February | 2012 | Intimate Excellent
They came from all over the world. And yesterday met face-to-face for the first time at the Fountain. The large company of artists and production team members for Cyrano gathered for their first rehearsal together, sitting at a long common table, energy and spirits high. A kinetic mix of veteran deaf and hearing actors, fresh new faces, old friends, those familiar with the deaf/hearing process of creating theatre, others new and wide-eyed.
Under the leadership of director Simon Levy, the first afternoon was dedicated to getting to know each other, completing paperwork, discussing the exciting new project, and creating trust and comfort in what Levy calls “the sacred circle” of the company.
ASL Interpreter Elizabeth Greene facilitated communication between the deaf and hearing company members. Fountain Producing Artistic Director Deborah Lawlor welcomed the group, pointing out that Deaf West was first launched at the Fountain back in 1991. Newly appointed Deaf West Artistic Director David Kurs acknowledged his company’s historic legacy of achievement and expressed his excitement about leading DWT into the next phase of new growth and development. Playwright Stephen Sachs spoke briefly about some of the deeper themes of his new play. Actors Troy Kotsur and Paul Raci discussed the unique partnership between deaf and hearing actors, as the hearing actor “voices” what the deaf signs.
The world premiere of Cyrano is a modern day reimagined deaf/hearing version of the classic “Cyrano de Bergerac”. The setting is present day. Cyrano is a brilliant deaf poet in a modern day city. He is hopelessly in love with a beautiful hearing woman, Roxy. But she doesn’t understand sign language and instead loves his hearing brother, Chris. Can Cyrano express his love for Roxy with his hands? Or must he teach Chris to “speak his words” for him, to woo her? ASL becomes the language of love in this modern sign language spin on a classic love story.
Also at the first rehearsal were producer Laura Hill, stage manager Susan Karutz, assistant stage manager Terri Roberts, publicist Lucy Pollak, and ASL master Ty Giordano.
The co-production between the Fountain Theatre and Deaf West Theatre features Troy Kotsur, Paul Raci, Bob Hiltermann, Erinn Anova, Eddie Buck, Maleni Chaitoo, Daniel Durant, Ipek Mehlum, James Babbin, Al Bernstein, Martica de Cardenas, Victor Warren, and James Royce Edwards.
Director Simon Levy addresses the company, interpreted by Elizabeth Greene.
Actor Victor Warren shares his thoughts.
Actor Daniel Durant expresses his excitement about the project.
Actors Eddie Buck, Daniel Durant, and Victor Warren discuss the play with director Simon Levy.
The table work begins.
Actor Troy Kotsur, playing Cyrano, focuses intensely on the discussion.
Actors Ipek Mehlum, Bob Hiltermann and Erinn Anova.
Cyrano April 20 – June 10 (323) 663-1525 More Info Get Tickets
Posted in actors, Arts, Deaf, Fountain Theatre, new plays, performing arts, plays, playwright, theatre
Tagged Al Bernstein, Bob Hiltermann, Daniel Durant, David Kurs, deaf, deaf theatre, Deaf West Theatre, Deborah Lawlor, Eddie Buck, Erinn Anova, Fountain Theatre, Ipek Mehlum, James Babbin, James Royce Edwards, Los Angeles, Lucy Pollak, Maleni Chaitoo, Martica de Cardenas, National Endowment for the Arts, new plays, Paul Raci, plays, playwriting, Simon Levy, Stephen Sachs, Troy Kotsur, Ty Giordano, Victor Warren, world premiere
Maleni Chaitoo from New York is ready to get to work at the Fountain.
Rehearsals start tomorrow at the Fountain for the world premiere of the thrilling new deaf/hearing version of Cyrano set in a modern city. In this re-imagined new adaptation of the classic “Cyrano de Bergerac” Cyrano is a brilliant deaf poet hopelessly in love with a beautiful hearing woman, Roxy. But she doesn’t understand sign language and instead loves his hearing brother, Chris. Can Cyrano express his love for Roxy with his hands – the source of such deaf pride and shame? Or must he teach Chris to “speak his words” for him, to woo her? ASL becomes the language of love in this modern sign language spin on a classic love story.
Troy Kotsur
Supported by a grant from the National Endowment for the Arts, Cyrano is written by Stephen Sachs, directed by Simon Levy, in a co-production between the Fountain Theatre and Deaf West Theatre. It stars Troy Kotsur as Cyrano, Paul Raci as his brother Chris, and Erinn Anova as Roxy. Previews start April 20. It opens April 28 and runs to June 10.
This unique new project has already created a stream of excited buzz — and attracted deaf actors from all over the world. Half of the 12-member Cyrano cast are deaf. Almost all of them are coming to Los Angeles from other cities worldwide — one from as far away as Oslo, Norway. All to be part of this electrifying new production.
Troy Kotsur
Troy Kotsur is arriving from Arizona to tackle the lead role of Cyrano. No stranger to LA audiences, Troy is a veteran Deaf West actor, seen in such award-winning productions as Big River, Pippin, A Streetcar Named Desire and Of Mice and Men. Troy is also seen on TV and is married to actress Deanne Bray (TV’s “Sue Thomas: F.B.Eye“). Later this year, Troy will direct and act in the independent feature film, Deaf Ghost.
Daniel Durant
Actor Daniel Durant comes to LA from Maryland. Daniel has been deaf since birth. Born in Detroit, Michigan, he grew up in Minnesota. He attended Gallaudet University, majoring in theater. While appearing in Cyrano, Daniel and his girlfriend found an apartment in the San Fernando Valley, near Studio City.
Eddie Buck
Eddie Buck joins the cast from Pennsylvania. A talented performer who hails from Skippack, PA, Eddie has acted with such schools and theatre companies as National Technical Institute for the Deaf, Bloomsburg Theatre Ensemble and The Growing Stage in New Jersey, in productions ranging from Jack and the Beanstalk to Romeo and Juliet to Hamlet.
Ipek D. Mehlum
The farthest traveler is actress Ipek D. Mehlum, who lives in Oslo, Norway. Born in Istanbul, Turkey, Ipek moved to the United States at twenty-two to attend Gallaudet University and study acting. Now living and working in Oslo, she is a stage, film and TV actress who also leads workshops in theatre, TV and yoga and has led a theatre project in Uganda and India.
Maleni Chaitoo
Completing the deaf cast are Bob Hiltermann and Maleni Chaitoo, both local and now living in the LA area. Maleni Chaitoo was a longtime resident of New York where her parents emigrated from Trinidad and Tobago, West Indies. Bob is a popular Los Angeles TV and stage actor, musician, and featured in the film documentary, See What I’m Saying. 
Bob Hiltermann
Hearing Ensemble cast members who also “voice” for the deaf actors include James Babbin, John Bingham, James Royce Edwards, Victor Warren, and Martica De Cardenas.
Welcome to all our eager and talented travelers! We’re thrilled to have all of you with us in Los Angeles and at the Fountain Theatre with Deaf West, as we voyage forward on this exciting new journey together.
Cyrano April 20 – June 10 (323) 663-1525
Posted in actors, Arts, Fountain Theatre, new plays, performing arts, plays, playwright, theatre
Tagged A Streetcar Named Desire, Big River, Bob Hiltermann, Cyrano, Cyrano de Bergerac, Daniel Durant, deaf, deaf actor, deaf theatre, Deaf West Theatre, Deanne Bray, Eddie Buck, Erinn Anova, Fountain Theatre, Gallaudet University, Ipek D. Mehlum, James Babbin, James Royce Edwards, John Bingham, Los Angeles, Maleni Chaitoo, National Endowment for the Arts, Of Mice and Men, Paul Raci, Pippin, plays, playwriting, See What I’m Saying, Simon Levy, Stephen Sachs, Troy Kotsur, Victor Warren, world premiere
We love our Fountain tree. Our magnificent guardian, standing tall outside our front door. Its lush, thick glorious canopy reaching broad across our busy city avenue. The fingers of its mighty roots lift and split the sidewalk at its feet, a precarious navigation for we mortals who must pass below. Our tree gives comfort, shade, protection. Catching wind and rain and holding sun. A monument outside our door, announcing “Here!”
Trees are the earth’s endless effort to reach upward, heavenward. Our tree has seen so many suns rise and set, so many seasons come and go. We may well dream and wonder at what truth it holds, if it had tongue to tell. Or we had ears fine enough to hear, or minds to understand.
The Fountain Theatre is seeking “voice actors” for our upcoming co-production of Cyrano with Deaf West Theatre. Simon Levy directing.
Need strong actors [Men, 40’s-50] with vocal training, emotional depth, comic timing. Don’t need to know sign language. Rehearsals start Feb 28.
The world premiere of a new play written and directed by Stephen Sachs, Cyrano is a modern day reimagined deaf/hearing version of “Cyrano de Bergerac”, adapted from the Edmond Rostand classic. Acclaimed deaf actor Troy Kotsur will star as Cyrano. The project is supported by a grant from the National Endowment for the Arts.
STORYLINE: The setting is present day. Cyrano is a brilliant deaf poet in a modern day city. He is hopelessly in love with a beautiful hearing woman, Roxy. But she doesn’t understand sign language and instead loves his hearing brother, Chris. Can Cyrano express his love for Roxy with his hands – the source of such deaf pride and shame? Or must he teach Chris to “speak his words” for him, to woo her? ASL becomes the language of love in this modern sign language spin on a classic love story.
Seeking VOICE ACTORS for the following roles:
CYRANO: [Lead] male, 45. A lover of language, passionate, poetic, expressive, dynamic. A virile force of nature with a lyrical, romantic heart. Seeking a powerful stage actor with classical theatre training. Strong vocal technique, expressive speaking voice. Precise comic timing and a deep emotional well. To be a “voice actor” to vocally interpret role on stage with signing deaf actor.
CHRIS: [Lead] male, 50, an aging rocker. Cyrano’s brother. Drinks too much, not too bright, but big of heart. Haunted by inner pain and insecurity. Seeking a strong stage actor with trained vocal skill and an emotive voice. Good comic sense and emotional depth. To be a “voice actor” to vocally interpret role on stage with signing deaf actor.
BILL: male, 50, Cyrano’s close friend. Kind, gentle, wise, warm-hearted. Likable and easy-going with a wry sense of humor. Has deep affection for Cyrano but not afraid to set him straight when needed. Seeking a strong stage actor with vocal skill and good comic timing. To be a “voice actor” to vocally interpret role on stage with signing deaf actor.
To submit for audition, email: [email protected]
Posted in actors, Arts, Fountain Theatre, new plays, plays, theatre
Tagged actors, casting, Cyrano, Cyrano de Bergerac, deaf, Deaf West Theatre, Fountain Theatre, Los Angeles, National Endowment for the Arts, now casting, Simon Levy, Stephen Sachs, Troy Kotsure, world premiere
by Leah Bergman
Have you ever watched a film and been deeply and profoundly moved, or read a book that changed your perspective? That is the type of impact that the play El Nogalar, written by Tanya Saracho, is having upon audiences everywhere.
El Nogalar delves into the complexities that Mexico is facing due to the drug war. “It is topical and what is happening right now. If you take a glass and you put it on that area and look inside, everyone is being affected by that,” said Saracho.
The play artfully weaves through the intricacies of the Mexican caste system and how the drug war is affecting each person’s role within the societal unit. Saracho does this in such a poignant way that the viewer is able to see and feel each character’s point of view in a personal way. The pain and sorrow that is felt by the characters becomes universal where everyone, Latino or Non-Latino, can relate.
The play was inspired by Anton Chekhov’s The Cherry Orchard. The name “El Nogalar” reflects what is grown in Mexico – Pecans. Saracho said,”My mom picked the name…, she said, ’Look it up on your internet. It can’t be cherries. We don’t grow cherries!’”
The name wasn’t the only twist that Saracho added; she made the cast mostly females. She likes to expose, “Life from the point of view of women. “ She continued with, “Talking about Latina women and Mexican women and complicating their image is important to me. It is also important to me to change their stereotype.”
Her vision of bringing light to the woman’s perspective began before being commissioned by Chicago’s Teatro Vista to write El Nogalar. Twelve years ago Saracho formed an all-women’s company entitled Teatro Luna. “When we formed Teatro Luna, we were called man haters in the press… My writing has been criticized for that. There are enough plays for men,” said Saracho. She contests claims of being exclusive by saying, “It is not exclusive. It is inclusive. I am including the female voice.”
The female voice is not the only theme expressed in her writing. Saracho passionately explains, “I’m obsessed with class– if we are speaking thematically. I’m obsessed by how we (Latinos) are seen as the immigrant in the U.S., and I’m obsessed with gender.” This would not seem surprising as she was born in Sinaloa, Mexico, but grew up in the adjoining border towns of Reynoso, Mexico and McAllen, Texas. She was entrenched in both cultures learning both languages. She was educated in the U.S. She attended high school in Texas and went on to Boston University to graduate in theater studies.
At Boston University her writing skills flourished. She put up three plays for the student festival. This, however, was not the beginning of her story telling. “I was the one who entertained the sisters and I was always a story teller. I liked to terrify them with “La Llorona”, a legend of a wailing women,” she laughs contagiously, and continues, “I used to tell jokes. Now I don’t even know one joke… My grandparents would put me on the table and you would either dance or tell a poem or a joke.”
There seems to be no limit to her storytelling and incredible talent. In fact, El Nogalar is actually the first in a trilogy that Saracho has written. Song of the Disappeared is the next play in the series. It takes place on the Texas side of the border where the crime element has now infiltrated. The last installment of the trilogy is entitled Nights. The characters have been kidnapped and stay alive by telling stories like in the book: Thousand Nights and One Night.
El Nogalar is so moving that it truly is a must see. Saracho’s soulful writing leaves a profound impact on viewers. This play has put her on the radar, and is only the beginning to a brilliant career. Saracho is definitely someone to watch for in the future.
Leah Bergman writes for Latino Weekly Review.
El Nogalar Now Playing to March 11 (323) 663-1525 More Info
Posted in actors, Arts, Fountain Theatre, new plays, performing arts, plays, theatre
Tagged Anton Chekhov, Diana Romo, drug wars, El Nogalar, Fountain Theatre, Isabelle Ortega, Justin Huen, Latino, laurie Woolery, Los Angeles, Luis Alfaro, Mexico, playwriting, Sabina Zuniga Varela, Tanya Saracho, Teatro Luna, Texas, The Cherry Orchard, West Coast Premiere, Yetta Gottesman
“A House Not Meant to Stand”
On April 2, L.A. Weekly will honor the best work on intimate stages in Los Angeles from 2011 at the 33rd annual L.A. Weekly Theater Awards. The Fountain Theatre has received 9 LA Weekly Theater Award nominations for plays produced in 2011.
- Revival Production of the Year – House Not Meant to Stand
- Lead Female Performance – Sandy Martin, A House Not Meant to Stand
- Supporting Female Performance – Lisa Richards, A House Not Meant to Stand
- Two-Person Performance – Bakersfield Mist (Jenny O’Hara and Nick Ullett), Fountain Theatre
- Playwriting – Stephen Sachs, Bakersfield Mist
- Production Design – A House Not Meant to Stand
- Set Design – Jeff McLaughlin, A House Not Meant to Stand
- Sound Design – Peter Bayne, A House Not Meant to Stand
- Projection Design – Keith Skretch, A House Not Meant to Stand
Our love and gratitude to all of the artists who contributed their time and talent to our 2011 season last year. And to our fabulous Members and audiences who helped make 2011 one of our most successful years ever!
“Bakersfield Mist”
The LA Weekly Awards are always a high-octane affair, sort of the “anti-Award Show”. Loud, raucous, rebellious. Each year following a different “theme”. This year, the event will be a replication of the first-ever theater awards ceremony, circa 450 B.C., honoring Dionysus, god of fertility and wine. Lauren Ludwig directs music/sketch comedy troupe Lost Moon Radio, hosts of the Greek bash at the Avalon in Hollywood.
The dress code is togas (if you insist on bringing out that leather jacket or cocktail dress, be sure to tuck your toga underneath it). Doors open at 6:30, show starts at 7:30. Buffet after. Come party with us. Tickets cost $25 and will go on sale Feb. 23. (310) 574-7208.
Posted in Arts, new plays, performing arts, plays, playwright, theatre
Tagged A House Not Meant to Stand, award, Bakersfield Mist, Fountain Theatre, Jeff McLaughlin, Jenny O’Hara, Keith Skretch, LA Weekly, Los Angeles, Nick Ullett, Peter Bayne, plays, playwriting, Sandy Martin, Simon Levy, Stephen Sachs, Tennessee Williams
Christa and William Wilk
We have been married for 41 years and are retired teachers who enjoy live theatre in Los Angeles. Season subscribers to eight theatres and the Los Angeles Stage Alliance, we are thrilled to be in the L.A. area where there is always great live theatre. We’re not limited to theatre and attend Early and Chamber Music concerts and view exhibits at local art museums.
The Fountain Theatre stands out for its bold presentations that inform and challenge us with regard to politics, race relations, war, people’s complex lives, and more. Many of the Fountains plays are first runs and premiers or ones too challenging for larger stages. It’s hard to pick a favorite play, but some are: Master Class (Terrence McNally), Bakersfield Mist (Stephen Sachs), The Ballad of Emmett Till (Ifa Bayeza), Coming Home (Athol Fugard) and several by Tennessee Williams. With picks like these what is not to like?
We hope the Fountain continues to survive and thrive in these difficult times.
– Christa and William Wilk
Posted in Arts, Fountain Theatre, new plays, performing arts, playwright, theatre
Tagged Athol Fugard, Bakersfield Mist, Christa Wilk, Coming Home, Fountain Theatre, Ifa Bayeza, LA Stage Alliance, Los Angeles, Master Class, museum, stage, Stephen Sachs, subscriber, Tennessee Williams, Terrence McNally, The Ballad of Emmett Till, theatre, William Wilk
by Gordon Cox
Market grows for digital rehearsal, staging tools
There’s an app for that, as the saying goes. But an increasing number of entrepreneurial theater folk have noticed that for a lot of day-to-day legit work, there isn’t an app for that — and they’ve set about remedying the situation.
Take Jeff Whiting, the latest legiter to add the unlikely words “software developer” to his resume. As a director-choreographer who often works as Susan Stroman’s associate, he found himself slaving over exhaustive “show bibles” — detailed accounts of stage arrangements and actor movements, often totaling thousands of pages per show — so that a production can be reproduced on tour and in other incarnations.
“I’d been dreaming about ways I could make my life easier,” Whiting says. “I kept thinking, ‘This should be simple.’ It’s just there was no existing way to do it.”
Looking for a digital tool that could streamline the process, all Whiting could come up with was a jury-rigged combo of Power Point and Excel. What he really needed, he decided, was an iPad app — and so StageWrite, launching March 1, was born.
StageWrite
Whiting joins a handful of industry denizens in creating rehearsal-tool apps they’d use themselves. Two of the best-known apps for helping actors memorize lines, for instance, come from actors themselves — David H. Lawrence XVII (“Heroes”), who spearheaded the creation of Rehearsal, and J. Kevin Smith, the man behind Scene Partner.
“The dirty little secret is, if nobody ever bought the app and it was just me using it in my day-to-day life as an actor, I’d still be a happy dude,” Lawrence says.
As Whiting discovered, it ain’t easy creating and selling an app. He knew what he wanted, but guided by a friend in the tech industry, he had to seek out the Arizona-based team of programmers that he ended up hiring to do the coding.
There’s also a not-insignificant amount of money involved. Whiting, who capitalized StageWrite himself, says he had to pony up “hundreds of thousands of dollars” to bring the app to market.
The final product is a tool for creating, duplicating and editing the floorplan charts that, in a show bible, give a moment-to-moment, top-down view of where and when actors and set pieces move during a show. In beta tests during his day job, he’s already found it invaluable, talking up the potential, for instance, to email jpegs of the charts to swing performers, or to a regional lighting designer in advance of a touring production’s arrival.
But creation of an app isn’t the only hurdle; creators have to market it as well.
Different apps go after different demographics: StageWrite, for example, isn’t targeted to the masses. With a pricetag of around $200, the app is pitched as a professional tool to be used by those involved with sizable productions.
So far, Whiting has found that the relatively small size of the legit community has proven a plus, tubthumping for his new product among pros he knows. Whiting says he’s also gotten early interest from Sea World, Cirque du Soleil and the Olympic Committee.
Meanwhile, Scene Partner, priced at $4.99, is aimed at a different market. Creator Smith, who pairs his community-theater acting experience with a career as a direct marketer of tech products, targets amateur and pro thesps alike, saying he’s had a lot of luck hawking the app at young-thespian conferences around the country. The $20 Rehearsal, on the other hand, is optimized for working TV and film actors, as well as for legiters.
Among Scene Partner’s several features are a text-to-speech component that allows audio playback of cue lines for actors memorizing a part. With different tools but a similar goal, Rehearsal enables the highlighting of dialogue in digital scripts and the ability to record an actor’s own lines or fellow thesps’ cues, among other functions.
The rehearsal room’s shift into the digital realm jives with a trend that has seen playscript publishing houses also making recent moves into the marketplace. Late last year, Samuel French launched an e-book service, and barely a month later, Dramatists Play Service struck a deal with Scene Partner to make e-scripts available for use with the app (available at around $10 per play).
Both Whiting and Smith have plans for a suite of tools that will help actors, directors and designers do their work. And Smith anticipates further partnerships among legiters brave enough to step into the marketplace. “I think there’s going to be a lot of room for a lot of collaboration,” he says. “We’re all trying to make a viable business out of it.”
GordonCox writes for Variety.
Posted in Arts, Fountain Theatre, new plays, performing arts, plays, playwright, theatre
Tagged actors, apps, choregrapher, David H. Lawrence, digital, director, iPad, J. Kevin Smith, Jeff Whiting, Rehearsal, Scene Partner, software, StageWrite, SusanStroman, theater apps
Ben Bradley
On Friday, February 10, 2012, the convicted killer of Ben Bradley was officially sentenced to life in prison. He will be eligible for a parole hearing in sixteen years.
The judge denied the motion for retrial submitted last month by the defense. In addition to sentencing, the judge ruled that the murderer must also pay $15,000 in restitution to the Bradley family.
The hearing took place in the Criminal Court Building in downtown Los Angeles. Present in the courtroom were Ben’s brother, Micheal Hill; the Fountain’s Deborah Lawlor, Simon Levy, and Stephen Sachs; actress Lisa Pelikan; and theater journalist (and Fountain friend) Dany Margolies.
When asked by the judge if he wished to make a statement or had anything to say, the murderer said “No”. He was then led away in handcuffs. To spend the rest of his life in prison.
As invoked in the final line of The Ballad of Emmett Till, the play Ben was directing two years ago when he was brutally murdered:
“It is done.”
Posted in Arts, Fountain Theatre, performing arts, plays, theatre
Tagged Ben Bradley, Dany Margolies, Deborah Lawlor, Fountain Theatre, Lisa Pelikan, Los Angeles, Micheal Hill, murder, Simon Levy, Stephen Sachs, The Ballad of Emmett Till
by Harvey Perr
BEST THEATER: The Fountain Theatre, which housed the year’s greatest artistic achievement, a gorgeous production of Tennessee Williams’ A House Not Meant to Stand (which proved, once and for all, that Williams was never on the decline and that he could still write a play in his later years that had more life in it than the work of most playwrights working today), and the year’s dandiest commercial entertainment, Stephen Sachs’ Bakersfield Mist.
“Bakersfield Mist”
BEST PLAYS: Bakersfield Mist (Stephen Sachs); Personal Choice: A House Not Meant to Stand (Tennessee Williams).
“A House Not Meant to Stand”
BEST DIRECTION: Simon Levy (A House Not Meant to Stand )
BEST PRODUCTION: A House Not Meant to Stand.
SET DESIGN: Jeff McLaughlin (A House Not Meant to Stand; Bakersfield Mist)
COSTUME DESIGN: Naila Aladdin-Sanders (A House Not Meant to Stand )
THE BEST PERFORMANCES OF THE YEAR: Although there are probably more actors concentrated in Los Angeles than in any other city of the world, there seems to be an ambivalence here towards the art of stage acting. First-rate actors rarely get singled out and are frequently lumped together with second and third-rate actors, to the advantage of neither. And actors – who are, after all, the life-blood of live theater – can make or break the production of a play, a fact that seems to go unappreciated. There were, for example, some performances this year which, had they been seen in London or New York, would have been considered career-transforming performances, and those performances are the ones I am giving the top place in my list:
Sandy Martin
Sandy Martin was wonderful in Tennessee Williams’ A House Not Meant to Stand ; she brought the play itself with her onto the stage the moment she made her dazed entrance and embraced its poignancy and its wackiness simultaneously.
Of course, the women Williams created were particularly memorable, and, again, in A House Not Meant to Stand , Sandy Martin had some extraordinary support from Lisa Richards and Virginia Newcomb who were hilariously funny and, at the same time, incredibly moving in small but vividly written parts – the former as a woman who refused to grow old and the latter as a girl who hadn’t yet grown up.
Jenny O’Hara
And Jenny O’Hara found a myriad of ways in which to instill dignity into the liveliest piece of trailer trash one is ever likely to come across in Stephen Sachs’ Bakersfield Mist – trailer trash with some ideas on Art that reduces an art curator to dithering.
It was, as they say, a very good year. Here’s to 2012.
Harvey Perr writes for Stage and Cinema.
Posted in Arts, Fountain Theatre, new plays, performing arts, plays, playwright, theatre
Tagged A House Not Meant to Stand, Bakersfield Mist, Best of 2011, Fountain Theatre, Harvey Perr, Jeff McLaughlin, Jenny O’Hara, Lisa Richards, Los Angeles, Naila Aladdin-Sanders, Nick Ullett, plays, playwriting, Sandy Martin, Simon Levy, Stage and Cinema, Stephen Sachs, Tennessee Williams, Virginia Newcomb