1776: A Look Inside The Declaration of Independence

Gisela Adisa as John Adams

 

By Darlene Donloe

The year was 1776! 

It was a monumental year as representatives from all of the existing colonies came together to rigorously debate whether to institute something that would eventually be called the Declaration of Independence.

It all plays out in American Repertory Theater/Roundabout Theatre Company’s new production of the Tony Award-winning Best Musical,  ‘1776,’ a revival of the musical about the birth of America and the Declaration of Independence, now running at the Ahmanson Theatre through May 7, 2023.

The show, co-directed by Jeffrey L. Page and Diane Paulus, tells the story of how the representatives eventually came together to officially declare independence from England. It’s an eye-opening musical that highlights how many of the white, male reps were willing to allow slavery to continue. For instance, in an early draft of the Declaration of Independence, Thomas Jefferson added antislavery language but the Southern states wouldn’t sign until he took it out – to the chagrin of John Adams and Benjamin Franklin – who suggested to Adams that it was a necessary evil. “First things first,!” says Franklin. “Independence! America! For if we don’t secure that, what difference will the rest make?”

As Edward Rutledge, the rep from South Carolina put it, paraphrasing – “They (Black people) aren’t people, they are property.” Rutledge is played superbly by Kassandra Haddock.

Of course, history records that the proceedings were all conducted by the gang that would come to be known as the Founding Fathers (FF), all of whom happened to be white men.

Depending on your leanings, and especially your ethnic background, the FF either did a brilliant job, or they failed the nation miserably. More than 250 years later – America is still reeling and the “All men are created equal” passage in the Declaration remains a joke.

Well, this fascinating and intriguing production pulls back the curtain and takes us inside the many contentious meetings that took place. It also highlights just how much of a gender imbalance there was. It’s all played out in living color – literally. 

The story is told, boldly, by a diverse cast. A glorious multiracial cast of female, transgender, and non-binary actors portray the fiery founders of this country, putting history in the hands of the humans who were left out the first time around.

There are at least two side stories being told. The first one is the relationship between John and Abigail Adams, which is sweet. The second one is the constant news from the front being sent by George Washington. 

What is brilliant about the casting – is that – it doesn’t matter. The cast is inspiring! Nothing is lost in translation.

Liz Mikel (L) as Benjamin Franklin

There are some really good performances throughout the cast. Gisela Adisa rocks as the “obnoxious and unliked” John Adams, Oneika Phillips is fabulous as John Hancock (President of the Congress), Shawna Hamic leaves it all on the stage as Richard Henry Lee, while Liz Mikel puts a comedic spin on the character of Benjamin Franklin. Brooke Simpson, who opens the show revealing that she is a full-blooded Native American and a member of the Haliwa-Saponi Tribe, blows the roof off on the ballad, “Momma, Look Sharp.” 

All of the voices are impressive, and there are too many stand-out performances to mention.

The “1776” company includes Shelby Acosta as Secretary Charles Thomson, Gisela Adisa as John Adams, Nancy Anderson as Thomas Jefferson, Tiffani Barbour as Andrew McNair, Dawn Cantwell as Col. Thomas McKean, Julie Cardia as Stephen Hopkins, Amanda Dayhoff as a standby, Sara Gallo as a standby, Joanna Glushak as John Dickinson, Anissa Marie Griego as Roger Sherman, Kassandra Haddock as Edward Rutledge, Shawna Hamic as Richard Henry Lee, Lisa Karlin as a standby, Connor Lyon as Martha Jefferson/Dr. Lyman Hall, Liz Mikel as Benjamin Franklin, Nykila Norman as Caesar Rodney, Oneika Phillips as John Hancock, Lulu Picart as Samuel Chase, Kayla Saunders as a standby, Ariella Serur as Judge James Wilson, Brooke Simpson as the Courier, Sav Souza as Dr. Josiah Bartlett, Lillie Eliza Thomas as a standby, Tieisha Thomas as Abigail Adams/Rev. Jonathan Witherspoon, Zuri Washington as Robert Livingston, Gwynne Wood as George Read, and Candice Marie Woods as Joseph Hewes. 

The cast of '1776'

Some of the material is presented comically, particularly the character of Benjamin Franklin – who is depicted as old and narcoleptic. Some of it is sexist, which is hilarious considering it's women playing men.

The story makes you look at some of the players - John Adams, his wife, Abigail Adams, and Benjamin Franklin in a different light, and others like John Dickinson, and Edward Rutledge with a side-eye.  

The score has some real gems, including ‘Sit Down, John,’ ‘But, Mr. Adams,’ ‘Molasses to Run,’ ‘Momma Look Sharp,’ ‘The Lees of Old Virginia,’ the popular and slightly naughty, ‘He Plays the Violin,’ and more.

Creative costuming and minimalist scenic design are a success!

The show is a great history lesson.

A note for the play is the acoustics.  Much of the dialogue is muffled, unintelligible, or completely lost. It happened throughout the show, which is also disappointing because, for sure, some dialogue zingers were missed. 

“1776” features music and lyrics by Sherman Edwards and a book by Peter Stone. It is based on a concept by Sherman Edwards. Tony Award-winning director Diane Paulus (“Jagged Little Pill,” “Waitress,” “Pippin”) and MTV Music Video Award-winning choreographer Jeffrey L. Page (Beyoncé’s “Run the World (Girls)” video, “Memphis” in Tokyo; “Violet” starring Sutton Foster at Roundabout Theatre Company) direct the production. 

Kudos to the “1776” design team that includes Tony Award-winning scenic designer Scott Pask (“Waitress,” “Finding Neverland,” “Pippin”); Tony Award-nominated costume designer Emilio Sosa (“The Gershwins’ Porgy and Bess”); lighting designer Jennifer Schriever (“In the Body of the World” at A.R.T./New York City Center; “Fingersmith” at A.R.T.); Tony Award-nominated sound designer Jonathan Deans (“Jagged Little Pill,” “Waitress,” “Finding Neverland” at A.R.T./Broadway; “Pippin” on Broadway) and Drama Desk Award-nominated projection designer David Bengali (“We Live in Cairo” at A.R.T., associate designer of “Witness Uganda” at A.R.T./“Invisible Thread” at Second Stage).

The “1776” music team is comprised of music supervisor/music director Ryan Cantwell (“Pippin”); original music supervisor David Chase (“Finding Neverland”); Tony Award-nominated Orchestrator John Clancy (“Fun Home;” “Mean Girls”); vocal designer AnnMarie Milazzo (“Finding Neverland”). The associate director is Brisa Arelis Muñoz and the associate choreographer is Courtney Ross.

On the DONLOE SCALE, D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yeah), and E (excellent), ‘1776’ gets an O (oh, yeah). 

‘1776,’ Ahmanson Theatre, 135 N. Grand, Los Angeles, Tuesday through Friday at 8 p.m., Saturday at 2 p.m. and 8 p.m., and Sunday at 1 p.m. and 6:30 p.m.; $40-$155; CenterTheatreGroup.org, Audience Services at (213) 972-4400.

 

 

 

 

 

 

Guitarist Gregory Goodloe Is 'In This Love'

It’s a fragrant love affair and on the eve of Jazz Appreciation Month, R&B-jazz guitarist Gregory Goodloe composed a fervent song of love and appreciation that drops as a single on Monday from Hip Jazz Records. Goodloe wrote “In This Love” with producer Jeff Canady to covey his ardor and affection as well as his gratitude for the gift of music.

“For as long as I can remember, you have been a great part of my life. As long as you stay with me, I know that I will love you all of my life. Unspeakable melodies, harmonies, tones, and major and minor keys have given me inspiration every day. ‘In This Love’ is dedicated to devotion to a way of life, and a deep love of music. Let me pass it on,” said Goodloe, who topped the Billboard singles chart for the first time in 2019 with “Stylin’,” receiving more than four million Spotify streams.

Poetically lyrical guitar verses and impassioned improvised solos drive the funky rhythm track, soulful groove and vibrantly cascading choruses on “In This Love.”  With Goodloe’s classic cool jazz electric guitar in the fore, Canady’s sturdy drum beats, Robert Skinner’s rubbery basslines, Demetrius Nabors’s keyboard melodies, and Gary Johnson’s rhythm guitar decorate the track with lush sound.         

“I have loved music for as long as I can remember. It’s always been a part of me and my soul. I’ve learned one thing in life and that is music can bring us through our ups and downs, through our good times and bad. My love, devotion, and dedication to music have brought me to respect music and the love that it brings to the world. I feel so blessed to be able to share my expression of music,” said Goodloe, a Denver native.

“In This Love” is Goodloe’s second consecutive single with Canady. They teamed up on “In Paradise” in 2021. Earlier releases include collaborations with multiple Grammy-nominated saxophonist Darren Rahn (“Stylin’”), seminal urban-jazz keyboardist Bob Baldwin (“Cool Like That”), Billboard chart-topping guitarist Adam Hawley (“Somewhere Out There”), and Barbadian saxophonist Elan Trotman (“Step’N Out”).

Growing up strumming the guitar to Wes Montgomery and George Benson records, their presence is heard and felt in Goodloe’s recordings. He played drums and guitar through high school and while attending Bishop College, an HBCU in Dallas. After serving in the United States Army, Goodloe embarked on a recording career, debuting in 2016 with the single “All The Way.” Goodloe has performed at premier jazz festivals and has shared the stage with Howard Hewett, Tank, Ben Tankard, Norman Brown, Dave Koz, Brian Culbertson, Michael McDonald, James Ingram, Roy Ayers, Shirley Caesar, Angela Spivey, John P. Key, The Rance Allen Group and Larry Dunn of Earth, Wind & Fire fame, a fellow Denverite. Goodloe hosts his own radio show, “Mile High Smooth Jazz,” which airs on World Wide Jazz Radio.

For more information, please visit https://gregorygoodloe.com.

A Review: Twilight: Los Angeles, 1992

 

By Darlene Donloe

 

 

On March 3, 1991, the severe beating of Rodney King, a Black man, by four white members of the Los Angeles Police Department was caught on video. 

 

The incident would not only be the catalyst for nationwide police reform, a year later, on April 29, 1992, but the acquittal of the four officers involved in the beating also sparked the Los Angeles uprising.

 

Playwright and actress Anna Deavere Smith wrote a show about the beating and the subsequent sequence of events that turned Los Angeles upside down and increased the strain on racial relations. To enhance the show, she brilliantly used the voices of the hundreds of people she interviewed for the one-woman production she performed. In the show, she embodied 40 different characters of various ethnicities, ages, races, and genders.

 

The play was called ‘Twilight: Los Angeles, 1992’. At the time it was a solo show that was originally commissioned by Center Theatre Group – making its world premiere at the Mark Taper Forum in May 1993. 

 

The show enjoyed a good run including a production at The Public Theater followed by a Broadway run and two Tony nominations. There was also a national tour mounted at the Berkeley Repertory Theatre and a film produced by Smith and others in partnership with PBS.

 

Smith’s reimagined ‘Twilight: Los Angeles, 1992’ returned home to the Mark Taper Forum on March 15, 2023,  this time with an impressive ensemble cast. 

 

In this incarnation, five diverse actors take the stage - portraying several of the 320 interviews conducted by Smith with politicians, activists, police, jurors, shopkeepers, and countless other Los Angelenos including now Congresswoman Maxine Waters and former Los Angeles Police Chief Daryl Gates.

 

All of the dialogue in the show is spoken by real people and is verbatim from the interviews – unless otherwise noted. 

 

The show, which explores the five days following the Rodney King verdict and how the uprising affected Angelenos, delves into the long-simmering tensions that set the stage for the L.A. uprising and explore the community as a whole.

 

The stories in this show go beyond black and white. It’s about the human spirit, which goes beyond any color lines.

 

As intense as the show is with its themes of racial injustice and police brutality, Smith interjects moments of humor, which allows the medicine to go down a little lighter.

 

It’s a heavy play, which shows the long, torturous moments that King endured the vicious blows of the LAPD. 

 

It brings up painful memories and powerful feelings of anger and frustration at man’s inhumanity to man.

 

On this particular night, the mostly-white audience gasped and said, “My God,” as if watching the beating for the first time.

 

It also shows footage of the moment Soon Ja Du, a Korean store owner shot 15-year-old Latasha Harlins in the head because she thought the teen was trying to steal some orange juice. The footage does show the teen punching the store owner in the face but it also shows her walking away – leaving the store – only to be shot in the back of the head.

 

And then there’s the raw footage of the attack on Reginald Denny, the white truck driver who was pulled from his vehicle by a group of Black men and fiercely beaten.

 

All of the persuasive videos make for an uncomfortable, disturbing night of theater. 

 

Although it’s a challenging and complicated show to ingest, ‘Twilight: Los Angeles, 1992’ isn’t to be missed. It continues to beckon with its in-your-face truths.

 

Anna Deavere Smith

When the verdict was read in the Rodney King case, Smith, named playwright in residence at the Signature Theater in 2019, was in New York at the Public Theater for the premiere of her documentary-style drama “Fires in the Mirror.” Smith said she is convinced that the unrest in Los Angeles is the reason her one-woman play about the 1991 riots in Crown Heights, Brooklyn, was a success.

 

It’s 30 years after the Rodney King incident and, unfortunately, nothing has changed. Black men are still being beaten by police, and quite disturbingly sometimes by Black police officers.  

 

To her credit, Smith, a longtime NYU professor, doesn’t offer any answers. She doesn’t side with any of the situations. Instead, she leaves it up to the audience to come up with its own conclusions.  It’s a thought-provoking piece. Watching a reimagined interpretation may give some audience members a different perspective on what they originally saw, heard, or believed. 

 

Director Gregg T. Daniel’s steady directing hand imparts a touching, compelling, and passionate show.

The cast seamlessly shifts from one character to another, which isn’t always an easy achievement.

 

‘Twilight: Los Angeles, 1992,’ conceived, written, and revised by Anna Deavere Smith, and directed by Gregg T. Daniel, stars Lisa Renee Pitts, Jeanne Sakata, Hugo Armstrong, Lovensky Jean-Baptiste, and Sabina Zuniga Varela.

 

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yes), E (excellent) ‘Twilight: Los Angeles, 1992’ gets an E (excellent).

Running time:  2 hours, 30 minutes, including one 15-minute intermission.

 

‘Twilight: Los Angeles, 1992,’ The Ahmanson Theatre, 135 N. Grand Avenue, Los Angeles, 8 p.m., Tuesday-Friday; 2:30 p.m. and 8 p.m., Saturday and Sunday at 1 p.m. and 6:30 p.m., through April 9; $35-$105. They are available through CenterTheatreGroup.org, Audience Services at (213) 628-2772.

 

The Hollywood Bowl Summer Season Schedule

The Hollywood Bowl Summer Season schedule has been released - and it's diverse and full of some of the music industry's stellar performers.

The annual Jazz Festival will take place on June 17-18, and already boasts a lineup that includes Kamasi Washington, Leon Bridges, West Coast Get Down, St. Paul, and others.

Of course, the usual suspects will still take that stage including great classical, jazz, and world music, including Maestro of the Movies with John Williams (July 7-9), and multiple KCRW Festival dates (with some artists still TBA). Dudamel the L.A. Philharmonic will also take the stage.

Single-event tickets have not gone on sale yet.

• On sale right now are a handful of concerts (Louis Tomlinson, Jill Scott, King Gizzard, and the Lizard Wizard) plus new subscriptions and renewals, along with group sales.
• “Create Your Own” packages open on March 14.
• Single ticket sales start May 2.

Below is the summer season schedule

June

June 10 (opening night): Janet Jackson + Ludacris

June 17-18: Hollywood Bowl Jazz Festival

June 21: King Gizzard & the Lizard Wizard

June 22: Jill Scott

June 24: Harry Potter and the Deathly Hallows Part 2

June 25: The Game Awards 10-Year Celebration

June 30: Louis Tomlinson (formerly of the boy band One Direction)

July

July 2-4 July 4th Spectacular with the Beach Boys

July 6: A Midsummer Night’s Dream with Dudamel

July 7-9: Maestro of the Movies: John Williams with the L.A. Phil

July 11: Dudamel conducts Verdi’s Requiem (L.A. Phil + L.A. master Chorale)

July 12: Charlie Wilson with En Vogue

July 13: An Ellington Celebration (L.A. Phil)

July 14-15: Kool & The Gang and the Village People

July 16: Sparks + They Might Be Giants

July 18: Estancia with Dudamel (L.A. Phil + Grupo Corpo)

July 19: Diana Krall

July 20: Prokofiev and Tchaikovsky with Dudamel (L.A. Phil)

July 21: Café Tacvba with the LA Phil

July 23: Reggae Night XXI (KCRW Festival)

July 25: Rhapsody in Blue (L.A. Phil)

July 27: Pictures at an Exhibition (L.A. Phil)

July 28-29: Quincy Jones’s 90th Birthday Tribute: A Musical Celebration

July 30: Everybody Rise! A Sondheim Celebration (Hollywood Bowl Orchestra)

August

August 1: All-Rachmaninoff (L.A. Phil)

August 3: 2001: A Space Odyssey (L.A. Phil + Los Angeles Master Chorale)

August 4-5: Walt Disney Animation Studios: The Concert (L.A. Phil)

August 6: Portugal. The Man + Chicano Batman + Say She She

August 8: Elgar and Beethoven (L.A. Phil)

August 9: Joe Bonamassa with orchestra

August 10: Sibelius and Grieg (L.A. Phil)

August 11: Rubén Blades

August 12: Carla Morrison 

August 13: Maggie Rogers + Alvvays

August 15: Symphonie fantastique (L.A. Phil)

August 16: Gladys Knight

August 17: Shostakovich and Dvořák (L.A. Phil)

August 18-19: Tchaikovsky Spectacular

August 20: My Morning Jacket + Fleet Foxes

August 22: Chris Thile and Appalachian Spring

August 23: Herbie Hancock

August 24: Joe Hisaishi and La mer

August 25-26: Culture Club

August 27: Smooth Summer Jazz with Dave Koz and Friend

August 29: Beethoven at the Bowl (L.A. Phil)

August 31: The Four Seasons (L.A. Phil)

September

September 1: Star Wars: Return of the Jedi in Concert (L.A. Phil)

September 3: Air Supply and Michael Bolton

September 5: Mozart Under the Stars (L.A. Phil)

September 6: Buddy Guy and Christone “Kingfish” Ingram

September 7: Bach and Mendelssohn (L.A. Phil)

September 8-10: Maxwell (Fireworks Finale)

September 12: The Planets (L.A. Phil + Pacific Chorale)

September 13:  Jacob Collier with the L.A. Phil

September 16: Sing-A-Long Sound of Music

September 17: KCRW Festival with artists TBA

September 20: Promises featuring Floating Points with Shabaka Hutchings

September 24: Los Auténticos Decadentes + More TBA as part of KCRW Festival

Innervision Records Celebrates Silver Anniversary

ORANGE COUNTY (27 February 2023): Consistent excellence in artistry combined with passion, innovation, and imagination have been the hallmarks of Innervision Records during its 25 years. The Southern California-based imprint that specializes in shades of jazz spanning groove, smooth and chill along with neo-soul and world music continues to ride high on the Billboard charts after their artists Blake Aaron and Will Donato scored No. 1 singles in 2022 and Kim Scott collected the highest honor: Billboard’s Smooth Jazz Song of the Year.

Aaron was the first artist inked to Innervision Records thus there’s something special about the guitarist continuing to be a part of the label’s storied successes. His “Dreamland” occupied the No. 1 spot on five charts  - Billboard, Groove Jazz Music, Mediabase, Radiowave, and Smooth Jazz Network - simultaneously last summer. The cherry on top is that Aaron is the featured soloist on Scott’s year-end chart-topper, “SHINE!"

"As one of the first artists on Innervision Records, I've had the honor of watching Innervision Records grow from a very small label into a major player in the industry with dozens of amazingly talented artists and become a powerhouse in the genre. It is exciting to see Innervision Records all over the Billboard charts each and every week, and most of the time, at the top. As one of the most artist-friendly labels out there, Innervision Records is truly a ‘family’ that I'm honored to be a part of,” said Aaron who has captured the No. 1 position on the Billboard singles chart for Innervision Records five times.

With roots in classical and jazz, Scott’s success has come by crafting a groove-laden mélange of urban, jazz, soul, and pop music. The flutist has notched Billboard No. 1 singles in the past yet “SHINE!” accomplished the rare feat of becoming the most-played song of the year without hitting the peak position. With an MVP performance by labelmate Aaron’s electric jazz guitar, the title cut of Scott’s “SHINE!” album is a shimmering and sophisticated blend of R&B and contemporary jazz.  

“I’m so honored that “SHINE!” was the most played smooth jazz song of 2022 and that it was named Billboard’s #1 Song of the Year. It was truly a labor of love to co-write the song and I was instantly inspired to write the melodies for the verses and chorus. They flowed from my spirit almost effortlessly. It was like a bright light was shining on me as I wrote it, bringing me energy, joy, inspiration, and hope. Featuring Blake Aaron on the track made the song shine even more and he did a brilliant job with his guitar solo! I’m so proud to have played a part in this achievement for Innervision Records, my team, and all the artists involved with the song. I plan to continue to let my light shine so listeners can find joy and inspiration in my music,” said Birmingham, AL-based Scott.

For the fourth consecutive year, Innervision Records placed third on Billboard’s Smooth Jazz Label of the Year tally on the strength of Scott’s massive airplay and No. 1 singles by Aaron and saxophonist Donato, the latter who recently vaulted into the top spot with his soul-powered single “Good On You.” Other Innervision Records artists to enjoy Billboard's top 20 success in 2022 were JJ Sansaverino, Cal Harris Jr., and Tom Braxton.

Innervision Records will celebrate its silver anniversary at its tenth annual After NAMM JAMM on April 16. Many of the artists on the label’s roster are expected to take the Spaghettini stage in Southern California for the popular post-NAMM show jam session. 

“We’re excited to bring everyone together for our Innervision Records After NAMM JAMM once again.  Originally starting out as a get-together for our artists and their musician friends to come out and jam during the heavily attended annual music industry convention, the After NAMM JAMM has evolved into an exciting opportunity for many of our Innervision Records family members to get together and celebrate the label, our shared successes, the fans and, most importantly, our friendships face to face,” said Steve Belkin, Innervision Records’ general manager.

Independent labels come and go fast in today’s music industry thus reaching a 25th anniversary is a testament to Innervision Records’ vision and execution. The label eagerly anticipates celebrating the milestone with its artists at the After NAMM JAMM. And while they are enthused by their accomplishments to date, they’re energized about what’s ahead.   

“To think Innervision Records has been around for 25 years is pretty crazy.  What started as a very tiny independent one-artist label has developed into an eclectic, creative, and artistic boutique label featuring artists from around the country. I'm very proud to be a part of Innervision's growth and success, in building a distinct brand. Watching several of our artists go from emerging to chart-topping artists is like proud parent moments. The artists deserve the credit, but you can't help but take some pride in their success,” said Belkin. 

Innervision Records’ A&R and radio promotions executive Adam Leibovitz concurs, acknowledging the role fans have played in the label’s accomplishments.

"Innervision Records has endured and grown into a major source of talent and I am so proud of what we have accomplished. I’m proud of our artists who create incredible music, and, of course, grateful to all of the fans who have been so loyal and so dedicated to what we have built. I am amazed when thinking about where Innervision Records started, beaming with pride over what it has become, and most of all, filled with excitement over what it will be!" 

For more information, please visit www.innervisionrecords.com. 

The Fountain Theatre's 'The Lifespan of a Fact'

(l-r) Inger Tudor (seated), Ron Bottitta, and Jonah Robinson
in 'The Lifespan of a Fact'

By Darlene Donloe

Truth in journalism is under a microscope in Director Simon Levy’s ‘The Lifespan of a Fact,’ currently running through April 2, at The Fountain Theatre.

The comedy/drama is a case study in the ethics of storytelling. 

What’s more important: writing the truth, telling a good story – or somewhere in between?  It takes an intimate look at accuracy, truth, judgment, and ultimately creative license. 

As the story goes, John D’Agata, a cantankerous writer played with boldness by Rob Bottitta, has written an article, I mean an essay, about a Vegas teen’s suicide. 

His editor Emily Penrose, played with flair by Inger Tudor decides to have Jim Fingal, an intern deftly played by Jonah Robinson, fact-check/research the essay. Penrose gives him five days to complete the assignment. Both Penrose and Robinson quickly realize – there’s more to D’Agata’s essay than meets the eye.

In an effort to do a thorough job, Fingal has proudly written a more than 130-page spreadsheet of corrections/questions/inquiries for an essay that was only 15 pages long.

The question becomes just how many alternative facts someone can use in an essay before it becomes a pack of lies or just some semblance of the truth. 

How many alternative facts or 'fake news' accounts can someone use and the essay still be considered trustworthy? 

In ‘The Lifespan of a Fact,’ definitions of the truth can literally be split three different ways. 

It can be a slippery slope where essays are concerned. The same can’t be said for hard news stories which require facts. Most bonafide journalists have no use for pliable truths.

‘The Lifespan of a Fact’ is a heady, thought-provoking piece that nudges the audience to think.

For instance, if someone describes a brick as being red when everyone else sees it as brown, who is right and who is wrong?  Does it make a difference in the outcome of the story? Does it make a difference if someone fell 9 feet instead of 10? Well, maybe. It’s all about perception, or is it?

At one point in the show, D’Agata declares, “I’m not interested in accuracy. I’m interested in truth.”   

Chew on that audience. 

To his credit, D’Agata doesn’t consider himself a journalist. Instead, he considers himself an essayist who has creative liberties when it comes to bringing his essays to life. 

The play is based on a real essay penned by the writer John D'Agata and Jim Fingal, which was in turn based on their actual encounter in getting an article ready for a glossy New York magazine. The piece was originally called, ‘What Happens There.’

(l-r) Inger Tudor and Ron Bottitta

In real life, Fingal, a Harvard graduate, worked for a publication called The Believer. The essay was submitted to Harper’s Bazaar but was rejected because of its factual inaccuracies.

You don’t have to be a writer/journalist to understand what’s going on in this play.

It presents its case as both a drama and a comedy – and both genres work. 

What really makes this play work is the smart writing, solid directing, costuming, lights, sound, and most of all, the actors. Bottitta rings true as a crotchety, self-involved writer who has drunk his own Kool-Aid one too many times. Robinson brings intensity and just the right amount of naivety, innocence, and inexperience. Tudor has the unenviable job of trying to navigate a slippery slope between a veteran writer she respects and a fresh-faced intern eager to make his mark.

Levy has directed a sharp play. The movement around the stage keeps the pace going forward. The repartee between the trio is rapid and witty.

The ending of the play offers no conclusion. In fact, after the show, everyone was asking, ‘What do you think happened?”

Opinions were evenly split with everyone giving their analysis, convinced about what they just witnessed.

(l-r) Jonah Robinson and Ron Bottitta

After viewing this play, the skeptics and critics who have always had a distrust of the press, will, no doubt, feel justified in continuing to give it the side eye. 

‘The Lifespan of a Fact,’ directed by Simon Levy, written by Jeremy Kareken, David Murrell, and Gordon Farrell, based on the book by John D'Agata and Jim Fingal, stars Ron Bottitta, Jonah Robinson, and Inger Tudor. 

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yeah), E (excellent), ‘The Lifespan of a Fact’ gets an O (oh, yeah).

‘The Lifespan of a Fact,’ The Fountain Theatre, 5060 Fountain Ave., Los Angeles, CA  90029, (corner of Fountain & Normandie, 8 p.m. Fri.-Sat., 2 p.m. Sun., 8 p.m. Mon. (dark Monday, March 13) through April 2; $25-$45, Pay-What- You-Want seating is available every Monday night, for reservations and information, 323 663-1525 or www.FountainTheatre.com.

'SNOWFALL' Cast Discusses Show and Creator John Singleton at Pan African Film Festival

LOS ANGELES, CA - Members of the cast of the FX hit series SNOWFALL will discuss the influence and legacy of the series.  Cast members will also discuss the importance of continuing the legacy of show creator John Singleton–one of the greatest storytellers of all time, and how FX’s SNOWFALL honored his vision. The panel will take place at the PAN AFRICAN FILM & ARTS FESTIVAL (PAFF) at the Cinemark Baldwin Hills & XD (4020 Marlton Ave.) on Mon., Feb. 20 at 6 p.m. (5 p.m. red carpet) The panel is FREE and open to the public.  

Michael Hyatt (Cissy Saint) and Gail Bean (Wanda Bell) will reflect on his memory together and share stories about the man they knew closely as a trailblazer, artist, mentor, and friend and how his legacy lives forever, through the powerful and unapologetically real stories he told that shared the beauty and hardships of the Black experience in America. 

Over the course of five seasons, FX’s SNOWFALL has chronicled how an off-the-books CIA operation contributed to the destruction of rock cocaine leveled upon the vibrant community of South Central L.A.

The sixth and final season of “Snowfall” will return on Feb. 22 at 10 p.m. ET on FX, and stream the next day on Hulu, the network announced. The premiere will include the first two episodes of the 10-episode final season.

The panel is free and open to the public to attend.  

WHO:

Michael Hyatt 

Gail Bean

WHAT:

A panel discussion with members of the cast of the hit FX series “Snowfall” on the show's legacy and show creator John Singleton

WHEN:

Monday, February 20, 2023

5PM - Red Carpet

6PM - Program

WHERE:

Cinemark Baldwin Hills & XD

4020 Marlton Avenue 

Los Angeles, CA 90008