An Interview With Hollywood Fringe Fest Publicity Director Stacy Jones Hill

Stacy Jones Hill is the Publicity Director of The Hollywood Fringe Festival, which runs from June 14th to June 24th at various locations in Los Angeles. Here is a link to the website:

www.hollywoodfringe.org

1. What is a Fringe Festival?

Fringe Festivals exist throughout the world as havens for underground and emerging arts scenes. The Fringe concept was incubated in Edinburgh, Scotland. In 1947, eight performance groups appeared uninvited on the “fringes” of the exclusive Edinburgh International Festival. The Edinburgh Festival Fringe has since grown into the largest arts festival in the world with hundreds of artists, thousands of performances, and millions of patrons every summer. It annually grosses over $100 million for the local economy and remains the biggest tourist draw in the UK.

Fringe Festivals have since sprung up in dozens of cities across the world.

Most Fringe Festivals are open and unjuried preferring lotteries, first-come-first-served, and find-your-own-venue systems to a formal selection process. This open means of programming fosters the work of both the well-established and the obscure; everyone has the opportunity to participate. Fringe Festivals nourish young visionaries by providing networking opportunities and production experience. They also provide large economic and cultural boosts for their hosting communities.

2. What is the history of Hollywood Fringe Festival?

Ben Hill, the Festival Director, and David McKeever, our Producing Director, got the bug for running festivals back in 2005 when they started the Hatchery Festival– a new play festival produced in Washington DC. Ben met myself and the other co-founders in Iowa City (where we were currently in school) and then moved out to Los Angeles with us in 2007 with the idea to start another festival. We were sitting around the dinner table in our apartment one day when the pieces finally came together. We knew there were hundreds of theaters and performing arts companies in Los Angeles, but there seemed to be something missing: a cohesive community, a gathering point for new and emerging artists. And the Hollywood Fringe was born. We planned for a couple of years before we put up the first festival in June 2010. In 2011 we doubled in size and we may do the same again this year based on our web analytics and ticket sales so far.

3. How does one get a show in the festival?

We are an open access festival (non-curated), meaning anyone can join in if they complete the three steps of registration:

1- Create a project on our website (http://www.hollywoodfringe.org/project/add_project). This can literally be anything.
2- Secure a venue within our boundaries. This is often the most complicated (but important!) step. We have a list of already-participating venues at www.hollywoodfringe.org/venue/list, or people can also register their own venue (we’ve had people perform in parks, churches, hair salons, etc). All the venues have different rental pricing & contracts, so it’s up to the productions to determine what works best for them.
3- Once you’ve been booked at a venue, you can pay your Registration fee. Fringe registration fees are $250 for paid, multi-performance shows and $175 for one-offs and free shows.

4. What is your strangest festival story?

I always tell people that anything can happen on the Fringe, because we’ve experienced it all! Last year, I saved a cat with one of LA’s top theatre critics– that was a highlight. This year, I’ve had the pleasure of interviewing puppets! I also got a lift from a participant in their vintage jalopy just because I needed to cross the street with a bunch of camera equipment. I felt like I’d been transported back in time to the golden age of Hollywood!

5. What has been the Fringe Festivals biggest success story?

Many of our participants have gone on to produce successful runs throughout the country, allowing them to make money year-round on what they love most.

6. What makes a good one man show?

Some of my favorite one-person shows on the Fringe have been extremely personal and brave accounts of life experiences. Good writing, acting, and production value always help– but my favorite shows have always stood out simply because of the amount of heart that has gone into developing the production.

7. What separates the Hollywood Fringe Festival from other Fringe Festivals?

We run a Fringe very similar to the original Fringe that originated in Edinburgh, Scotland– if you have an idea and the tenacity to make it happen, you’re welcome to Fringe. I’d say we have a more entrepreneurial model compared to other North American Fringes in the sense that we encourage artists to make it happen for themselves. Our artists have to make their own partnerships, develop their own promotional and marketing materials, and drive audiences into their shows. Many other Fringes curate or select shows by lottery. We’re more of a free-for-all, but it makes the market more competitive, in my opinion.

8. With all the live theater in LA why should my readers attend Hollywood Fringe Festival?

A lot of the time in LA, people see shows from the same company over and over and never get out of their inner circle of friends and co-workers. Fringe provides a gathering place where people can meet new artists and companies, form alliances and new collaborations, and talk! We put a lot of emphasis on the community aspect of our festival– it’s different than anything else you can experience here.

9. How can one contribute to the festival. Are you only looking for money or are you looking for props and costumes as well?

We are currently trying to raise $20,000 through Kickstarter to help fund a number of new programs this year (this closes at 11:59 PM on June 13th). You can also donate alcohol (beer, wine, spirits), lights or decorations, or your time! We are a massive organization and always need more volunteers.

10. What is the best advertising campaign you have ever seen for a festival show?

A lot of flyers are handed out at the Fringe so we usually encourage people to get creative with what they hand out. Some of the unique schwag this year includes buttons, pill bottles (with Mike N’ Ikes instead of pills), condoms, cocktail napkins, slap bracelets, and more!

An Interview With Playwright Leonard Manzella

Leonard Manzella is the author of “CAGES” a play about group therapy for prisoners in solitary confinement. “CAGES” is currently at The Matrix Theater which is located at 7657 Melrose Avenue Los Angeles, CA 90046. Here is a link to the website:
http://cagestheplay.com/

1. What is “CAGES” about?

CAGES is a play about five mentally ill inmates in a state prison and a psychologist who has been put in charge to treat them for their psychiatric illnesses. Every Friday at approximately 2:15pm Dr. Thomas Morri reports to the administrative segregation unit where he facilitates a psychotherapy group for five inmates locked in maximum security cages, each the size of a phone booth. The play explores what it means to be human while examining the thin divide between good and evil and the inmates and those in charge of them. Cages is a true story based on my experiences while working in the prison system.

2. What inspired you to write “CAGES”?

On the very first day I walked into that stark and barren room and saw the cages bolted to a cold cement floor, each one holding a human being, I knew I had to relay my experience to others. I will never forget the awe I felt seeing their faces glare out at me from behind a thick steel mesh so tightly woven is was difficult to distinguish their features unless I walked closer to the cages. It is an image I wanted to create on stage for the public to see through my eyes.

3. What is the most common misconception about the American prison system?

One of the most common misconceptions of the American prison system is that everyone incarcerated must belong there. This couldn’t be further from the truth. The reality is that an astounding percentage of the men and women serving time in our prisons are there for non violent crimes who would be better treated elsewhere.

4. If you could change the prison system how would you change it?

If I had a magic wand and could change the prison system I would make sure that it was in the business of going out of business. I would urge the prison policy makers to rethink their mission and enlist all the great minds in this country who have studied the problem and join with the practitioners to find new models of detention that would benefit society instead of making the problem worse.

5. Are any of the characters in the play based on prisoners you worked with?

All of the characters in the play are based on people I worked with in the prison system.

6.How did you get your play produced?

How did I get the play produced? The best answer I can come up with is one I gave to a colleague, and that is, I didn’t give up. Sometimes you have to believe even when you don’t.

7, What is psychodrama?

Psychodrama is a form of group therapy that uses dramatic form to achieve its goal of healing. It is one of the oldest forms of modern day therapy and it came out of Vienna in the 1920’s. Dr. J.L. Moreno started what he called the “Theatre of Spontaneity” in which he tried to eliminate the line between audience and players. Not accepted by the conservative Viennese public, Moreno knew he had to save the form so he incorporated it into the medical model and it became a form of group therapy known as psychodrama in which group members play roles in each others dramas to help the protagonist (the person being focused on in a session) to gain self-understanding and healing.

8. What is the greatest rehabilitation success story that you have seen in your career?

I do not have any specific case reports of successful rehabilitation because my career in the prison system has been as a contractor working in different prisons around my state for relatively short periods of time, the longest being a year and a half. But the most hopeful story I can report is about a group of inmates who facilitated a prison program called, “Men Helping Men,” through the catholic chapel at their prison. I met them when I had volunteered to do a demonstration of psychodrama for the men in their program. After facilitating an incredibly moving session they contacted me a week later asking if I would come back and that they would be willing to pay me for my services. I remember smiling at their liaison and saying, “how on earth could they ever pay me?” He then handed me a check for three hundred dollars that the men had raised through their activities at the chapel. I remember being so moved that I returned and spent a couple of years facilitating a weekly psychodrama group. I remember sitting in on some of their board meetings wishing that some of the board meetings I attended in my own community could be as cordial and respectful. I still have their check, which I never cashed.

9. With all the causes there are in the world why should people care about the plight of prisoners?

You ask me why people should care about the plight of prisoners? Someone once said, “The degree of civilization in a society can be judged by entering its prisons.” I find this to be true. What most people don’t contemplate is that when you treat someone sub-humanly it forces you to become sub-human. This does not mean that some men and women don’t have to be separated from the rest of us because of their actions. But we must keep in mind that their punishment is to be separated from us, not to be treated sub-humanly. When we fail to realize this everyone is a victim, including the officers. To grasp what I mean one doesn’t need to look further than the high rates of suicide, child abuse, and divorces among correctional staff. People need to understand that when you change the prisons, you change the streets.

10. Why did you decide to write a play and not a screenplay?

From the first moment I saw the cages I imagined seeing them on a stage for everyone to witness. I wanted to somehow express my experience, the knot in my stomach and my desire to run, which many of the people sitting in the front row of the theatre have described as their experience. I also wanted to see the fluidity of the group process in real time, and I wanted the public to feel what it might be like if they were in prison. However, I am writing the screenplay because I know CAGES will be a very powerful film

An Interview With Musical Artist KC Jockey

 

KC Jockey is a musical artist whose song “Girl You Free” is an internet sensation. Here is a link to his website:

www.kcjockey.com

1. What do you hope to express though your music?

I hope to express nothing but a positive message towards the world.
Anytime you hear a KC Jockey song you must be able to relate to it to
uplift you in more than one way positively. Just expressing feelings emotions
and spiritual connections to one’s self.

2. What do you like about Hollywood?

I love Hollywood because it’s full of excitement and class and people doing
big things. Major successful connections.

3. What don’t you like about it?

The only thing I don’t like about Hollywood that it’s far from where I
live on the east side.

4. Who are some of your influences?

Some of my influences are Kenny Rogers, Michael Jackson, Al
Greene, Smokey Robinson, Prince, Jay Z, KRS1, LL Cool J, Madonna, Bob
Marley, Black Uhuru, Burning Spear, AC/DC, Bruce Springstein to name a few
old school and new school all blended as they all bring different
flavoring to the big kool aid jug of music.

5. What has been your biggest triumph?

My biggest triumph of my career are too many to name but the most natural
Memorable one as I can recall is being on B.E.T for a year and a half
straight every night on Uncut with my song Diggy Diggy — without a
major record company behind the project.

6. What has been your biggest disappointment?

One of my biggest disappointments was that I couldn’t travel over
several years while my music was spreading like a virus all over the
world and they needed me to perform but I couldn’t. Also when I
did the show via satellite to Kingston, Jamaica for the first time ever on
Sting and there was a malfunction at the show so the fans didn’t get
to see me.

7. What trends in music bother you?
8.
The general direction in which our great powerful message in the
music is going and heading is crazy and so so wrong. Some of the music
these days have been changed and developed into such horrific
nonsense. These days it’s not about talent it’s all about $$$$ and who
you know. Real artists with real positive messages thru their songs
have to pay to play. The craftsmanship of the music is watered down.
Majority of artists don’t have to write anymore things that make
sense to get across to the world. Yet I do love all artists cause we are all
a team but each to their own if their method works for them great. But
the question is for how long?

9. What song sums up your philosophy of life?

Wake up everybody no more sleeping bed. Teddy Pendegrass song sums
life on a whole complete level. Listening to the words. There are many
but off the top of the brain that’s which one rings bells for now.

10. What is your wildest showbiz story?

Wildest showbiz story was when I was working on I Am Legend Set With
Will Smith. It was very cold the coldest day in NYC for a
while below zero type weather. Frostbite can’t feel your toes
and fingers. Two jackets wearing and thermals and all standing outdoors
in the cold just to make sure that you get chosen upfront for special
parts to be added to your credits and career level. Something you
didn’t want to do but it was a must no matter what the struggles would
have been.

11. What is more important in music today; looks or talent?

The most important thing these days to people are looks more than talent.
As a matter of a fact not even looks it’s all who you know these days
and where your $$$ can put you financially. It’s not like before in
the days when you had to have talent and a sound that’s distinctive. A
lot of songs these days as I said before are ABC 123 kindergarten
levels but because of greed and laziness of a lot of artists and the
connections who allow such things to get thru the door that’s what it
is. A lot of the Dj’s are to be blamed for it as well. Cause they love
to follow no one are leaders anymore. Every Dj is playing the same set
of music that is being played and programmed to play already on the
radio. So how can they know their skills? They playing the same songs
that people already know. A real Dj like back in the days break records
and make records and a lot of unknown talent be heard. But I must say
this to all the great artists not being heard the proper way. What God
has set for you and it’s your destiny to do so NO ONE CAN STOP IT. So
Keep doing your thing it’s a matter of time before they have to
Recognize you and love you for being you and not selling out