Meet April Littlejohn of Fuzzy Bottoms Theater Company in N. Hollywood

Today we’d like to introduce you to April Littlejohn.

So, before we jump into specific questions, why don’t you give us some details about you and your story.
I went to a performing arts program in high school and did performing arts all through college and ended up in a stunt show in a theme park, which brought me to L.A. I played Poison Ivy in the Batman Show at Six Flags for nine years while I developed my stunt career. I lived in a theme park in Japan doing a stunt show as well. After about five years of hustling in L.A., I got my big break, but I didn’t see it as my big break. I got to audition for Tarantino for “Kill Bill” as a double for Uma Thurman. As you probably well know, I didn’t get the job. I remember walking past David Carradine smoking a joint as I entered the audition. All of the stars were there training. No one knew me. None of the other people auditioning would talk to me or sit near me, it was like high school all over again. Even when I stepped on the mat to perform my audition, Tarantino waved me on but was talking and no one was looking. I had been training kung fu for several years at this point and decided that if I didn’t make a noise, I would be ignored for the rest of my life. I went into a crane form and made a crane call so loud, everyone looked. The trainer was having a cigarette outside and he heard. He was well-known for training in classic kung fu in China, so he ran in and started the videotape. Uma, herself, stopped her trainer to watch. I had everyone’s attention. I got called back but didn’t make the cut. I was devastated. That was my dream, I thought. But all those people who were ignoring me remembered me. I started getting auditions. In less than a month, I got a job on a tv show doubling Natasha Henstridge and worked for four years, then moved on to Alias and eventually got four Emmy Nominations.

But my career slowed down, as it does. I left the business for a while. A few of my coworkers got hurt as well, some even died. I was convinced that would be me. I decided to focus on writing and went back to school. I started teaching snowboarding and wrote and took a break. I would do a film from time to time, but I was slowly being forgotten and my savings ran low. Then I got hurt. I returned to California, pretty depressed to start over. I joined a writing group and met a guy who was producing theater in LA. He was looking for short plays. I had never written a play. I had gone to school for television writing, but I gave it a try. He produced it. I got to direct another piece. Then it was over. The best few months I had in a while. I wanted to do it again. So I made my own company. I produced six horror short plays for the Halloween season. I wrote only two because I still wasn’t confident in my writing and got two other directors to help for the same reason. There were so many problems. People quitting, people fighting, things costing too much… We didn’t even have lights done for our opening. I was sure we were going to fail, but we opened. And it was a success. We nearly sold out. People loved the show and we ended up nominated for four awards at the NOHO Fringe Festival and won Best Horror Drama. I had to learn everything and be extremely humble in the process or I would lose everything and everyone. That show took so much out of me. So many people doubted me and treated me poorly like they were expecting me to fail as well. I remember having to figure out all the special effects and I made this bodypack to cut open a girl’s stomach. So many people told me how to do it differently than I had in mind and even bullied me, but when we tested the effect, the room silenced. It worked and was the hit of the show. However, after the show, I had a huge falling out with my producing partner. I was really down. I felt like I failed even when I didn’t. I had something to prove, so I made another show.

It was a period horror piece with four different endings. The audience would choose one. Half of the show was violence and dance. It was exhilarating and exhausting and beautiful. I hand made sixteen Victorian Dresses and built the set, designed the sound, everything. It was then that I really learned to produce. I learned how to take care of a cast and demand that they take care of each other. We all cleaned together and took care of the theaters. From then on, we vowed to leave the theaters in better condition than we found them. IF a doorknob needed fixing, we would fix it. Anything. I loved telling my stories and putting them onstage without being told what I could and couldn’t do. We performed a live Shibari rope tying scene on stage. We added a song. Then we made a half musical. I wasn’t going to let my fears of trying something new get in my way. I believed in all inclusive, no cliques. I believed in writing roles that any gender, any race could do. And I believed in pushing the boundaries of what we know as theater. Fights, dance, stunts, anything to make it more exciting. I had to grow so much as a person. Since then, we’ve been nominated for multiple awards. The awards are nice, really nice. They help keep my company, who donates all their time, motivated. I always look forward to the awards because its the only thing I can do right now to reward them and get them noticed. But the real reward has been meeting other people in the LA theater scene. We shared an award with the Loft Ensemble last year and those guys have been such a help with everything. Every question, even lighting disasters, they are always there to rush in and help. Bree Pavey is such a mentor. My buddy James Elden who was the first to teach me how to produce, and the amazing crew from Santasia who help me with so many things.

Then, of course, Paul Storiale. He’s been the biggest help. Always opening the door for me for new opportunities, sitting outback of a theater while I have a nervous breakdown. He’s seen it all and nothing scares him. These hidden gems are the only way I could have overcome the things I had to in order to create great shows. It’s not true what they say about people in LA, being backstabbing and shallow. Sure, they are out there, but there are a whole lot more people willing to hold out a hand and help. Community is everything in theater. It’s the only place I have found that I really fit in, found a place to be myself and be celebrated. My company, Fuzzy Bottoms Theater is currently nominated for five awards in the Valley Theater Awards including myself as Best Director alongside my mentor Bree Pavey. It is humbling and incredible to be on that list with her and so many others.

We’re always bombarded by how great it is to pursue your passion, etc – but we’ve spoken with enough people to know that it’s not always easy. Overall, would you say things have been easy for you?
I have had so many setbacks. I was hurt on a set and pretty much ended my stunt career. I had a producing partner try to steal a script of mine. I’ve had people quit last minute. I’ve had to fire someone. I’ve been dead broke trying to get the last of my waitress tips to pay for a theater deposit or props. I do everything myself. I remember sewing costumes until three in the morning. My cast members would bring me food at tech and force me to eat because I had no time.

So, as you know, we’re impressed with Fuzzy Bottoms Theater Company – tell our readers more, for example what you’re most proud of as a company and what sets you apart from others.
Fuzzy Bottoms Theater Company. We create original theater that includes fights, dance, and song. Anything to keep a modern audience interested. I don’t require people to turn off their phones during a show because I want to know when I am losing their attention. We started with our yearly show LA Horror Stories, which we do every year at Halloween. www.lahorrorstories.com. It’s a messy little show with nonstainable blood everywhere. We even give the audience plastic sheets to protect themselves with. I also do a spring show. Last year was taboo, this year is focused on suicide. I try to write roles that any gender or race can play.

So, what’s next? Any big plans?
I have been producing shows in other theater companies. Anything to create and be involved in a community. I directed for Zombie Joes this January, and I am opening a short play at the Loft’s Playwright’s Playground. This will be my second show there. I also have a play coming up at The Last Frontier Theater Festival.

Pricing:

• $20 a show

Contact Info:

• Website: www.fuzzybottomstheater.com. www.lahorrorstories.com
• Email: fuzzybottomstheater@gmail.com
• Instagram: @fuzzybottomstheater
• Facebook: Fuzzybottomstheater@facebook.com

Image Credit:
Stefan Adkins

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