BACK STAGE WEST
August 29, 2002
by Rob Kendt
Zoo break: Every theatre company has growing pains,
contracting pains, and other, less predictable twinges and afflictions. Last
year's ongoing story about the leadership battle at the Actors' Gang was a big
deal in part because of its founder's celebrity--also because of the troupe's
deserved preeminence on the local scene--but such artistic differences are
hardly unique. The fearsome creative energy that fuels small theatre companies
in L.A. can also feed dissension, frustration, and factionalism. The recent
shake-up at Zoo District, one of L.A.'s more distinctive and ballsy theatre
companies (Nosferatu, The
Master and Margarita, The
Slow and Painful Death of Sam Shepard), has been happening in slow motion since last year, when the
company switched from a sort-of artistic democracy to a more corporate
board-of-directors model. In November, founding artistic director Loren Rubin
brought the company Ken Prestininzi's ambitious Amerikafka for the 2002 season; Rubin now says that
while many in the company were excited about the play, some "armchair
dramaturges" had "concerns" about it. Several rewrites,
readings, and workshops later, the anti-Amerikafka forces had gathered steam while
boardmembers, according to Rubin, had raised no money for it. Instead, they
were more interested in Michael Franco's adaptation of Bulgakov's Heart of a
Dog, which, on the
strength of Franco and Richard Helweg's award-winning adaptation of Bulgakov's Master
and Margarita, had
garnered a grant from the Trust for Mutual Understanding to produce it at the
1,400-seat Kiev National Theatre. So Rubin took himself, and Amerikafka, to the Met Theatre in Hollywood, where
it will open in October, with Met co-artistic director Silas Weir Mitchell in
the lead; Heart of a Dog
will play Kiev Sept. 7-9, directed by Suzuki-steeped Antony Sandoval, who
staged the indulgent but compelling Pathe X and the hilarious non-Zoo project Go
True West. Now at the
helm of the Zoo is founding member Jon Kellam, who said he plans "a lot
more training and style work" for the company. "Our signature is
becoming more and more about the process than the product." Said Rubin:
"He wants the company to be movement-based." Whatever the house
style, Rubin said that after being shut down by the board in an ironically
"Kafka-esque" way, he doesn't anticipate a return to the Zoo fold:
"I don't feel like Zoo District is a healthy place that supports the
artists within it. I feel very supported at the Met. People believe in me and
want me to succeed." Countered Kellam: "I wish he'd stuck it
out." Up next for the Zoo are Seely and Feely: Lively Lad, a commission from A.S.K. Theatre
Projects, to be directed by superfreak Joe Seely, and Bloody Chamber, helmed by Kara Feely, who did the
haunting, Dali-esque design for Pathe X.
¥ Zoo District
member Tamar Fortgang (so memorable as Patti Smith in Sam Shepard, and reportedly side-splitting in an Amerikafka workshop as an old Yiddish man), is
communications director by day at Cornerstone, and she communicated that the
community-based company's next "ensemble" show, tentatively titled Mary
Shelley's Santa Claus, to
be scripted by Erik Ehn and directed by Mark Valdez, will play Dec. 5-22 at the
Armory in Pasadena, where Furious Theatre Company has been making a name for
itself. Fortgang, who helped get the annual Edgefest off the ground, also wants
to continue--and hopes to elevate--the conversation among L.A.'s theatre folks,
with a free "town hall," Sunday, Sept. 8, at 11 a.m. at Cornerstone's
downtown offices. On the agenda, in Tamar's words: to "discuss--and
refine--our place in Los Angeles' culture," with hopes of making a
presentation to L.A. Mayor James Hahn. Cornerstone is at 708 Traction Ave., LA
90013; coffee provided.
¥ Director Matt
Almos told us that the Burglars of Hamm's recent run of Resa Fantastiskt
Mystisk at the New York
International Fringe Festival was "a big stinkin' hit!" A rave from The
New York Times bodes well
for the company--and for the growing rediscovery of the unjustly obscure
Swedish dramatist Lars Mattsun. Our sister paper, Back Stage, did a piece on Resa's successful "fringe marketing"
concept--something about "perpetuating the Lars Mattsun myth." Say it
ain't so!
¥ The deal that
wasn't: A plan by the Fountain Theatre to purchase NoHo's American Renegade
Theatre as a second space to produce other shows recently fell through. Too
bad: The Fountain's mainstage hits tend to keep running and running, Energizer
Bunny-style (After the Fall, and stars Tracy Middendorf and Dave Higgins, are still going
strong after five months), while subscribers wait for the next offering to find
a stage. The wait is over: Up next on the Fountain mainstage is Direct From
Death Row: The Scottsboro Boys, directed by Ben Bradley (producer of two previous Fountain hits,
I Am a Man and Central
Avenue). With The
Exonerated reopening at
the Actors' Gang on Sept. 7, all we need is the opera Dead Man Walking to make our fall social calendar
complete.