight new LA arts festival at Grand Park

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‘Citizen: An American Lyric’ at the Kirk Douglas Theatre, 2017.

The Fountain Theatre’s critically acclaimed and award-winning stage adaptation of Claudia Rankine’s Citizen: An American Lyric has been chosen as the centerpiece of a new festival celebrating the diversity and excellence of the arts in Los Angeles. The festival, called Our L.A. Voices, will be launched April 27 – 29, 2018, in downtown Los Angeles at Grand Park. 

Envisioned as an annual “best of L.A. arts festival,” this free, three-day performing and visual arts showcase will bring dance, music and theatre performances as well as visual artwork by L.A. artists to Grand Park every spring. Grand Park’s Our L.A. Voices will serve as a home for L.A. artists, underlining Grand Park’s commitment to L.A.’s creative communities.

The Fountain Theatre’s production of Citizen: An American Lyric has been chosen to represent excellence in Los Angeles theatre.  The compelling play about racism in America will be the culmination of both evenings on Friday April 27th and Saturday April 28th, both performances at 8pm, serving as the centerpiece for the multi-arts festival.

Stephen Sachs’ stage adaptation of Citizen: An American Lyric by Claudia Rankine won the 2016 Stage Raw Theatre Award for Best Adaptation, declaring it “a transcendent theatrical experience.The Los Angeles Times hailed it as “powerful”, highlighting it as Critic’s Choice. The production was chosen by Center Theatre Group for its first Block Party celebration of intimate theatre in Los Angeles at the Kirk Douglas Theatre in 2017.

Director Shirley Jo Finney returns to direct the Grand Park outdoor production. Original cast members Bernard K. Addision, Leith Burke, Tony Maggio, Monnae Michaell, Lisa Pescia will be joined by Adenrele Ojo. The original design team — Yee Eun Nam (set and video), Pablo Santiago (lighting), Peter Bayne (sound), Naila Aladdin-Sanders (costumes) — also return with production stage manager Shawna Voragen. 

“In the sprawling Los Angeles metropolis, Grand Park provides both a place and a reason for Angelenos to come together to experience the arts and each other in ways they never have before,” said Rachel Moore, president and CEO of The Music Center.   

Grand Park is a 12-acre urban oasis nestled between The Music Center and City Hall. Operated by The Music Center, the park features fountains, outdoor dining, recreation, sprawling lawns and an outdoor stage. That stage will be the center platform for the Our L.A. Voices Arts Festival, highlighting the variety and high quality of L.A.-based artists and companies.  The weekend-long event will feature music, dance, theatre, spoken word poetry and fine art. Food trucks will offer savory menus of LA cuisine. 

Grand Park

Grand Park, Los Angeles.

“It’s an honor for the Fountain Theatre to be representing Los Angeles theatre at this exciting new arts festival,” beams Co-Artistic Director Stephen Sachs. “We’re proud to be partnering with the Music Center and Grand Park to celebrate the diversity and artistic excellence of our city.” 

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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.

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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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The magic glows to life at ‘Baby Doll’ tech rehearsal

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Baby Doll tech rehearsal 

It happens so often at tech rehearsal. And yet, each time it happens, it feels like the first. That magic moment when the colored lights are turned on the first time, the sound is turned up, the costumes are put on, the props are placed in hand. Suddenly the weeks of hard work in the empty rehearsal room blossom to life as the design elements add their wonder. This happened, this week, in tech rehearsals for our upcoming West Coast Premiere of Tennessee Williams’ Baby Doll. It opens July 29.

The cast worked through their cues under the watchful eyes of lighting designer Ken Booth, set designer Jeff McLaughlin, sound designer/composer Peter Bayne, costume designer Terri A. Lewis and props designer Terri Roberts, all under the guidance of production stage manager Emily Lehrer and director Simon Levy.

The meticulous process of technical rehearsals — when light & sound cues are painstakingly timed and drilled — can be tedious. But the end result can be marvelous. As was the case this week with Baby Doll. It’s going to be a beautiful production.  

Enjoy these snapshots from tech rehearsal. You’ll be dazzled when you see the finished production.  

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Fountain Theatre presents West Coast Coast Premiere of Tennessee Williams’ ‘Baby Doll’

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Lindsay LaVanchy is Baby Doll at Fountain Theatre

This summer, L.A. audiences get to see a brand new play by Tennessee Williams. Simon Levy directs the West Coast premiere of Baby Doll, adapted by Pierre Laville and Emily Mann from the 1956 Academy Award-nominated film of the same name – the first-ever Williams Estate-approved adaptation of this Williams screenplay. Baby Doll opens at the Fountain Theatre on July 16, starring Daniel Bess, Karen Kondazian, Lindsay LaVanchy, John Prosky and George Roland.

John_Prosky

John Prosky

Darkly comic and crackling with sexual tension, Baby Doll is the story of 19-year-old married virgin “Baby Doll” Meighan (LaVanchy), who must consummate her marriage in two days, on her 20th birthday — as long as her middle-aged husband, Archie Lee (Prosky), upholds his end of the bargain to provide her with a comfortable life. When Archie Lee burns down his neighbor’s cotton gin to save his failing business, his rival, Sicilian immigrant Silva Vacarro (Bess), arrives to seek revenge. What ensues is a complex mix of desire and desperation, with Baby Doll as both player and pawn.

“The miracle of Tennessee Williams is that he can write these wonderful, wacky, wildly rich and complex characters and situations, yet underneath it all are timeless social and political themes,” says Levy. “It’s almost as if this play is a look at today’s America. It’s astonishing.”

 

Karen Kondazian

Karen Kondazian

The Fountain Theatre, Levy and Kondazian, who plays the role of dotty Aunt Rose Comfort, have a long combined history with Williams. Levy has previously directed five of his plays for the Fountain, including Orpheus Descending (1996); Summer and Smoke (1999); The Night of the Iguana (2001); The Milk Train Doesn’t Stop Here Any More (2007); and A House Not Meant to Stand (2011), and the Fountain additionally produced Four X Tenn in 1996. By the time she appeared in Orpheus, Iguana and Milk Train for the Fountain, Kondazian had already starred in numerous Williams productions, including a 1979 production of The Rose Tattoo for which she received the Los Angeles Drama Critics Circle Award – and which led to a steadfast friendship with Williams until his death in 1983. 

 

Daniel Bess

Daniel Bess

Adapted for the screen by Williams from his one-act play 27 Wagons Full of Cotton,Baby Doll was directed by Elia Kazan and starred Karl Malden, Carroll Baker and newcomer Eli Wallach. It immediately caused a sensation, due in large part to the poster image depicting Baker in a crib sucking her thumb. It was labeled variously “notorious,” “salacious,” “revolting,” “steamy,” “lewd,” “suggestive,” “provocative” and “morally repellent,” and Cardinal Francis Spellman, the Archbishop of New York, personally denounced the film before it was even released, declaring that Catholics would be committing a sin if they saw it. Baby Doll premiered as a stage play at the McCarter Theatre in Princeton, NJ in 2015; the Fountain production is only its second.
 
“Adapting the screenplay of Baby Doll to the stage has been an exciting process,” Mann said. “Every word is Tennessee’s; my co-adaptor, Pierre Laville, and I simply freed the play within the screenplay to allow the four main characters to live on stage.”

Set design for Baby Doll is by Jeffrey McLaughlin; lighting design is by Ken Booth; sound design is by Peter Bayne; costume design is by Terri A. Lewis; props and set dressing are by Terri Roberts; fight director is Mike Mahaffey; dialect coach isTyler Seiple; production stage manager is Emily Lehrer; assistant stage manager isMiranda Stewart; associate producer is James Bennett; and Stephen Sachs andDeborah Lawlor produce for the Fountain Theatre.

 

TW 1956

Tennessee Williams, 1956.

Tennessee Williams (1911-1983), born Thomas Lanier Williams III, explored passion with daring honesty and forged a poetic theater of raw psychological insight that shattered conventional proprieties and transformed the American stage. The autobiographical The Glass Menagerie (1945) brought what Mr. Williams called “the catastrophe of success.” He went on to win two Pulitzer Prizes, for A Streetcar Named Desire in 1948 and Cat on a Hot Tin Roof in 1955. Among his many other masterpieces are Vieux Carre, Sweet Bird of Youth, The Rose Tattoo, Orpheus Descending, The Night of the Iguana and Camino Real.

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 recent production of the Fountain’s Citizen: An American Lyric in Charleston, S.C. to commemorate the tragic shooting at Mother Emanuel Church; and the naming of seven Fountain productions in a row as “Critic’s Choice” in 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.  

 

Solar power confronts spirit power in the world premiere of ‘Dream Catcher’ by Stephen Sachs

Mojave station sunriseSolar power confronts spirit power in a new drama by Stephen Sachs about climate change, cultural change and the moral consequences of personal choice. Cameron Watson directs Elizabeth Frances and Brian Tichnell in the world premiere of Dream Catcher, opening January 30 at the Fountain Theatre in Hollywood.

Roy is the youngest member on a team of high-level engineers brought in to launch the most important project of his career — the construction of a solar energy plant in the middle of the Mojave Desert — when the sudden discovery of long-buried Native American artifacts threatens to bring the billion-dollar operation to a halt. The disaster gets deeply personal when the whistle-blower turns out to be Opal, the fiery and unpredictable young Mojave Indian woman with whom Roy has been having an affair.

Inspired by a true event, Sachs wanted to address global warming, climate change and other large issues but weave them into something personal and intimate.

“I’ve always been interested in the battle between science and spirituality, and where they intersect,” he says. “How they are similar, each relying on a kind of faith to explain what we sometimes can’t see. And the paradox of moral certainty. Even when we’re campaigning for something good, sometimes we are forced to discover that we are not who we think we are.”

“This play is messy, complicated, volatile and exciting,” says Watson. “There’s no right or wrong, no bad guy – at least not for the obvious reasons. The muscularity of it got my attention right away. As soon as I read it, I knew I had to be involved, which doesn’t happen often.”

DREAM CATCHER Prod Mtg 2

Cameron Watson has received critical acclaim for directing Antaeus Theatre Company hit productions of Picnic (“Best Plays of 2015,” Time Out Los Angeles, and “Best of Los Angeles Theater 2015, Bitter Lemons) and Top Girls, which The Los Angeles Timesnamed one of the “Ten Best Stage Productions of 2014.” Other credits include the Los Angeles premiere of Cock (Rogue Machine Theatre); All My Sons (The Matrix Theatre Company); Trying, The Savannah Disputation, Grace and Glorie (The Colony Theatre); I Never Sang for My Father (The New American Theatre); I Capture the Castle, A Midsummer Night’s Dream (The Shakespeare Theatre of New Jersey); and Rolling with Laughter in London’s West End. He wrote and directed the Miramax feature film Our Very Own, starring Allison Janney in an Independent Spirit Award-nominated performance. He created the new comedy series Break a Hip, starring Christina Pickles alongside Octavia Spencer, Peri Gilpin, Priscilla Barnes, Jim Rash and Allison Janney.

Elizabeth Frances finalElizabeth Frances has performed at various theaters including the Mark Taper Forum, La Jolla Playhouse, Los Angeles Theater Center, Shakespeare Santa Cruz, Native Voices and the Kirk Douglas Theater. She has worked with artists such as Travis Preston, Phil Soltanoff (Mad Dog Theater), Jim Findlay (Wooster Group), Shirley Jo Finney and Chris Anthony, and performed in world premiere by writers Randy Reinholz, Marcus Gardley, Josefina Lopez, Carolyn Dunn and Melinda Lopez. Film/TV credits include Ghost Forest,Hunting (Cannes), Her Story (produced by Eve Ensler) and Drunktown’s Finest(Sundance) with executive producer Robert Redford. Elizabeth was featured as one of twelve actors in the ABC Networks’ Talent Showcase. She holds a BFA from CalArts.

Brian TichnellBrian Tichnell’s theater credits include Circle Jerk (REDCAT); Some Cars (Padua Playwrights); Benjamin Braddock in The Graduate (L.A. Theatre Works national tour);Peace In Our Time, The Curse of Oedipus and Macbeth (Antaeus Theatre Company); Camino Real (Theatre @ Boston Court); and Hamlet (Oxford Shakespeare Festival). On TV, he recurs as Eric on Silicon Valley and has also been seen in Castle, The Newsroom, Body of Proof and Happy Endings among others. Originally from South Mississippi, Brian attended the University of Mississippi and California Institute of the Arts.

Sachs LA Times feature AUG 2015 croppedStephen Sachs’ plays include Citizen: An American Lyric (adapted from the internationally acclaimed book by Claudia Rankine); Heart Song (Fountain Theatre, Florida Stage); Bakersfield Mist (2012 Elliot Norton Award, Best New Play; produced in London’s West End with Kathleen Turner and Ian McDiarmid, in regional theaters across the US, and translated into other languages and performed worldwide); Cyrano (LA Drama Critics Circle Award, Best Adaptation); Miss Julie: Freedom Summer (Fountain Theatre, Vancouver Playhouse, Canadian Stage Company, LA Drama Critics Circle award and LA Weekly award nomination for Best Adaptation, and recently published by Dramatist’s Play Service); Gilgamesh (Theatre @ Boston Court); Open Window(Pasadena Playhouse, Media Access Award for Excellence); Central Avenue (PEN USA Literary Award finalist, Back Stage Garland award, Best Play); Sweet Nothing in My Ear(PEN USA Literary Award finalist, Media Access award, NEA grant award); Mother’s Day; The Golden Gate (Best Play, Drama-Logue); and The Baron in the Trees. He wrote the teleplay for Sweet Nothing in My Ear for Hallmark Hall of Fame which aired on CBS starring Marlee Matlin and Jeff Daniels. Sachs co-founded The Fountain Theatre with Deborah Lawlor in 1990.

Consulting with the Fountain on Dream Catcher are Jean Bruce Scott, producing executive director and co-creator of Native Voices at the Autry, and her staff. Set design is by Jeffrey McLaughlin; lighting design is by Luke Moyer; sound design is by Peter Bayne; costume design is by Terry A. Lewis; props are by Terri Roberts; production stage manager is Emily Lehrer; associate producer is James Bennett; andSimon 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 just-closed West Coast premiere of Athol Fugard’s The Painted Rocks at Revolver Creek, named to Los Angeles Times theater critic Charles McNulty’s “Best Theater of 2015” list; and the last seven Fountain productions consecutively highlighted as “Critic’s Choice” in the Los Angeles Times.

Dream Catcher opens January 30 and runs to March 21.

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