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Tag Archives: playwright
“The feeling I get sitting in a theatre just before the houselights fade is one that is very personal for me,” admits TV producer and writer Clifton Campbell. “Excitement for what’s about to unfold. The anticipation of bold ideas told through flawed and deeply human characters promising to take me to a richer understanding of a world outside my own. In that moment, I sit wondering not if this play is ready for me; but if I am ready for this play. For the shared human experience you can only get from live theatre.”
It is clear that the Fountain Theatre is ready for Clifton Campbell. The Fountain is pleased and honored to announce that veteran TV producer, showrunner and writer Clifton Campbell has joined the Fountain Theatre Board of Directors.
“Cliff is passionate about developing a new program to engage parents who have children wanting to be writers,” says Fountain Co-Artistic Director Stephen Sachs. “He is also committed to building a bridge between the Fountain Theatre and the TV industry. He is eager to guide the forming of new relationships between the Fountain and TV professionals. Cliff is a smart guy with decades of experience as a TV producer, and his heart has never left the theatre. We are thrilled to have him on our Board of Directors.”
Clifton Campbell has enjoyed a career in television spanning more than 30 years. Recently, Clifton was Executive Producer for the TV series Sleepy Hollow. He was also Executive Producer of White Collar, The Glades, Profiler, Wiseguy, and others. He has partnered with such producers as Steven Spielberg, Stephen J. Cannell, and Michael Mann.
Clifton was born and raised in Hialeah, Florida. He graduated from Florida State University and moved to Chicago to pursue a career as a playwright.
“The early eighties was an amazing time for theatre in Chicago,” remembers Campbell. “I was witness to ground-breaking new works and game changing productions from companies like Steppenwolf, St. Nicholas, The Goodman, Body Politic, Wisdom Bridge and Victory Gardens, all of whom were leading the charge in a new age of Regional Theatre. The six years I spent in Chicago theatre was the greatest education of my life.”
His work as a playwright caught the eye of producer/director Michael Mann, landing him a writing job on Mann’s TV series Crime Story. Clifton‘s writing career took off and escalated to TV producing, but he always remained a theatre guy. He also became a family guy. Clifton and his wife Kim have been married for sixteen years and together have three grown children; Bailey, Jordan and Paige.
“The Fountain Theatre is everything I think of when I remember those incredible days back in Chicago,” says Campbell. “I am proud and excited to be joining its Board of Directors. ”
It was announced today that the Fountain Theatre has been nominated for seven Stage Raw Theatre Awards for two productions in the 2016 season. Our Los Angeles premiere of My Manana Comes by Elizabeth Irwin and the world premiere of Stephen Sachs’ Dream Catcher were acknowledged with the following nominations:
- Leading Male Performance – Lawrence Stallings, MY MAÑANA COMES
- Supporting Male Performance – Peter Pasco, MY MAÑANA COMES
- Playwriting – Elizabeth Irwin, MY MANANA COMES
- Two Person Performance – Elizabeth Frances & Brian Tichnell, DREAM CATCHER
- Lighting Design – Jennifer Edwards, MY MAÑANA COMES
- Set Design – Michael Navarro, MY MAÑANA COMES
- Production Design – Dillon Nelson, MY MAÑANA COMES
The Third Annual Stage Raw Theater Awards are May 15 at Los Angeles Theatre Center, 514 S. Spring Street, Downtown. Doors open at 6:30 p.m., show starts at 7:30 p.m.
Tickets: General Admission $25, VIP reception (post-show) $100. VIP Includes: Hosted bar, passed food, trial membership to Stage Raw “Insiders Club” More Info
Building the Wall (323) 663-1525 More Info/Get Tickets
He has strolled down many red carpets in his celebrated career. At the Writers Guild Awards, the Tony Awards, the Emmy Awards, the Venice Film Festival, and the Oscars. He wrote the screenplay for Hacksaw Ridge, nominated Best Picture for this year’s Academy Awards.
The world will be watching the Oscar ceremony this Sunday, and gawk at the parade of celebrities as they strut the red carpet beforehand. What’s it like to march down that crimson pathway with all eyes and cameras tracking your every step? For playwright Robert Schenkkan, author of our upcoming world premiere Building the Wall, the carpet is not always magic. Particularly if you’re a writer.
“The clusterfuck of a red carpet is always where the writer is reminded of his or her place in the food chain, ” admits Schenkkan. “You are absolutely the most important person in the universe, until anybody else steps on the red carpet — then you’re just chopped liver. You can see the heads snap and the cameras snap, and whoever you’re talking to, their eyes are immediately doing the Hollywood over-your-shoulder shuffle. This is something one is used to, but it’s a humbling experience, always.”
Another other-worldly aspect of Award nights are the gifting lounges, where vendors shower talent with free offerings that vary from high-end beauty products to fine wines to elegant clothing to free travel packages at exotic resort islands. For Schenkkan, the touring of gift salons is a strange ritual unto itself.
“You have to make an appointment, and then you’re assigned a guide who walks you through this bizarre bazaar of products and services, ” he explains. “These things are really kind of entertaining in their own way. There’s a whole formality to it. But again, there’s the reminder of where you are in the food chain, particularly as a writer.”
Robert remembers one incident in particular. “Many years ago when I did this, there was a resort island package. I’m a scuba diver, so I’m always interested in that. They have to artfully, discreetly explain that while they would love to gift you with this, actually they have to reserve it for somebody more important than you. It’s a little weird.”
The ups and downs of a Hollywood screenwriter. Thankfully, unlike the film industry, playwrights in the American theatre are held in much higher esteem. And few are held higher than Robert Schenkkan. Which is one of the many reasons why we are so honored to be premiering his newest play at the Fountain Theatre.
Now, Robert, on Opening Night of Building the Wall at the Fountain, don’t expect any fancy gift lounges offering you a scuba diving vacation package on an exotic island resort. But we’re happy to offer you a free snorkel.
Unless, of course, someone more important wants it.
Building the Wall opens March 18 at the Fountain Theatre.
Quotes in this post originally appeared in Written By, the magazine of the Writers Guild of America, West.
by Brent Eickhoff
Rejection is a part of life, just as much as it is a part of theatre. In a world where so many of us must market ourselves and are personally invested in our work, rejection can sting even more. Geraldine Downey, PhD, whose research centers on rejection, explains in an article for the Journal of Personality and Social Psychology that rejection is synonymous with the feelings of not being wanted or valued. Especially in a community-driven medium such as theatre, these feelings of ostracization and denial can be detrimental to an artist’s outlook on the work. Despite theatre’s vast subjectivity, and the myriad reasons anyone may miss out on an opportunity, the person we blame the most in the face of rejection is our self. Guy Winch, PhD, a frequent blogger for Huffington Post, contends that in many cases, “we start with this high volume of negative self-talk and criticism that takes the rejection to another level.” Unfortunately, competition, criticism, and casting decisions will always be an element of making theatre.
In his book Emotional First Aid, Winch offers up several ways of understanding rejection. He claims that, as an emotion, rejection quickly clouds all reason and will even supersede logic in the most dire of circumstances. Winch details an experiment in which participants were randomly excluded from a computerized program and were unable to ease their pain, even when the scientists provided a host of reasons why each test subject had been excluded. The scientists explained that nobody had legitimately excluded participants, and the results were, in fact, rigged, but subjects were still upset and emotional for being rejected. Even when the scientists told a group that the group responsible for excluding them was comprised of members of the Ku Klux Klan, individuals were still hurt. Winch concludes “reason, logic, and common sense are usually ineffective when it comes to mitigating the pain we feel.” Clearly, rejection is a powerful emotion. These findings explain why even armed with the knowledge that a casting decision was completely subjective, an actor may still struggle to come to terms with the loss of a role.
Another element of rejection is the concept of “rejection sensitivity.” In a nutshell, this idea addresses an individual’s inclination to expect or overreact to rejection. While this principle primarily applies to social rejection, theatre is, in its essence, a social art form. From being “accepted” into the cast or production team, to finding your artistic home in a new city, or gaining favorable reviews from an audience or critics, theatre is arguably more communal than more individualized artistic practices. Rejection sensitivity can be particularly detrimental to actors expecting the worst from auditions. As Shurtleff explains in a later chapter in Audition, persistence and discipline may be the key factor in an actor’s success. He even goes so far as to explicitly state that an actor can fail because “they are victimized by their limitations and prejudices” or are “ruled by their negative side.” Both of these traits are inherent in someone with high rejection sensitivity and no positive outlet for tackling their mindset.
Understanding Rejection: The Artists’ View
One of the first places many of us confront rejection is in middle and high school. From cliques, to school dances, relationships, and spring play cast lists, the potential for rejection is at an all time high. When she discussed it with me, high school theatre teacher Carrie Reiberg said that rejection comes with the territory when casting a play. “I see rejection happen a lot when casting…it wouldn’t be realistic or honest of me to cast every actor every time they audition,” she says. She discusses that fairness is at the heart of her classroom, since if she doesn’t cast the best actor for the role at the time, “you are setting actors up to fail in the ‘real world’ when they try to make a living as working actors.” If the same actors get the leading roles throughout the formative years of their acting career, they may develop unhealthy expectations for what will happen post-graduation. Continue reading
The Fountain Theatre is pleased to announce that it has been honored by the Los Angeles Female Playwrights Initiative for significantly supporting women playwrights during the 2016 Hollywood Fringe Festival. The acknowledgement was announced last night at the Hollywood Fringe Festival Awards held at the Ricardo Montalban Theatre. Our LA Premiere of My Mañana Comes by Elizabeth Irwin was one of the Fountain’s official entries in this year’s Fringe Festival.
The Los Angeles Female Playwrights Initiative is an LA-based organization working to ensure that women playwrights are fairly represented on local stages and beyond. Its Most Wanted List gives accolades to Hollywood Fringe Festival venues that consistently produce new plays by women playwrights.
“This was our first year participating in the Hollywood Fringe Festival,” said Co-Artistic Director Stephen Sachs. “It’s an honor for the Fountain to be recognized by LAFPI as a company that supports female playwrights. This acknowledgement is deeply meaningful to us.”