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Archive for Fountain Theatre – Page 2

HEART SONG at the Fountain Theatre

Steven Leigh Morris – LA Weekly

chachaandpamela

 

 

 

 

 

 

 

 

…..Stephen SachsHeart Song, which just opened at the Fountain Theatre, also looks at the capacities of art to overcome the seeming finality of death.  Act One is as literal — with explanations about the purpose of art that border on the tendentious — as A Fried Octopus is abstract. Act Two, however, becomes a different play from Act One, and a better one. Read more…

Now running through August 25.

In the Red and Brown Water, Fountain Theatre

Photo by Ed Krieger.

 

In the Red and Brown Water by Tarell Alvin McCraney.

 

Bob Verini – ArtsInLA.com

It’s about time Tarell Alvin McCraney’s work was able to be seen in Los Angeles. The Brother/Sister Plays, his trilogy about indigenous backwoods Louisiana folk operating under strange and magical Yoruba and Caribbean influences, has been garnering raves on both sides of the Atlantic (he has served as a house playwright for the RSC), whether performed as a unit or, as here, one at a time with the debut of In the Red and Brown Water at the Fountain Theater. McCraney is black and gay, but his work occupies no narrow niche; it’s for and about everyone.  Read more…

 

Pauline Adamek – ArtsBeatLA

Tarell Alvin McCraney’s poetic drama In the Red and Brown Water, now playing at The Fountain Theatre, has been extended for an additional eight weeks through to the end of February in honor of Black History Month. This play is the second part of a trilogy entitled ‘The Brother/Sister Plays.’ In this two-acter McCraney draws on West African mythology and transplants it to an urban contemporary setting to tell the tale of Oya (Diarra Kilpatrick) a young woman with vast potential as a long-distance runner. But the high-school track star puts her college dreams on hold to care for her aged and sickly mother Mama Mojo (Peggy A. Blow) – a decision that sows the seeds of disappointment throughout the rest of her life.  Read more…

 

The Blue Iris, Fountain Theatre

Photo by Ed Krieger.

 

The Blue Iris by Athol Fugard.

 

David C. Nichols - Backstage

In The Blue Iris, prolific South African playwright Athol Fugard treads delicately yet resolutely through the landscape of the heart. In doing so, the venerable 80-year-old dramatist cannot help clutching at ours, as this riveting U.S. premiere demonstrates.  Read more…

 

Sharon Perlmutter - TalkinBroadway.com

It’s hard to know exactly what to make of The Blue Iris, Athol Fugard’s latest play to have its U.S. premiere at the Fountain. It’s a small, intimate piece—much more about people than South Africa. To be sure, the play’s setting, the semi-desert of the Karoo, is the play’s catalyst, if not its actual antagonist. But the play features only South Africa as an inhospitable climate, not South Africa as a sociopolitical entity. It is a household who lives here—or, more accurately, lived here—that is the focus of The Blue Iris.   Read more…

 

Bob Verini - Variety

Athol Fugard’s “The Blue Iris” is deceptively simple: A desert farmhouse, just destroyed by lightning, is picked over for its treasures and memories. But secrets lurk in the ashes, too, and in just over an hour the South African master takes us on a journey of loss with the potential to move anyone who’s ever sifted through his or her life and feared what would be dug up. This little gem gets an exemplary American premiere mounting from helmer Stephen Sachs at Fugard’s self-described artistic home out west, Hollywood’s Fountain.  Read more…

 

Terry Morgan - LAist.com

One mixed blessing about being successful is that people can no longer tell you what to do, and if they try, it’s easy to ignore them. On the one hand, pure artistic freedom is a wonderful thing, but on the other hand, sometimes people need editors and sometimes plays need rewrites. I have no way of knowing what Athol Fugard’s artistic process is these days, but his latest work, The Blue Iris, (currently in its U.S. premiere in a solid production at the Fountain Theatre) is intermittently compelling but ultimately seems undercooked.   Read more…