In Los Angeles, of all cities, the idea of giving back to the community is heard so often it tends to be disregarded as platitudes of a liberal elite’s guilty affluence. Yet few consider the opposite: that the community might have a few things to give to the individual, furthermore if one considers the size of our metropolis.

On Thursday, September 25th, at the Autry Museum in Griffith Park, The Cornerstone Theater Company will once again use the opportunity of their annual benefit gathering to express some gratitude to various members of the greater Los Angeles community who collaborated with them by awarding them their Bridge Awards, now in their fourth year.

The company, who mixes professional actors with local vocational players, brings forth issues and experiences close to the attitudes and concerns of each community where they stage their performances, be it a Santa Monica mall, a former Catholic church or, coming soon, a museum.

In store this year: the oddest version of the Kaufman and Hart classic “You Can’t Take It With You,” for the first time revamped as a Muslim exploration of faith, politics and love. Those unfamiliar with the group undoubtedly remember their show last summer at the now decommissioned St. Vibiana church in downtown Los Angeles. “Crossings” was not only a magnificent complex web of narratives but by shedding some light on the dichotomies within Catholic faith, their display of so many ethnicities and nationalities was also an exciting mosaic mirroring the various communities that inhabit Los Angeles.

This new project, approved by the Kaufman and Hart estate, and like all at Cornerstone, took the better part of the year to develop, is set for an October 9th debut at the Jean Delacour Auditorium, at the Natural History Museum in Exposition Park, for a short run until October 26th.

“Crossings” had a similar short run that was extended by public demand, but not for too long, due to a drop in the federal grants to companies like Cornerstone. As observed by our theatre collaborator Rafael Simon- as one of the professional players involved in last year’s project and known as “associate artists” –it is an alarming trend, and for that he would like this year’s show to be even more successful, even if an extended run may now be impractical, if only to underline the irony that a public grants shrinkage takes place regardless of any measure of success, even in this era of supposed accountability.

As per our theatre collaborator, “the thing about Cornerstone is that it takes theatre back to its roots.” The group still enjoys the undivided loyalty of its founding members, many now celebrities in their own right, and can always be counted on to make an appearance at the annual bash, also brings in other known artists to lend their disinterested support, even showing up for a unprompted performance.

The consistency of policies and goals allows founding member and artistic director Bill Rauch to take a years’ leave without any noticeable shortcomings, thanks to an incredible ensemble of people, beginning with the incredibly talented Shishir Kurup, and also Peter Howard, a gifted writer, responsible for the adaptation of “You Can’t Take It With You”. Of worthy mention as well, to judge from last year’s show, is Christopher Acebo, (set and costume design), Paula Donnelly and Bridget Kirkpatrick, all of whom work regularly in commercial and subscription theatre.

The ensemble is responsible for having produced over 55 new works in the past 17 years, and the organizations with which they have interacted around the nation is a who’s who of the best public theatre available, from DC’s Arena Stage to New York’s Public Theater/Shakespeare Festival.

They say theater in Los Angeles is deficient in excellence and thoroughness, worsened by the fact that in a film industry town the show for the regular public is never merely on the stage, if it is there at all. With Cornerstone this is particularly true, but not because of any frivolities or other affectations. The spectacle is on and off the stage for the theatergoer because theirs are shows for the people and by the people, it is their experiences, their point of view that is performed onstage, and those who manage to catch any of these too few performances can consider their faith in live theater renewed, at least for another year.