A young playwright and her #MeToo message find their way to the stage
“It’s beach week, baby!” A tall, handsome college athlete cracks open a cold beer as he flops onto a worn sofa. The semester is over for Shane and his friends, and the stress of final exams is quickly fading into a blur of sun, sand and mojitos served in red Solo cups.
Onstage at the Fountain Theatre in East Hollywood, six young actors fall easily into the rhythms of day drinking and banter inside the fictional rented vacation home. The set is sparse, but the inside jokes and casual flirtations between its occupants feel so real you can practically smell the salty air and taste the PBR.
But there is an elephant in this living room.
Perched on a tall director’s chair in the middle of the stage, seemingly invisible to the revelers, sits a silent female lifeguard. Only when she’s left alone with Jesse, the play’s central character, does the lifeguard begin to speak.
“Are you sure you want to be wearing that?” the lifeguard asks, peering disapprovingly over her sunglasses at Jesse’s short denim shorts and tank top. “Are you trying to get laid for attention or validation?”
Hypercritical, judgmental and disparaging, the lifeguard is a constant presence throughout Amanda Kohr’s 80-minute, one-act play, “The Lighthouse.” As the winner of the Fountain’s competition-style Rapid Development Series, the play received two nights of free semi-staged readings this week — all part of an effort to give a louder voice to playwrights under 30.
One of several surrealist elements in the show, the lifeguard plays the part of Jesse’s darkest inner voice following a traumatic sexual assault at the beach house. “The Lighthouse” is Kohr’s indictment of rape culture and the epidemic of sexual assault on college campuses. Kohr said the play was inspired by the 2015 case of Brock Turner, the Stanford swimmer convicted of sexually assaulting an unconscious woman, and was informed by Kohr’s own experiences.
On two printed sheets of folded white office paper that served as the program for the evening, Kohr, 27, wrote candidly about her own story:
“I grew up accepting sexual assault –– the act was so prevalent that it swam below the radar under the perception as normalcy. By 16 I had been manipulated into unwanted sexual situations, assaulted and cat-called.”
As an undergraduate at James Madison University in Virginia, Kohr said in an earlier phone interview, she “heard about, witnessed and experienced so much sexual assault and harassment among college-age students that it just become normal.” At times, she said, she felt like it was “harder to find somebody who hadn’t been roofied than somebody who had.”
Kohr wrote “The Lighthouse” in summer 2016. She had read Jon Krakauer’s reported narrative, “Missoula: Rape and the Justice System in a College Town,” and she closely followed the Stanford case as it unfolded. She was appalled by the leniency of Turner’s sentence — six months, reduced to three months for good behavior — and was inspired by the letter that his victim read at the sentencing hearing.
“I am a firm believer that entertainment can help educate,” Kohr said, “so I really strove to draw my audience in through comedy and then bash them with the truth.”
Kohr wrote the play more than a year before the Harvey Weinstein scandal broke, sexual assault and harassment became a national cultural conversation, and #MeToo became a movement. That’s one reason Jessica Broutt, 25, the co-founder and co-producer of the Fountain’s Rapid Development Series, found Kohr’s play so compelling.
Broutt, who interned at the Fountain as a college student and worked briefly as the company’s box office manager, came up with the idea for the series with Fountain associate producer James Bennett four years ago.
“We noticed that there weren’t really a lot of young people going to the theater,” she said. “We would go to all these awesome reading series at other theaters, but it was never young people who were playwrights, and they generally weren’t L.A.-based.”
Broutt and Bennett pitched the idea to the Fountain’s management as a sort of theatrical battle of the bands. Broutt would select four plays by L.A. playwrights under 30. The theater would provide the actors and the space, and each play would receive a “snapshot” reading at which audiences would vote for their favorite, drawing them more actively into the experience.
The actors and directors are volunteers, and the performances are free.
“We were trying to rule out all the reasons why people our age don’t go to plays,” Broutt said.
This year marks the series’ fourth season. Broutt says that when she read “The Lighthouse,” she knew immediately it was special.
“I just felt like, wow, this is a play that is taking on rape culture and breaking it down in a way that is educational and provides a surrealism and a humor that will engage people,” she said. “It’s very rare for me to see something that is doing all of those things effectively. And then as we were going through development last fall, the Harvey Weinstein stuff came out.”
In just a few months Kohr has been able to work with Broutt to polish the play, have it receive two short readings as it progressed through the competition, and watch it performed onstage in its entirety for the first time.
“When I was in college I had a lot of shorter things staged,” Kohn said, “but this is my first thing that’s like borderline professional.”
Audience members on Wednesday night were racially diverse and younger than what’s typical in most L.A. theaters. They laughed out loud as Jesse’s rapist, Shane, was presented as a hero during exaggerated, game-show-style court proceedings. And some wiped tears from their eyes when Jesse found the strength to silence her inner-critic lifeguard and rediscover her own confident voice.
At the end of the “The Lighthouse,” the house lights came up dramatically as Jesse called for people to speak out and shine a light on sexual misconduct. In the front row, Kohr hugged her friends. Her #MeToo story had found an audience.
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