Posts filed under Diversity

ConFest 2018

Last week, I was in Chicago for ConFest 2018 - the bi-annual gathering hosted by the Consortium of Asian American Theatres and Artists (CAATA). Upon returning, I set out to write a blog post outlining my experience at ConFest, but found that words fell short. Randy Reyes of Theater Mu recently wrote an article for American Theatre magazine, and it seems he faced the same issue. He writes: 

How would I be able to summarize the experiences of attendees who used adjectives like “inspiring,” “incredible,” “exhausted,” “life-affirming,” “breathtaking,” “amazing” and “life changing”?

So similarly, I'll just post his article here in lieu of a blog post. And if you're really curious why ConFest was so "inspiring," "incredible," etc., you can ask me in person next time you see me! ;)

 Me with some ConFest colleagues: Traci Kato-Kiriyama, Byron Au Yong, and Howard Ho.

Me with some ConFest colleagues: Traci Kato-Kiriyama, Byron Au Yong, and Howard Ho.

A magical moment of empathy: Inside Out & Back Again

Krystle Piamonte, who plays lead character Hà in the current production of INSIDE OUT & BACK AGAIN, recently shared this story on social media, and it was so sweet I just had to include it in my blog:

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"Today after our first matinee performance, I received the most precious note/gift from one of our littlest audience members. A mom and daughter duo came to see INSIDE OUT & BACK AGAIN and handed this to me after the show. The mom said her daughter felt bad that I was having a rough day (I cry about 3x in this play) and that she wanted to write me a note to make me feel better. She also included this cute lollipop. I’m overwhelmed by this little girl’s empathy and kindness. It’s these kinds of interactions that remind me why theatre is a powerful way to connect to our humanity. Thank you, little girl. You made my heart so full today."

Story Explorers Tour Begins!

Thanks to the generosity of some individual donors, Bay Area Children's Theatre is able to take Story Explorers on the road! We are able to visit a few special needs classrooms this year and present our sensory-friendly, interactive shows designed specifically for them! Words don't do the experience justice, but I think this photo by Melissa Nigro captures beautifully the wonder and meaning that performing these shows brings to me.

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Historical Context for Inside Out & Back Again

I recently finished all 10 episodes of The Vietnam War, a new Ken Burns documentary on PBS. My primary reason for watching was to understand more about the conflict which is an integral part of the setting of Inside Out & Back Again. The documentary is quite an achievement, and there is much that I could write about it. But I'll focus instead on how the documentary contributes to my work as a playwright. During a recent dramaturgical meeting about Inside Out & Back Again, I realized I had more informed thoughts about what could be happening for the characters after having watched Ken Burns' work. Here are just a few of those insights:

War was "normal" life: After our first table read of the play, a question was put forth as to whether we could show more of Hà's "normal" life before the Fall of Saigon. That it felt like we were too quickly into the war without a sense of peace. However, historically speaking, ten year-old Hà has never known a Saigon without war. And with attacks like the Tet Offensive in 1968, Hà has already seen terrible events, or at least been nearby. For Hà, war has always been present. Even if Saigon has seen days of peace, the threat from the north is always imminent.

The Fall of Saigon was imminent: The eventual Fall of Saigon is laid out very clearly in Thanhha Lai's book, but it didn't dawn on me just how frightening that specter might have seemed to a mother of four living in the city. In early 1975, the North Vietnamese were making their way south, taking city after city, and it would only be a matter of time before Saigon would succumb as well. Understanding this helps me begin to grasp the desperation of the predicament Hà's mother finds herself in, figuring out whether she should flee or stay.

The white American perspective dominates our narrative of the war: One criticism I have of the documentary is that it definitely gives more airtime to the experience of white families affected by the war. While there are interviews with Vietnamese from the North and South side of the conflict, the more emotional through-lines of the series center on white Americans. This gets me excited about working on the stage version of Inside Out & Back Again. This play will be a chance to turn the focus onto a Vietnamese family and their experience and journey. Hà's family ends up in the U.S.A., so it is still very much an American story. We'll be inviting our audiences not to view the Vietnamese as an "other," but as the main characters of a story that all can relate to or at least empathize with.

These might all sound like things that I should have known already, and I kinda did. But it is one thing to know the facts of the war, and quite another to be brought into the emotional experience of it, and I think Ken Burns' documentary helped do that for me. It is worth noting that the documentary focuses heavily on the American perspective, and most of the personal stories in it are focused on a predominantly white narrative. The breadth of Vietnamese perspectives (of which Thanhha Lai's book is one) is barely covered, so I will be doing some reading of Vietnamese accounts as well. But I still highly recommend watching it, if only to learn a bit of the overview of events, and especially if you don't know much about the Vietnam War to begin with.

 

The Nightingale Returns

This past weekend, The Song of the Nightingale opened once more in the Bay Area, this time at Town Hall Theatre in Lafayette. This is the first time I've had a second local production of a show, and a newly revised one at that. I approached this production as an experiment: if The Song of the Nightingale had a new theatre company producing it with a new creative team and a (mostly) new cast, what would I discover about the show? I'm excited to say that I learned that the story of the show still shines through. The design elements, direction, and actor choices may be new, but the characters remain trackable, even more so with the new revisions.

I also learned that this show is a very meaningful experience for the cast members. There are very few musicals that feature Asian-American actors, and those that do are problematic for a variety of reasons. I received feedback from actors in Nightingale that they were very proud to be a part of this show. Several of them felt that for the first time, they could be themselves onstage and backstage. That they weren't putting on a white character or a white perspective of what it means to be Asian. It has been a goal of mine to create more roles for Asian-Americans in musical theatre, and I'm so honored to hear the effect it's having on my friends and colleagues.

Finally, I discovered that I love this show. It holds a very special place in my heart as my very first passion project for musical theatre. The script and score are certainly written by a younger me, and it was an interesting challenging revising the material in a way that stayed true to that younger style of writing. At times, I did wonder if those watching it would sense this "younger me" and consider it an amateur attempt at writing. But while watching it on opening night, I felt confident that I love the show for what it is. The Song of the Nightingale will always be the project that started it all.

 Folks from both the Altarena and the Town Hall Theatre productions of  The Song of the Nightingale  pose together on opening night!

Folks from both the Altarena and the Town Hall Theatre productions of The Song of the Nightingale pose together on opening night!