Tag Archives: Simon Levy

Next at the Fountain: Powerful world premiere ‘Runaway Home’ is a poetic mother-daughter tale set in New Orleans

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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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Victoria Platt is thrilled to join cast of ‘Building the Wall’ for second extension to Aug 27

Victoria Tillford

Victoria Platt

Sold out for four months and extended for the second time, Building the Wall and the Fountain Theatre have even more to celebrate: the return of Victoria Platt to our Fountain stage. Last seen at the Fountain as Roxy in Cyrano, you may recognize her from such popular TV shows as All My Children and The Chicago Code. Taking over the role of Gloria in our smash hit world premiere of Building the Wall, Platt begins performances this Saturday, June 24th. This second and final extension runs to August 27th.

In between her crazy rehearsal schedule, Victoria took time to talk about her roots, her love for the Fountain Theatre, and the importance of theatre in the age of Trump’s America.

Where are you from? What’s your background? 

I was born and raised in Queens, NY to a Polish father and West Indian mother. I have 8 siblings and there was 1 bathroom. That says it all! I started performing as a kid and then attended the High School of Performing Arts in Manhattan (the Fame school). I enrolled at Hunter College but work kept rolling in and I chose work.

What initially drew you to this project/script?

I heard about the production and how amazing it was but I was in a play at the same time so didn’t get a chance to see it. Then Simon Levy (Fountain Theatre’s Producing Director) emailed me about auditioning for the extension. I know Robert Schenkkan’s work and this play in particular is beyond relevant for our time so I was really excited about the possibility.

After the election, many theatre artists declared that their work was more important than ever. Do you agree with this and how does Building the Wall relate?

I do agree. There was a time when the common goal of artists was to challenge, to awaken, to question the status quo and hopefully incite change. At some point it became about foreign sales and social media followers and witty sound bites. This election seemed to remind the artistic community of our responsibility in the world. Why most of us got into this business to begin with. Building The Wall is looking directly at the issues and asking some really important questions.

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Victoria Platt and Bo Foxworth in ‘Building the Wall’

What is it like to join a hit production that has been sold out for four months?

It’s like trying to jump onto a moving train! A bit challenging. I’ve done this before however, with The Fountain’s production of Cyrano. My goal is to find that delicate balance between giving the other actors a familiar anchor while also honoring the truth of my own interpretation and performance. Bo and [director] Michael Michetti have been really wonderful in allowing me the space to find things on my own as well as offer the tried and true shortcuts. I’m not too proud to take a short cut!

How does it feel coming back to the Fountain Theatre?

I love The Fountain; seeing productions here and working here. They’re really dedicated to bringing thought provoking and challenging work to the community. They’re actively involved and take responsibility for making the world a better place in a tangible way, all the way down to providing a stamped and addressed postcard that patrons can send to the president! It makes working with them even more inspiring and I feel compelled to match their dedication, passion and commitment.

Fountain Theatre affirms its commitment to diversity at Hollywood gathering

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Deborah Lawlor and Stephen Sachs

Fountain friends, longtime and new, enjoyed an unforgettable afternoon Sunday at the magnificent Hollywood apartment of actress and Fountain board member Karen Kondazian. Delicious middle eastern fare from Adana was served to thirty invited special guests who marveled at Karen’s extraordinary home, the panoramic view of Hollywood,  and chatted about the achievements and future of the Fountain Theatre.

The afternoon salon was organized so distinguished friends and supporters of the Fountain could stay connected with the theatre and each other. New colleagues and associates from the Los Angeles business and arts communities were introduced to the Fountain’s inner circle. And the Fountain unveiled a new level of sponsorship, the Artistic Directors Circle, for elite donors who underwrite specific plays or programs or an entire season. 

Fountain Co-Artistic Directors Deborah Lawlor and Stephen Sachs were joined by Producing Director Simon Levy, Associate Producer James Bennett and Director of Development Barbara Goodhill.

“Diversity sits at the heart of our artistic mission,” said Sachs. “When Deborah and I founded the Fountain back in 1990, it was to offer an artistic home for theatre and dance artists, of all backgrounds, to create and develop new work that reflects the cultural diversity of our city and our nation. The Fountain Theatre sits in the center of District 13, the most ethnically and culturally diverse district in Los Angeles. 32 languages are spoken at the local high school.

“Our programing is community-driven. When we think about putting a season together, we ask ourselves which community needs to be served? Which cultural, religious or ethnic group is struggling with an issue that needs to be dramatized? Who’s voice needs to be heard?”       

The 2017-18 Fountain Theatre season includes the world premiere of Building the Wall by Robert Schenkkan, Citizen: An American Lyric by Claudia Rankine at the Kirk Douglas Theatre, the world premiere of Runaway Home by Jeremy Kamps, the world premiere of Freddie by Deborah Lawlor, the stage adaption of The Chosen by Chaim Potok, and the world premiere of Arrival and Departure by Stephen Sachs performed in Spoken English and American Sign Language.

 

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Fountain Board members Dorothy Wolpert, Karen Kondazian, Dick Motika, Jerrie Witfield, Don Zachary, and Oscar Arslanian welcomed guests Nyla Arslanian, Miles and Joni Benickes, Lorraine Evanoff, Bennard Gillison, Daniel Greenberg and Susan Steinhauser, Lucinda Cowell and Ron Michaelson, Victoria Meyers, Bonnie Nijist and Arthur Zeesman, Jacqueline Schultz, Mark Stankevich, Ron and Elaine Stein, , and Stanley Wolpert.

Stephen Sachs and Deborah Lawlor spoke to the group, reviewing the recent accomplishments of the Fountain Theatre, its fundraising goals, and outlining the upcoming 2017-18 season. They expressed the artistic heart and soul of the company and its dedication to diversity and inclusion by serving a wide variety of communities throughout Los Angeles. And they articulated the challenges and objectives moving forward, describing the Fountain as an essential treasure on the cultural landscape of Los Angeles. And declared that the Fountain’s longtime dedication to diversity was essential in these turbulent times. 

“We are an immigrant nation, ” stated Sachs. “Los Angeles is a world city, rich with the multi-colored fabric of diversity.  At this moment in history, now more than ever, it is crucial that the Fountain Theatre maintain its mission of diversity and inclusion and community focus,  where people from all backgrounds are seen on our stage and in our audiences.”

“The Fountain Theatre may be small in size, ” he concluded. “But we are large in vision, in purpose, and in our commitment to creating and producing meaningful work that has the power to change lives.”

Sneak Peek: First rehearsal for ‘Building the Wall’ at Fountain Theatre

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Judith Moreland and James Macdonald

First rehearsals are often delicate events. Actors meet for the first time. Designers share their conceptual approaches for the production. The director articulates his or her vision for the journey ahead. Like on a first date, artists eye each other nervously, hoping this night’s first encounter will lead to a meaningful relationship so magic can be created together.

The tone of Monday night’s first rehearsal for the powerful new play Building the Wall by Robert Schenkkan was one of purpose, more than jittery vulnerability. Everyone in the room felt exhilarated by the social and political conviction of the project and aware of the publicity the new play has already generated nationwide. Schenkkan is a Tony Award and Pulitzer Prize winning playwright, and screenwriter of the Academy Award nominated Hacksaw Ridge

In Building the Wall, 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 into something previously unimaginable.   

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Even before opening, the Fountain premiere of the new play has already been featured in the New York Times and the Washington Post. Our production is part of a National New Play Network Rolling World Premiere, with other openings set to take place at the Curious Theater in Denver, Forum Theater in Silver Spring, Md., Borderlands Theater in Tucson and City Theatre in Miami. 

The world premiere at the Fountain Theatre is directed by Michael Michetti, and features Judith Moreland and James Macdonald.  At Monday night’s first rehearsal, Co-Artistic Director Stephen Sachs welcomed the team and gave a short history of how the play came to the Fountain. Producer Simon Levy reviewed production protocol. Michetti spoke about the play.  Then, the actors opened their scripts and read the play together for the first time. The two actors were riveting, and the play will take audiences on a roller-coaster ride to its shattering ending. 

Now the work begins. Rehearsals are underway. Our world premiere of Building the Wall opens March 18 and runs to May 21.

Advance tickets for Building the Wall are selling quickly. We urge you to make your reservations early for this urgent and important new play by a major voice in the American Theatre.

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Fountain Theatre launches 2017-18 season for social action with world premiere of Robert Schenkkan’s new play, ‘Building the Wall’

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The Fountain Theatre will open its 2017-18 season of new plays with an urgent warning against the proposed policies of the Trump administration, followed by statements on social justice, inclusion, acceptance of “the other,” prejudice, the role of government and the need for human connection.

“The Fountain has always been committed to speaking out for social justice and inclusion,” asserts Fountain co-artistic director Stephen Sachs. “These are disturbing and tumultuous times — for our local intimate theater community in Los Angeles and our nation. The Fountain is a place for theater to serve as a vehicle for public discourse: to express outrage, compassion and hope.”

The 2017-18 season will include four world premieres — Building the Wall by Robert Schenkkan; Runaway Home by Jeremy J. Kamps; Freddie by Deborah Lawlor; and Arrival and Departure by Stephen Sachs — as well as the Los Angeles premiere of The Chosen by Aaron Posner. The Fountain’s 2015 production of Citizen: An American Lyric, written by Claudia Rankine and adapted for the stage by Stephen Sachs, will be presented at the Kirk Douglas Theatre as part of Center Theatre Group’s inaugural Block Party. And, in addition to the Fountain’s ongoing, monthly ‘Forever Flamenco’ series, the Fountain will host Flamenco Fiesta, a two-day, outdoor flamenco concert celebration.

Over the past 27 years, The Fountain Theatre has established itself as one of the most successful intimate theaters in Los Angeles, providing a creative home for multi-ethnic theater and dance artists. Fountain projects have been translated into numerous languages, produced across the U.S. and worldwide, and made into a TV movie.

The Fountain Theatre’s 2017-18 season is as follows:

March 18 – May 21 (previews March 15-17)
building-wallWorld premiere of Building the WallThe newest play by Pulitzer Prize and Tony Award-winning playwright Robert Schenkkan (The Kentucky Cycle, All the Way), directed by award-winning Michael Michetti. It’s the very near future, and 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.

April 30 – May 7 (previews April 28-29)

citizenCitizen: An American LyricCenter Theatre Group will remount the Fountain’s award-winning 2015 production at the Kirk Douglas Theatre as part of CTG’s inaugural Block Party: Celebrating Los Angeles Theatre. Written by Claudia Rankine, adapted for the stage by Stephen Sachs and directed by Shirley Jo Finney, Citizen fuses poetry, prose, movement, music and video images in a provocative meditation on everyday acts of racism in America. Actors returning from the original production include Simone Missick, who co-stars as Misty Knight on Netflix’s Luke Cage.

Summer 2017
runaway-homeWorld premiere of Runaway Home Three years after Hurricane Katrina, the unhealed wounds of New Orleans’s Lower 9th Ward continue to fester. In this powerful, funny and deeply moving mother-daughter story by Jeremy J. Kamps, 14-year-old runaway Kali embarks on a journey to pick through the wreckage of what used to be her life. Rhyming, stealing and scamming her way through the still-destroyed neighborhood, engaging the vivid, lively denizens who remain, she grapples with the real cost of what she has lost as she is forced to confront the even higher cost of moving forward and the possibility of redemption.

Fall 2017
the-chosenLos Angeles premiere of The Chosen The Fountain Theatre celebrates the 50th anniversary of Chaim Potok’s beloved novel with the L.A. premiere of the award-winning stage adaptation by Aaron Posner. A silent father, an ancient tradition and an unexpectedly important game of baseball forge bonds of lifelong friendship between two Jewish boys from “five blocks and a world apart” in this funny, poignant, timely and timeless story about recognition and acceptance of “the other.” Directed by Simon Levy.

Fall 2017
freddieWorld premiere of Freddie This hybrid dance/theater work by Fountain Theatre co-artistic director Deborah Lawlor will be presented at Los Angeles City College, inaugurating a new partnership with the LACC Theatre Academy. Set in Greenwich Village in 1964 and based on a true story, Freddie fuses theater, music, dance and video to capture the explosive spirit of a passionate artist and a turbulent era. A naïve young woman falls under the spell of Freddie Herko, a brilliant ballet dancer of extraordinary charisma and talent and a beloved luminary of Andy Warhol’s Factory. Frances Loy directs.

Spring 2018
arrival-departWorld premiere of Arrival and Departure Troy Kotsur and his real-life wife Deanne Bray star in a modern-day, re-imagined deaf/hearing stage adaptation by Stephen Sachs (Bakersfield Mist, Cyrano) of the classic 1945 British romantic film, Brief Encounter. A deaf man and a deaf woman, married to different people, meet accidentally in a train station. A friendship develops over time, escalating into a passionate love affair that both struggle to permit themselves to consummate. An unforgettable love story about the challenges of communication, social isolation, diversity and self-empowerment.

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Fountain Theatre and Antaeus Theatre Company: working together to change lives

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Ann Noble, Liz Berman and John Prosky introduce the evening. 

Tuesday night at the Fountain was one of those evenings that reminds us of the transformative power of theatre. Why we do what we do. It was also a night about working together.  Not only for the incarcerated young men on stage from Rancho San Antonio Boys Home who performed the new play they wrote via the Antaeus Odyssey Workshop. But also for the two LA intimate theatre companies who partnered to make the evening possible.

The Odyssey Workshop is an educational outreach program launched by Antaeus Theatre Company that uses theatre techniques to teach creative writing to young adults from high-risk environments. “This is such an important program for all of us at Antaeus Theatre Company,” says Antaeus Co-Artistic Director Bill Brochtrup. “It’s truly a life-changing event for the young men participating — and for the audiences who are lucky enough to see them.”

Because construction on the company’s new venue in Glendale is not yet complete, Antaeus needed to find a theatre to host its one-night performance of the Odyssey Workshop. They reached out to the Fountain Theatre. We immediately agreed to welcome Antaeus and its program into our home.

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Antaeus actress Ann Noble and Fountain Associate Producer James Bennett greet guests.

The coincidental timing of Tuesday night’s performance was not lost on anyone. The very next day, Actors Equity Association terminated the 99-Seat Plan, replacing it with a controversial and unpopular new Agreement that divides and separates the once-unified LA intimate theatre community into competing categories and factions.

The shared event at the Fountain Theatre was all about cooperation.

Antaeus actress and board member Dawn Didawick commented, “I wish some of our union representatives could be required to attend events like these in order to learn what Los Angeles theatre artists give to their community.”

“There’s been so much rancor and divisiveness with Actors Equity over their elimination of the 99-Seat Plan,” says Fountain Co-Artistic Director Stephen Sachs. “Tuesday night is an example of what happens when two LA intimate theatre companies, each very different in their programming and organizational structure, cooperate together for the sake of being of service to those other than themselves.”

Fountain Producing Director Simon Levy agrees. “Art does change lives. Theatre opens hearts and connects us to The Other. Bravo/bravissima to Antaeus for this great program. And a standing O to the young men who opened their hearts and allowed themselves to be vulnerable… because it changes us.”

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Following the performance, the night was ignited by a lively reception in our upstairs cafe which seemed to exemplify the spirit of the evening. There was food, drinks and a cacophony of raucous chatter and laughter. Students enjoying family and friends intermixing with Antaeus members mingling with Fountain staff. A room packed with a wide variety of diverse people and two uniquely-styled theatre companies. Everyone together, for the same common purpose, becoming one.

Isn’t that what it’s all about?

Students share their feelings on the power and intimacy of ‘Baby Doll’

alan-goodson-students-baby-doll-2Reaching out to students and making theatre available to young people is vitally important to the Fountain Theatre. And we love it when students reach back. Such was the case on October 24th when the Fountain hosted teacher Alan Goodson and his students from Fashion Institute for Design and Merchandising to a performance of our sizzling West Coast Premiere of Tennessee Williams’ Baby Doll.

Alan Goodson

Alan Goodson

Goodson, also an actor who has appeared on our Fountain stage, led his college students in a post-show discussion with the professional actors following the Baby Doll performance. The students asked questions of cast members, discussed the issues raised in the play and shared thoughts and feelings about the theatre-going experience itself. For some, it was their first time seeing a live professional production of a play.  

The students then returned to the classroom and wrote papers outlining their insights and describing how the play and production impacted them emotionally, intellectually and artistically.

The Fountain recently received a sampling of their comments:   

“Arguably the most powerful moment of the play comes at the very end. Baby Doll and Aunt Comfort sit outside the house after Archie Lee and Silva have been arrested. Silva has said he will come back for Baby Doll, but her future is uncertain at best….Although it is at the very end of the play, this moment, so beautifully directed by Levy, is when the message of the Fountain Theatre’s performance of Baby Doll comes through loud and clear: sexism in 1950’s America was rampant, and the patriarchal mindset of the culture and characters ultimately led to their crippling stagnancy. The Fountain Theatre’s production of Baby Doll is like a fine wine – it gets better with time. You leave the theatre with the assurance that you have just seen an incredible play put on by a talented group; however, the true meaning of the play seeps through more and more the longer you stew on it.”

This student was drawn into the play by the intimacy of the theatre:  

“The play environment was intriguing. I have never been to a production that was so intimate. The theatre itself was very small, the seats were close together, and the stage was right in front of your eyes. I felt the audience was in this play experience together. The actors were so close I could see every detail in their faces. They made eye contact with us and were able to engage us in the storyline. I was intrigued by the fact that I could examine every small detail about the costumes and the set. Being so close to the actors and the set is very different from going to a big theatre where you can barely see their facial expressions or the set theme.”

For this student, overcoming doubts about seeing the play led to a meaningful experience in the theatre: 

“Before seeing Baby Doll at the Fountain Theatre, I was a bit skeptical if I would enjoy the play after reading the synopsis. But I was pleasantly surprised. The actors portrayed their roles remarkably, showing every emotion and movement as if they were really living in the play….the way the cast fed off of one another made it that much more enjoyable….While there was much controversy surrounding the movie when it first came out, I think Tennessee Williams created a phenomenal and important script. The women empowerment and sexuality themes not only made the play witty and comical, but also made the audience think about how life was once like for women of that time. Baby Doll may have started out in the cinema, but it was meant for the theatre. It is a superb play that is brought to life by extremely talented actors.”

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In the post-show Q&A with the cast, perhaps the most important question was asked by a blushing young female student when our handsome, beefy leading man, Daniel Bess, met the group: 

Question: “How many times a week do you work out?”

Answer: “Three.”

See? A life in the theatre can be enhancing in so many ways …

Young people today are the theatre audiences — and theatre makers — of tomorrow. The Fountain maintains its ongoing dedication to staying connected to young audiences and broadening its reach to high school and college students regionwide. With school budgets being cut for arts education everywhere, the Fountain offers an important role in arts learning.  

This event was made possible by Theatre as a Learning Tool, the Fountain Theatre’s educational outreach program making the life-enhancing experience of live theatre accessible to young people and students throughout Southern California.  

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