About Fugitive Kind

Our Mission

Fugitive Kind is a live performance ensemble that tells big stories in little rooms.

We are a company training, working, and playing together. We believe in live-ness and that all theater must begin with joy. 

We make the contemporary theater experience necessary by creating experiential events devoid of pretense and powered by the raw materials of being human. 

Our goal is to produce a new paradigm for theater in Los Angeles by remaking the best of yesterday's stories, by performing those crafted by today's most imaginative story makers, and by training new artists to create as Fugitive Kind.

History

Fugitive Kind started making plays together in 2007 with Macbeth: A Love Story, a site-specific piece performed in the Arts Plaza at UC Irvine, where many of us had the honor to study.

Then we did our own things. We grew as humans. We learned about ourselves as individual artists. And we realized that is it more fun, more necessary, and more impactful to create things together. In December 2011 we staged Charles Mee's Heaven on Earth and felt our heads explode.

Our next piece was Midsummer & Macbeth – cut and adapted versions of both plays performed in three hours by the same eight actors. It was a huge success.

Next came three collaborations with our favorite playwright, Meghan Brown: The Fire Room presented at the Hollywood Fringe Festival, The Pliant Girls, which received eight Ovation Award nominations and took home two for Best Direction and Best Playwriting, and Shine Darkly, Illyria, a modern fable inspired by Shakespeare's Twelfth Night. Next up is a brand new, earth-shaking adaptation of Sophocles' classic, ANTIGONE, or We Are the Rebels Asking for the Storm.

And we're hungry for more.
 

About Our Name

We nicked our name from Tennessee Williams' Orpheus Descending. In the play, Carol Cutrere, the lost and lovely debutante who refuses to be what she is asked, says "What on earth can you do on this earth but catch at whatever comes near you and hold on until your fingers are broken?"

This rings true for us. Many of us met while working on this play, and we can't think of a better mentor for making theater in the 21st century than Williams, a master of the gothic, the poetic, the uninhabited, the lost.