fancyplayground is a program of Theatre Revelation, the 501(c)(3) non-profit producing AN INVASION OF DECENCY! We believe fancyplayground more aptly (ok, a bit cheek-ily) conjures up the mix of arts we’re creating – a foundation of experimental theatre, with poetic-lyrical language, the modern art of installation, avant-garde staging/video/lighting/sound design – to serve the underlying writing, the emotion, the characters – to aim to produce exhilarating, wickedly darkly funny or intensely emotive & provocative open-heart-soul-surgery entertaining extravaganzas.
We are a very independent collective of experimental artists and innovators- mostly based in Los Angeles.
Our projects generally have been performed via invitation from producers and festivals, nationally and internationally.
Funding for Theatre Revelation comes entirely from the support of our diverse community of charitable funders and private donors contributing at various donation levels.
Theatre Revelation is also the proud recipient of a grant from the Clarence E. Heller Charitable Foundation.
The "origins" story of the founding of Theatre Revelation - and its continuing survival as an outlier and very independent experimental arts company- is a story its founder John Sinner is often invited to share as inspiration for those dealing with the trauma of the initial onset and new diagnosis of Multiple Sclerosis. As one of the early participants in the National MS Society's Living Well Program - where John first dealt with his then new diagnosis- he developed his "Create Thru It" personal strategy that led to the formation of this company, Theatre Revelation. John has been been part of the National MS society's national media/ad campaign and he continues to be an invited public speaker for the National MS Society's Living Well Program. See John's bio below this section.
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As an L.A. based gay artist living with multiple sclerosis, John Sinner is drawn to telling stories about those who feel disenfranchised from what we collectively call a place/seat at the table of our institutionalized culture and the toll that disconnect takes on the individual or on society as a whole.
Stark, subversive, bracing modern-gothic fairy tales, Sinner’s work is a mix of surrealism, evocative stage design, lyrical-emotive language, unusual group movement, wicked/dark humor and hyper-drama -- as if the offspring that resulted from a late-nite cocktail of equal parts Buñuel, Bacon, Almodóvar and Caryl Churchill, with a healthy dash of Dario Argento, Reza Abdoh and Nobuo Nakagawa.
A native of L.A., he went to the Guildhall School of Music & Drama in London, Trinity College in Dublin, the O’Neill Center National Theatre Institute in CT and Bradford College . He came back to L.A. to join the downtown team producing Reza Abdoh. ( – Sinner has referred to the on-stage gigantic sculpture of his naked derrière in Abdoh's "Bogeyman" as his “diploma.”)
He has written & directed: “The Devil Has A Sister (A Sororicidal Tale)” at the Nederlands Theatre Festival Amsterdam Fringe Festival; “Happy Ending (Who Will Live, Will See) at Highways Performance Space; “2 By Sinner: Unburthen (To My Soul’s Delight!)/ If Water Were Present It Would Be Called Drowning” at the New York International Fringe Festival; “If Water Were Present It Would Be Called Drowning” at REDCAT/Studio and at The Hollywood Fringe Festival; “Blood Is My Legacy! (A Theatrical Extravaganza of Pure Family Values)” at Art/Works Performance Space; and “What Remains of a Whore”, amongst many other works.
In 2013 Sinner won The Sherwood Award for “Innovative and Adventurous New Artists”. He has received funding awards from the Durfee Foundation and other grantors.
"I like my provocation with a shot of unexpected laughter that gets stuck in the throat -- or with intense, raw emotion. I never ask anyone after a show ‘what did you think? . . . I want to know ‘what did you feel?’”
AN INVASION OF DECENCY! is the 3rd production Mr. Goodkind has designed for Mr. Sinner/fancyplayground (the others: The Devil Has A Sister (Amsterdam), and Happy Ending, Who Will Live, Will See (Los Angeles).
His production concept for Decency! contains among other elements “a bit of small scale homage to the art/architecture of exhibition space – the feeling when walking with John into the different stand-alone international pavilions in Rem Koolhaas’ curated Biennale of Architecture- remembrances as a kid when first entering sponsored pavilions at the ‘64 N.Y. World’s Fair – the joy, heightened senses just when you first enter a pavilion space that comes with no pre-conceived baggage architecturally – it’s not site-specific (for this work, performing for example in a train station would be too much about the train station) – instead it’s just raw, heightened-ceiling exhibition space – but you sense just as you enter, you’re about to be presented with something non-routine, perhaps even magical somehow: so for this work, to take it out of the routine of a ’theatre’ per se - I asked John to hold off the usual theatre pre-show routine of handing out programs until the end, & you’re not directed right away to your seat: to walk into the space ‘fresh’ not knowing too much of what to expect– and the inviting charm of the vintage architecture of this 1920’s warehouse that houses this production of Decency! lends itself to walking in with that open-ness – for John’s characters & writing.”
His set designs for the 3 Sinner works (Devil, Happy Ending & Decency!) share themes of less-is-more: seeking evocation vs. explicitness: the opposite of stage design that provides (for realism or fantasy) no detail left out. “The audience/attendees hopefully then naturally have to fill-in the gaps & invest a bit more with their imaginations, ala radio – a small assist in keeping one’s antenna up, to not be passive, for a bit more engagement with the work – nothing new about less-is-more/evocative, and maybe it’s just a happy discovery when there’s essentially no budget. That said, all of this stems from & can’t happen without the source: John’s evocative, provocative and so lyrical-poetic outlier fantasy-surreal creations.”
Mr. Sinner refers to James as “my editor & chief creative collaborator.” James notes “the dynamic is simple: the final word appropriately always is John’s, as Writer, Director, Founder - John’s writing is the foundation & catalyst.” Mr. Goodkind’s services are furnished by Consolidated Soot, LLC.