Layout Image

Archive for Fountain Theatre – Page 2

THE BROTHERS SIZE at the Fountain Theatre and DROP DEAD at NoHo Arts Center


Steven Leigh Morris  – LA Weekly

Tarell Alvin McCraney’s tender, poetical drama The Brothers Size (Fountain Theatre) and Billy Van Zandt & Jane Milmore’s meta-theatrical farce Drop Dead! (presented by Theatre 68, at North Hollywood’s NoHo Arts Center) share one salient commonality: Each production has moments when the actors recite stage directions about their own characters. Tarell Alvin McCraney’s tender, poetical drama The Brothers Size (Fountain Theatre) and Billy Van Zandt & Jane Milmore’s meta-theatrical farce Drop Dead! (presented by Theatre 68, at North Hollywood’s NoHo Arts Center) share one salient commonality: Each production has moments when the actors recite stage directions about their own characters. Read more…

Myron Meisel – The Hollywood Reporter

Playwright Tarell Alvin McCraney boasts a rare talent: an utterly distinctive voice. He sounds like no one else, his cadences hearty and beautiful. I am in love with his voice, and in all likelihood you will feel the same way. For better, and sometimes less so, so be he. Read more…

Margaret Gray – LA Times

The Fountain Theatre follows up its award-winning 2012 production of Tarell Alvin McCraney’s “In the Red and Brown Water” with a vibrant incarnation of “The Brothers Size,” the second installment in McCraney’s acclaimed trilogy.      Read more…


Now running through July 27.

THE NORMAL HEART at the Fountain Theatre


Photo by Ed Krieger


Les Spindle – Edge on the Net

In chronicling the beginning of a momentous chapter in the history of gay culture, namely the initial outbreak of the AIDS epidemic in the early 1980s, Larry Kramer’s watershed play “The Normal Heart” offers a deeply moving snapshot of an era, while imparting timeless truths.
Read more…

Bob Verini – ArtsInLA

Almost 30 years after its premiere, Larry Kramer’s The Normal Heart still packs a wallop, though it’s a different kind of wallop from that which first stunned audiences in the record-breaking long run at New York’s Public Theater. Back then, the fury over governmental, institutional, and (to a large extent) public indifference to the “gay plague” …..
Read more…

Neal Weaver – LA Weekly

When the AIDS plague emerged in 1981, writer-activist Larry Kramer was devastated to learn that the larger society wasn’t remotely concerned that gay men were dying by the thousands, and the gay community was refusing to admit its own responsibility. He set out to call the world to account, and tell unpopular truths to power. Driven by his own passionate concern, he launched ham-fisted attacks in all directions, making himself hated and resented.
Read more…

Terry Morgan  -  LAist

When Larry Kramer’s The Normal Heart premiered in 1985, its urgent message about the AIDS crisis somewhat (and understandably) overshadowed its success as a brilliant piece of theatre. While that message of caution is still timely as people have mistakenly begun to believe that AIDS is a thing of the past, the primary joy of the Fountain Theatre’s current revival of the show is the demonstration of what a strong, smart, character-driven play it is. The production is excellent on all levels, from Simon Levy’s dynamic direction to the outstanding ensemble, with Tim Cummings delivering an electrifying, career-best lead performance. Read more…

Now running through November 3.

HEART SONG at the Fountain Theatre

Steven Leigh Morris – LA Weekly










…..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 –

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 -

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 -

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…