Live Streamed Reading of BAKERSFIELD MIST by Stephen Sachs, with Tony Shalhoub and Brooke Adams
Psalmayene 24 Receives Mellon Foundation Award for 3 Year Residency at Mosaic Theater
Just announced – Psalmayene 24 will join Mosaic Theater’s Senior Artistic Staff where, over the next three years, the DC playwright and director will create new works, participate in Mosaic’s community outreach programs and audience interactions and initiate a new Directors/Playwrights Cohort. This is being made possible by an award from The National Playwright Residency Program, funded by the Andrew W. Mellon Foundation in collaboration with HowlRound Theatre Commons. The program provides salary and benefits for three years. The residency begins July 1, 2020.
Psalmayene 24, responding to the announcement: “In many respects, I am a native son of the community that Mosaic Theater serves. Having grown up in Brooklyn, New York, and now having lived in the Washington, DC area for more than half of my life—over 25 years—I proudly call DC my home. I came of age, as a man and an artist, in DC. I wrote my first play in DC. I met my wife in DC. So, as my adopted hometown, I feel a strong connection to many of the theaters in the DC area—especially Mosaic. True to its name, Mosaic is a theater with a wonderfully diverse audience. As someone who grew up in the Park Slope section of Brooklyn during a time when it was a beacon of multiculturalism, I feel most at home in communities where diversity reigns supreme. (And when I say diversity, I mean diversity of all types: race, class, religion, sexual orientation, etc.) As an artist who sees myself as an integral member of the community that Mosaic serves, it is my belief that I am well qualified to represent authentic creative impulses that reflect the spirit of this community.
“My intention is to impact this community through the National Playwright Residency Program by creating plays that act as a reflective prism meant to reveal and illuminate the soul of the community. There is a validation that occurs when people see a play that speaks to their particular experience. Plays have the ability to feed parts of the human spirit that we didn’t know were malnourished. When plays voice the humanity of a specific community, these plays have the potential to sing in harmony with universal yearnings that connect us all.”
Mosaic Theater describes the proposed projects on the drawing boards : “Mosaic is excited to help develop a new project already in the drafting stage, written and to be performed by the author himself, entitled Dear Mapel, based on the Psalmayene 24’s letters (actual and imagined) to the deceased father he hardly knew, sharing a coming-of-age story within a coming-to-terms hole in his heart. Additional projects include a hip-hop theatrical portrait of DC’s controversial “Mayor For Life,” Marion Barry. Just as provocative and dynamic is The Street Corridor Initiative, a showcasing of proud DC voices culled from interviews of residents along H Street where Mosaic performs, focusing on two public transport vessels bringing residents up and down the corridor; the infamous X-2 bus and the newer, suspiciously regarded play-toy of gentrification, the DC Streetcar.
“Another proposed work, Freedom Strike, tells the story of a Black performance artist who cuts off the head of Abraham Lincoln from the Emancipation Statue—a controversial DC statue of a freed Black man and Abraham Lincoln. The play will investigate the cost of freedom on the Black body. Additionally, Psalmayene 24 will return to the work that initiated his literary relationship with Mosaic, Les Deux Noirs: Notes on Notes of a Native Son, a reimagining of the meeting between author Richard Wright and essayist James Baldwin, originally commissioned as a response piece to Nambi Kelley’s adaptation of Native Son, which Psalm directed as part of Mosaic’s “Native Son Rep.” Entertaining and vital, a streamlined text and staging of Les Deux Noirs will be fashioned to make the production more wieldy for touring through our “Mosaic on the Move” initiative, and for future productions to come.”
Article by Lorraine Treanor for DCTheatreScene.com.
CROSSING DELANCEY by Susan Sandler, and More Announced For New Jewish Theatre’s 2020-21 Season
Crossing Delancey by Susan Sandler
October 15 – November 1
Directed by Nancy Bell
Isabel is a modern young woman who lives alone and works in a book shop. When she is not pining after a handsome author, she is visiting her grandmother (Bubbe) in Manhattan’s Lower East Side. This irascible granny and her friend the matchmaker have found a “good catch” for Isabel. Her initial reluctance gives way to a blossoming romance when she finally meets Sam the pickle vendor, as the end of the play offers a new beginning.
Read more from Broadway World here.
Human Interest Story is “TRULY AMAZING” at Fountain Theatre
Timely New Play HUMAN INTEREST STORY, by Stephen Sachs, Focuses on Homelessness, Celebrity Worship and Truth in American Journalism
The multi-award-winning Fountain Theatre in Hollywood creates, develops and produces new plays and re-imagined classics expressing the diverse social issues and cultures of Los Angeles and the nation, giving artistic voice to the voiceless. Now presenting the world premiere of HUMAN INTEREST STORY, a timely new play written and directed by Stephen Sachs (Arrival & Departure, Citizen: An American Lyric, Bakersfield Mist), centering on homelessness, celebrity worship and truth in American journalism which reminds us that the line between where you are now and sleeping in your car is much thinner than you think. And like city traffic congestion, the homeless population in Los Angeles has grown to epic proportions and will only get worse, with even more tents and campers lining streets in every neighborhood to house those with nowhere else to live and no financial means to change their circumstances. But for those who want out, shouldn’t there always be a way to do so by just taking a chance when the opportunity arises?
According to Sachs, the play is about how contrary and opposing impulses can hide in the same human being, and was initially inspired by the 1941 Frank Capra classic film Meet John Doe, in which Gary Cooper plays a homeless man (then called a “hobo”), who is hired by newspaper writer Barbara Stanwick and transformed into a national celebrity she names John Doe. “What if the story were told today in the fast-moving world of social media with homelessness, fake news, and political corruption in our daily news feeds, when “a newspaper columnist, in the course of writing a human interest story on another individual, is forced to confront truths about himself?” he explains.
HUMAN INTEREST STORY is about more than homelessness, taking us beyond the circumstances of those on the streets and allowing us to remember how truth – in our press, in ourselves and the world – sets us free. Set in the fast-moving world of news media, with locations bought to life through video projections brilliantly created by and incorporated into Matthew G. Hill’s scenic design, the play chronicles the journey of newspaper columnist Andy Kramer (Rob Nagle), who, after being suddenly laid off when a corporate takeover downsizes The City Chronicle, which is suffering the fate of most print publications, struggling for readers and ad revenue to stay afloat in our changing times.
Realizing he is one step away from losing his livelihood as well as his home, Andy fabricates a letter to run as his last column in retaliation for the layoff, hoping to garner the recognition he has longed to achieve while exposing the lies and corruption which forced his hand. The letter he creates from an imaginary homeless woman he names “Jane Doe” announces she will kill herself on the 4th of July because of the heartless state of the world, and soon goes viral. Andy then finds himself forced to hire a homeless woman in the park (Tanya Alexander) to stand-in as the fictitious Jane.
But this Jane Doe is a former teacher and writer, wise beyond her current living circumstances which were forced upon her due to teacher layoffs and her own poor financial planning. When “her” letter is published, Jane becomes an overnight internet sensation and a national women’s movement is ignited when she speaks up for homeless women on the streets everywhere.
But what happens when she begins to speak her real truth rather than spout the words forced upon her by the new newspaper publisher Harold Cain (James Harper), who sees in Jane a way to raise funds to support his run for mayor? It’s an examination of social media power in an era of ever-present fake news and the overwhelming need of the public to create celebrities to follow.
Richard Azurdia, Aleisha Force, Matt Kirkwood, and Tarina Pouney authentically portray many supporting characters including TV new reporters and event interviewers who twist Jane’s story to gain more viewers or to support their own causes. And when media investigators discover Jane Doe’s real identity, her popularity drops and the media attacks begin, forcing Jane back into the woods as she awaits the upcoming and fateful 4th of July. Will she take her own life for an identity she assumed to protect Andy Kramer’s lie, or is it possible to turn your life around simply by telling the truth?
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Along with the cast, the incredibly insight playwright/director Stephen Sachs, scenic and video designer Matthew G. Hill, and costume designer Shon LeBlanc, kudos go to the rest of the impressive creative team including lighting designer Jennifer Edwards; composer and sound designer Peter Bayne; video hair and makeup designer Diahann McCrary; prop master Michael Allen Angel; production stage manager is Emily Lehrer, and the assistant stage manager is Nura Ferdowsi. Simon Levy, James Bennett and Deborah Culver produce for The Fountain Theatre, with executive producer Karen Kondazian.
HUMAN INTEREST STORY runs through April 5, 2020 with performances on Fridaysat8 p.m.; Saturdaysat 2 p.m.and8 p.m.; Sundaysat2 p.m.; and Mondaysat8 p.m. Tickets range from $25-$45; Pay-What-You-Want seating is available every Monday night in addition to regular seating (subject to availability). The Fountain Theatre is located at 5060 Fountain Avenue(at Normandie) in Los Angeles. Secure, on-site parking is available for $5. For reservations and information, call (323) 663-1525 or go to www.FountainTheatre.com.
Read the full article from Broadway World LA by Shari Barrett here.