Multicultural Theater in Los Angeles During the Early 1990s

By Robin Scott Peters

The primary resources examined were publications that advertise the presentation of theater. These sources included "The Drama-logue," the "Back Stage West," and the "Los Angeles Times." There were culturally specific publications available, but these sources replicated the items located in the primary resources. Also, notices were listed in the cultures indigenous language, and the listings focused on companies formed purposefully for one-time events. I concentrated on the Sunday edition of the "Los Angeles Times" because it was the one source that consistently carried announcements about current, running, and closing theatrical events of both Equity and Equity-waiver houses. These events were also broken down into large and small theaters; theaters larger than 99-seats and theaters with houses of less than 99-seats.
The approach was to catalogue every play announcement printed in the "Calendar" section of the Sunday "Los Angeles Times" over a specific five year period, 1991-1995. The initial research was primarily the process of cutting out, reading, pasting and organizing close to 10,000 individual advertisements. The cards were then organized by names of each theater and by names of production companies/groups. If the theater or the company/group advertising mentioned anything about ethnicity and diversity they were subdivided into that particular ethnic category. Other categories began to emerge based on information included in the advertisements, such as: topics covered, genre or style of plays produced, specific artists that wrote, produced, or were involved in the productions, location of performances or theater houses, length of play run, and year and date plays ran. These divisions helped to define the nature and structure of the theaters.
Further definition of the nature and structure of the theaters included a search for articles pertaining to any of the theaters defined as ethnic during the initial cataloguing. Again, the major newspapers and trade journals covering theater in Los Angeles were examined. In all, over four hundred articles were collected and these articles were instrumental in clarifying the identity of the theaters, production companies, and artists performing ethnically diverse theater. Another method employed to clarify the research was a review of playbills from performances. The playbills contain information regarding performers, history of the production companies and theaters, mission statements, and directorial visions.
The final component of the research was interviewing as many of the major players involved with multicultural theater in Los Angeles. The interviews were conducted after the cataloguing and research was completed. To allow for the research to define the important players. Each interview had similar questions asked pertaining to the companies organizational structure, methodology and mission statement.
These major methodological components helped to define First and Second Level multicultural theaters. Overall, the purpose in writing this book is to define and catalogue, create a foundation for, these ethnic theaters under one book so as to "begin" the essential long term analysis and historical documentation of such an important part of Los Angeles theater. The intent is to deliver a historical narrative meant to be accepted as a survey for the purpose of starting to notate the historical development of ethinic theater in Los Angeles. This is truly meant as an introduction to the people and companies which make up the diversity found in Los Angeles theater. The focus is on the early-middle 1990s because it was during this time that multiculturalism, pluralism, and diversity controlled ideological processes, philosophies, missions, and artistic visions.

• Language: English
• Publisher: Robin Scott Peters
• Release date: Feb 25, 2012
• ISBN: 9781465779106

Robin Scott Peters

Dr. Robin Scott Peters is a graduate from UCLA's School of Theater, Film and Television where he received his doctorate in Theory and Criticism in Theater. This collection of poetry is a first of three volumes of work to catalogue over three decades of creation. Robin writes in numerous genres. His stage play "The African Tragedian" captures the life of famed 19th Century African American Shakespearean actor Ira Frederick Aldridge. Robin's historical narrative "Multicultural Theater in Los Angeles During the Early 1990s" focus is on defining the thriving ethnic theater scene in Los Angeles that fed Hollywood many of its "stars." Robin was raised in Falmouth, Cape Cod, Massachusetts.

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Multicultural Theater in Los Angeles During the Early 1990s

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Copyright 2012 Dr. Robin Scott Peters

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TABLE OF CONTENTS

Introduction: Methodology and Purpose

CHAPTER ONE

Support Available for Los Angeles Theater during the 1990s

State and Local Funding

Private Funding

Audrey Skirball-Kenis

Community Arts Resources

Actors' Equity Association

CHAPTER TWO

The Los Angeles Asian Theater Community

Japan America Theatre

East West Players

CHAPTER THREE

The Los Angeles Chicano/Latino Theater Community

The Bilingual Foundation of the Arts

Nosotros Theatre

Grupo De Teatro Sinergia

Plaza De La Raza

CHAPTER FOUR

The Los Angeles Black Theater Community

The Ebony Showcase Theatre

The Inner City Cultural Center

The Black Theatre Artist Workshop

Blacksmyths

CONCLUSION

A brief summary of the proposed question

APPENDIX

Maps of Los Angeles Theaters

WORKS CONSULTED

A list of related articles, books, performances, and interviews

DEDICATION

To Our Dear Daughter

Abigail Robin Peters

Who is now in the loving arms of our Lord,

Jesus Christ

We Love You Abby

September 2, 1988 -- December 31, 1999

To my wife Teresa, my children, Elijah, Molly and Emily, thank you for your patience, thank you for your love, thank you for your faith.

To my mother, Elizabeth and my father, Ernest, thank you for your constant urging for me to struggle on and complete the task.

INTRODUCTION: METHODOLOGY AND PURPOSE

Is there multicultural theater in Los Angeles? If so, who is involved? If not, why? Can the identity or nature of diversity in Los Angeles theater be identified?

The primary resources examined were publications that advertise the presentation of theater in Los Angeles. The approach was to catalogue every play announcement printed in these sources. The primary source was the Calendar section of the Sunday Los Angeles Times over a specific five year period, 1991-1995. The cards were organized by names of each theater, by names of production companies/groups, by specific ethnicities mentioned in the advertisements. The next level of examination emerged by subdividing advertisements by play topics covered, genre or style of plays produced, specific plays produced, specific artists that wrote, produced, or were involved in the productions, and location of performances or theater houses. The final component of the approach was to interview as many of the major players involved with ethnically diverse theater. Each interview had similar questions pertaining to the theater company's organizational structure, methodology, and mission statement.

The research has shown that there was and is a multitude of ethnic theater being produced in Los Angeles. It varied in wide degrees within each specific culture and across all of the ethnic cultures examined. In identifying the theater what became apparent was the distinction between what was termed First Level and Second Level theaters. First Level ethnic theaters produced a full season of shows over a five year period. While Second Level theaters produced at least one ethnic show in a season at least twice within the five year examination period. The research shows that within the Asian American community there were two First Level theaters that produced work. In the Hispanic/Latino community two First Level theaters also clearly stood out. In analyzing the African American community an important distinction was discovered. There were no First Level theaters functioning. In fact, the two major theaters that were being considered in the analysis were in demise. The approach to fiscal solvency, administrative/technical support development, and network development were the crucial distinctions between the success of the Asian American, Hispanic/Latino theaters and the demise of First Level African American theaters in Los Angeles.

In 1992 a sophomore asked if I knew of a theater that produced black plays in Los Angeles. Though I was enrolled in the Ph.D. program at UCLA's School of Theater, Film and Television, my knowledge of the types of theater available in Los Angeles was limited regarding white theater and severely truncated regarding ethnic theater. Simply: does multicultural theater exist in Los Angeles? If so, who is involved? If not, why? Can the identity or nature of diversity in Los Angeles theater be identified?

The first step in designing some type of methodology focused on the general perception that Los Angeles is considered the most ethnically diverse city in the United States. My observation concluded that the cultures and people who interact in Los Angeles tend to be Asian Americans, Hispanics, and African Americans. Once I acknowledged these major general groupings the next obvious question was: how do I find theaters that present culturally specific plays? The primary resources examined were publications that advertise the presentation of theater. These sources included The Drama-Logue, the Back Stage West, and the Los Angeles Times. There were culturally specific publications available, but these sources replicated the items located in the primary resources. Also, notices were listed in the cultures indigenous language, and the listings focused on companies formed purposefully for one-time events. I concentrated on the Sunday edition of the Los Angeles Times because it was the one source that consistently carried announcements about current, running, and closing theatrical events of both Equity and Equity-waiver houses. These events were also broken down into large and small theaters; theaters larger than 99 seats and theaters with houses of less than 99 seats.

The approach was to catalogue every play announcement printed in the Calendar section of the Sunday Los Angeles Times over a specific five year period, 1991-1995. To this end the initial research was primarily the process of cutting out, reading, pasting and organizing close to 10,000 individual advertisements. The cards initially were organized by names of each theater and by names of production companies/groups. Another organizational tool was if the theater or the company/group advertising mentioned anything about ethnicity and diversity they were subdivided into that particular ethnic category. From there other categories began to emerge based on information included in the advertisements, such as: topics covered, genre or style of plays produced, specific artists that wrote, produced, or were involved in the productions, location of performances or theater houses, length of play run, and year and date plays ran. These divisions helped to define the nature and structure of the theaters.

Further definition of the nature and structure of the theaters included a search for articles pertaining to any of the theaters defined as ethnic during the initial cataloguing. Again, the major newspapers and trade journals covering theater were examined. In all, over four hundred articles were collected and these articles were instrumental in clarifying the identity of the theaters, production companies, and artists performing ethnically diverse theater. Another method employed to help clarify the identity of each theater was a review of playbills from performances. The playbills contain information regarding performers, history of the production companies and theaters, mission statements, and directorial visions. The available information helped define the overall nature and structure of particular groups.

The cataloguing helped define each theater but did not completely answer how these theaters stayed operational. So, the process turned toward defining what avenues of support were available to theaters operating in Los Angeles. To this end the research focused on determining what organizational webs governed, assisted, and attended to the theaters. Financial concerns topped the list of operational issues among theaters. Funding comes from many sources, but the most important of these were dollars granted by foundations or government agencies. The research defined that there were two avenues for receiving grant money, public and private sources. The grant process is difficult to access and maneuver through. Competition, rules and regulations, and intents are used to weed out companies not specifically addressing the philosophy promoted by the granting institutions.

The information regarding funding should be seen in relation to approximation. Ascertaining funding received by theaters and from which sources, whether from public or private granting institutions and foundations was most difficult. The cooperation, organization and record keeping varied in wide degrees. Nonetheless, the information that is included gives a clear idea of the significant trends and effects occurring in the Los Angeles theater scene.

The research also includes a brief discussion regarding union organization. The Actor's Equity is a union that monitors the production of professional theater in Los Angeles. Equity primarily governs producers, theaters, and actors and protects the working conditions present in the theater world. Equity also defines which theaters are considered professional and which are considered equity-waiver, basically, which theaters pay their actors a livable wage and which do not. Equity's presence underscores not only the organizational structure but also the identity of the theater, in that the divisions and contracts that govern theaters essentially position certain theaters to receive larger grant dollars.

The final component of the approach was to interview as many of the major players involved with ethnically diverse theater. The interviews were conducted after the cataloguing and research on public and private agencies were completed. Each interview had similar questions pertaining to the companies organizational structure, methodology, mission statement and the like, as well as questions pertaining to certain problems each specific theater encountered regarding interaction with the public and private agencies that govern the Los Angeles theater scene. These major methodological components helped to define what I call First Level and Second Level theaters. Those theaters that produced ethnically diverse theater for five or more years were included in the First Level category. Theaters producing two years of ethnically diverse theater were included in the Second Level category. If a theater presented a show which in some way advertised, dealt with, or commented on ethnicity that play would be recognized and counted as such. One ethnically diverse play produced within a theater's or company's production calendar year would qualify a particular theater or company for First or Second Level consideration. It is important to note that the research did not follow theater seasons, but was catalogued by calendar year. This was done to equalize the varying times different theaters begin their production season. Though a particular theater might begin their season in October and run through to April of the next year, the discussion would cover only the plays produced in one calendar year.

One factor of consideration with this methodology is the possibility of inaccurate information being complied from newspaper articles and especially the production advertisements included in the Calendar section of the Los Angeles Times. For instance, it was noticed that certain plays advertised the performance runs over a particular length of time, but in fact ran less than that. Also, that certain plays were to be performed at certain locations but then were canceled. Both examples had particular reasons for the changes. However, I tried to ascertain, as best as possible, the accuracy of all information. The use of programs was an excellent source to clear up any misnomers, yet very few theaters keep, organize, or properly file their programs. The Los Angeles Public Library, downtown, has developed a wonderful but small collection of theater handbills which helped significantly when I was able to match a handbill with a theater I was researching.

The purpose of this research is to define the identity of ethnically diverse theater in Los Angeles, or its culture. By culture I am specifically examining texts and practices that functionally guides the development of ethnic theater. Text questions included, who is the playwright, what is the topic, and what is the style/genre? Each query goes to the core of answering one part of a particular theater's identity. Regarding the practice of culture questions such as: who is involved, what type of programs are offered, what type of approach is used to maintain operations, again goes to the core of answering the particulars behind a theaters identity.

The reference to structure translates to political. Political in its general meaning focuses on the governing of a particular entity. Thus, questions posed in determining the structure--the politics of identity within ethnically diverse theater--focuses on organization, financial acquisition, policy making, control issues, ideology, and existence. What was the theaters purpose/mission? From whom did they seek help? What financial strategies did they follow?" Such questions led to defining the theaters governing strategies. Obviously there is crossover in the examination of culture and politics and how these issues define identity, but ultimately what becomes apparent is a visible framework where the identity and position of ethnically diverse theater is displayed.

The fact that certain questions are asked suggest some level of subjectivity playing into the construction of the research. Every attempt has been made to avoid personal opinion and I have tried to make connections based on in-depth analysis of the information that was available. If one personal statement were to be made regarding the Los Angeles theater scene in general, it would be the perception that Los Angeles is not a theater town is grossly inaccurate. The cities considered to be theater enclaves: New York, Seattle, Chicago, Boston, London are all missing what Los Angeles has--more plays being produced in more active theaters covering more ethnically diverse topics. My hope is that this research will begin to give credence to the Los Angeles theater scene.

Overall, my purpose in writing this book is to define and catalogue, create foundation for, these ethnic theaters under one book so as to begin the essential long term analysis and historical documentation of such an important part of the Los Angeles theatrical venue. The intent is to deliver a historical narrative meant to be accepted as a survey for the purpose of starting to notate the historical development of ethnic theater in Los Angeles. This is truly meant as an introduction to the people and companies which make up the diversity found in Los Angeles theater. The focus is on the early-middle 1990s because it was during this time that multiculturalism, pluralism, and diversity controlled ideological processes, philosophies, missions, and artistic visions.

Is there multicultural theater in Los Angeles? If so, who is involved? If not, why? Can the identity or nature of diversity in Los Angeles theater be identified? The following chapters have been organized to answer these questions. Chapter One briefly outlines available resources: financial assistance, creative development, organizational structure. Chapter Two, Three, and Four are devoted to the three major ethnicities producing theater and the current condition of all three. Chapter Five summarizes and tries to make comparisons and contrasts between culturally similar ethnic theaters and theaters from other ethnic backgrounds, while also forecasting possible currents and trends affecting governing and cultural display. The research ends with an epilogue discussing issues that occurred to certain theaters analyzed in this research, after this writing, such as achieving major goals set, or the demise of major theaters and the reasons for such occurrences.

Support Available for Los Angeles Theater during the 1990s

This chapter will delineate agencies, organizations, and individuals involved in developing support systems for Los Angeles theaters and artists. The support can be divided into two distinct categories: Cultural and Political. Cultural, in this examination, refers to groups organized specifically by ethnicity, gender and/or sexual orientation. The creation of cultural coalitions allows theater groups an opportunity to develop a distinct voice which can then exercise influence upon the decision making process within the political arena.

Political refers to agencies/organizations which control, govern, or otherwise influence the development of theater in Los Angeles. These agencies and organizations are public and private and are formed by neighborhoods, cities and counties, as well as by the state and federal government. Political also refers to the individuals who function within the agencies/organizations: board members, council persons, representatives, senators, lobbyists, all of whom can have deleterious or propitious influence over the maturation and direction of theater companies.

The importance behind examining the cultural and political landscape of Los Angeles theater helps to highlight the issue of support. What avenues are available to theater companies and artists to help develop financial sustenance? What avenues are available to help develop artistic and administrative skills? What avenues are available to help theaters move from non-professional to professional houses? And what are the problems theater companies should be aware of when filing