The Fairy Princess would like to talk a moment about Diversity in Casting.
Yes, it seems odd, given that this blog tends to be about Women who love Gay Men who love them back just as much, but one must have outside interests, and I did state at the beginning, that I would perhaps sound off on this issue.
To give a brief background on my particular tiara and wings, my heritage is Chinese, Irish, and Welsh and I am a dual citizen of the United States and Australia. I am married to a (straight) man who was born in Korea and came to the USA when he was 8 years old. I have traveled to countries that include Turkey, Greece, Australia, Ireland, Canada, China, Japan and I plan to add Europe in general when my son is a bit older.
My point is, I’m well aware of what the world looks like – would that Musical Theater looked the same. Broadway is not where one goes to find much diversity in casting. For example, I, (see me, I’m posting a photo of me as well as a little performance done for the 50th Anniversary of Flower Drum Song )
This is TFP, Erin Quill
am not going to be called in for a lead in some of these shows currently on Broadway, shows like Once, Memphis, War Horse, Book of Mormon, Clybourne Park, End of the Rainbow, Evita, Fela, Porgy & Bess, Ghost the Musical, Harvey, Jersey Boys, Mary Poppins, Nice Work If You Can Get It, One Man Two Guvnors, Streetcar Named Desire, Peter & the Starcatcher…I would make a fierce Elphaba, and who would know what I look like, but to my knowledge there has never been an Asian American Elphaba, and it was only recently they had the first African American Elphaba, Saycon Sengbloh, so…I’m not holding my breath. I could go into Sister Act as a Nun, but it is closing, and I have not been asked…I could go into Mamma Mia as Rosie, but that part is currently being played by Lauren Cohn.
So with all the opportunities currently available to Asian Americans on Broadway, ahem, imagine how excited TFP was when she learned that La Jolla Playhouse is going to produce a new musical by Duncan Sheik & Steven Sater, creators of the hit show, Spring Awakening!
What? It is going to be directed by acclaimed New York director, Moises Kaufman, who helped create The Laramie Project. Awesome! It is called The Nightingale, and it is based on a Hans Christian Anderson fable about AN EMPEROR IN CHINA WHO IS CONFINED WITHIN THE WALLS OF THE FORBIDDEN CITY AND THE BIRD THAT CHANGES HIS LIFE.
CHINA!!!!
Well, TFP happens to be CHINESE! Which would mean, in a perfect world, that she should get a call…or other Asian American Musical Theater friends should get a call – because it’s set in China.
Please read that last sentence again – China. In Feudal China. The play is set in Feudal China. Guess who is playing The Emperor? Not living legend Chinese American Actor Extraordinaire, Alvin Ing, the man who holds the record for the MOST Flower Drum Song appearances, EVER. Nope.
They went with This guy:
Meet Jonathan Hammond, the Emperor of China.
Now, this story has a Young Emperor, he’s the one who falls in thrall with the Nightingale, and let’s face it, I’m Eurasian, my Daddy is white, so let’s give them a second shot at correctly representing those who might actually rule Feudal China….it is…Bobby Steggart…sorry, what?
Oh…my…ok, WELL…let’s take a look at the casting notice from Tara Rubin’s office. Aha! There is an EMPRESS DOWAGER! Which means that is the ruling Emperor of China’s Mom. What do they look like? Let’s find one – oh HERE’s one…Imperial Empress Dowager, aka Dowager Empress Cixi…
If I were to think of who might be fabulous as the Empress Dowager, TFP might call in Jodi Long who was on Broadway as Madame Liang in Flower Drum Song
OR perhaps Amy Hill
OR Christine Toy Johnson, who is not LA Based, but who did the National Tour of Flower Drum Song and is a longtime NYC Stage Actress
…….but here’s who they went with for the Empress Dowager of China:
Charlayne Woodard, Dowager Empress of China.
You are probably sensing my frustration…and if you are not, your name is probably Moises Kaufman. Now, I have read that La Jolla Playhouse is calling the casting of this show “A Rainbow”. Here’s the funny thing about rainbows – the color yellow is rarely in that rainbow when it falls on other shows. Also, diversity has a time and a place – it’s usually an unnamed place in the future, in a multi-racial world, or set in modern times – it’s not in Feudal China. Let’s get one thing straight about Feudal China – diversity was never an issue.
But here – take a look at the article from Broadwayworld. It’s a little perturbing to see that only Kimiko Glenn has been cast in a show set in China, Feudal China – and for those who may not have picked up on it, Kimiko is a Japanese name – don’t care, happy she is working, I’m just using it to point out – there are NO CHINESE PEOPLE IN A SHOW SET IN CHINA.
This is not, Folks, like the time a Texas Children’s theater did an All Caucasian Production of HAIRSPRAY and you can claim, as they did, that they had no African Americans around to cast – this is a professional theater with a budget and access to any and every Asian American Actor in the country. It also boasts a Director of International Fame (a New York City based Director) and a Writing Team that have won TONY Awards – all they had to do was say, “Hey, this show is set in China, let’s cast some Asians up in here .”
OR, if you are simply going to use the concept of the fairy tale, just do not set it in China, Feudal China!
Let me be clear – TFP does not have any thoughts on the talents of the Actors hired, she has worked with some of them and they are ALL great – ALL! Actors have no power in terms of Casting, they are brought in, they sing, and they wait. This Diversity Debacle I lay directly at the door of the Creative Team – at ANY point, someone in the process could have stated the obvious, that if no Asian Americans were to be Cast, perhaps the setting should change from China, Feudal China!
So five spanks with the wand to Moises Kaufman, he is the Director, the buck stops with him and…looking at his past castings, doesn’t look like he would ever hire me anyway, as I AM MY OWN ASIAN AMERICAN!
And Moises can Kiss my Fan Tan Fannie!
xxxxxxxxxxxxxxxxxxxxx
UPDATE: I posted this in comments, but there are a lot of comments, and so I will post it here as well, as not everyone wants to scroll all the way through:
Hi All,
As you know, the initial objection that I had and wrote about on this blog – this post – stirred a lot of people and as the objections grew and were written about, La Jolla Playhouse decided to have a talk back to discuss the casting. Over 19,000 people have read this post, for which I thank them.
There were many articles written on what started as my own annoyance, and I am going to post the links here, in case you want to read them.
I would hope that the people who wrote anonymously and bitterly of the notion that Asian Americans would and should speak up, would pay particular attention to the fact that both the Artistic Director of La Jolla Playhouse and the Director of the play itself, Moises Kaufman, apologized. Also in the audience but not on the panel was the writer, Steven Sater, and the Composer, Duncan Sheik.
I also ask you to consider this – just because you may be a member of your own minority group, it does not give you a co-op experience and permission to use your own minority status to devalue or denigrate this issue. Your experiences are yours, and mine are mine. It does no good and a great deal of harm to decide that because you are a particular ‘kind’ of man/woman that you have the right to decide when and where Asian Americans belong. I take issue with that. Many of the more objectionable comments were prefaced with “Well, as a ____ man, I think…”
It is not cool to use your status to keep ours where it is now, which is barely visible. We are only doing what scores of people have done before us. When my Grandparents, my IRISH Grandparents came here, they were faced with signs that said “Irish Need Not Apply” – this is much the same thing. And Bravo to Moises Kaufman for his comments in Part 2.
Here are 2 small videos from You Tube – it is supposed to be 1-7, but I have only found 1 and 2. In 2, we have ‘our’ apologies:
Part 1: http://youtu.be/NN3ilkvnZ7I
Part 2: http://youtu.be/uz6-uODcSKU
And here is a video I was sent by Pun Bandhu which is the whole talk: http://vimeo.com/46243248
Article from Playbill.com
http://www.playbill.com/news/article/168285-Facing-Criticism-for-Lack-of-Asian-Artists-in-Musical-La-Jolla-Playhouse-Hosts-Panel-Discussion
Article from Huffington Post:
http://www.huffingtonpost.com/2012/07/19/nightingale-asian-american-actors_n_1686270.html
Article from International Business Times, I am quoted twice, not by name, and called a ranting blogger (which struck me as odd, but…the writer apologized for that when I called him on it)
http://www.ibtimes.com/articles/363035/20120714/la-jolla-playhouse-asian-actors-sterotypes-colorblind.htm
Article on Talkback from U-T San Diego:
http://www.utsandiego.com/news/2012/jul/22/forum-on-plays-cast-evokes-harsh-criticism
Article from LA Times on the Talk Back at La Jolla:
http://www.latimes.com/entertainment/arts/culture/la-et-cm-heated-exchanges-at-la-jolla-playhouse-over-nightingale-casting-20120722,0,6438118.story
Article from LA Times hearing from Prominent APIs in Theater:
http://www.latimes.com/entertainment/arts/culture/la-et-cm-asian-american-nightingale-la-jolla-playhouse-20120718,0,7027101.story
Article from LA Times on Controversy
http://www.latimes.com/entertainment/arts/culture/la-et-cm-la-jolla-playhouse-asian-casting-nightingale-20120717,0,2686930.story
Article from LA Times’ Critic’s Notebook, which I emailed a response to, and I will post the response I sent: http://www.latimes.com/entertainment/arts/culture/la-et-cm-critics-notebook-la-jolla-playhouse-nightingale-20120723,0,4429707.story
It struck enough of a nerve that as of this writing, my blog has has over 19,000 views and it is only 2.5 weeks old.My name is Erin Quill, I was an Original Bway Cast Member of Avenue Q and I have been reviewed in the LA Times for my work in the play, The Mikado Project
http://articles.latimes.com/2007/apr/27/entertainment/et-stage27
I only mention this because I am trying to show that I am a legitimate stage Actress whose work has been covered BY the Times and yet, when it was time to cast a show that could have API performers, my phone did not ring.
And, should you watch the video of the talk back, you will see that the CD will say that this show did not have a proper audition process, they made calls and offers. My friends who are API performers did not have their phones ring either.
While I would never deign to tell a Director or Creative Team who to hire, I will (and did) point out the ridiculousness of their casting choices. Not because the Actors were not fabulous – I fully believe in the talent of the Cast, but because they set the show in China.
China is not a mythical place. China is a real place with a real people. Our history looks a specific way. The titles Emperor and Dowager Empress mean something when said in China.
It is not for other minority groups (I only say that because you brought up your own status) to decide for other groups what is their ‘place’, what they are allowed to comment on. Moises Kaufman himself pointed out that usually in debates of this kind dealing with underrepresentation, that he is the one clamoring, and during the controversy he realized that he was doing the same thing that had been done to the GLBT community to Asian American Performers. He said we were right to protest, and he apologized.
The debate for us was not multi-racial casting. It was not to infringe on a Creative Team’s right to choose the cast they want, but the costumes, the sets, and the names of the characters were all Chinese. That we were asked, that all the audience was asked to please accept 2 Caucasian Emperors of China. Not a ‘mythic land’, it was CHINA.
If this was Porgy and Bess, and the leads were Caucasian, you would not think to write
“underserved communities need to recognize the right of artists to establish their own conventions of representation”
You would know that using your own status and including the above quoted sentence to African American Artists would be looked upon with dismay, distrust, and anger.Yet you have used them to the Asian American Acting Community.I ask you why. It is met with just as much dismay, distrust and anger as if you said it to someone African American or Latino.
In that audience, there was Drama Desk Winner, Deborah S. Craig, there was API Theater Luminary and the man who holds the record for most Flower Drum Songs ever, Alvin Ing. There was Tim Dang, Artistic Director of East West Players – a theater that always ‘somehow’ manages to cast with Asian Americans. Cindy Cheung who was on the panel has been in several Feature Films and Christine Toy Johnson is a staple NY Theater Actress.
There were many more with just as nice a resume and yet a Caucasian lady stood and asked if there was an Asian American Acting Talent Pool. There are API Drama Grads from Yale, CMU, Julliard, NYU, Northwestern – some of the top programs in the country, and yet here is this Caucasian Lady telling us that she ‘doesn’t see color’ and asking why we are complaining that the Emperor of China is Caucasian.
It is because when there IS debate, there is always someone, such as yourself – held in high regard, that expresses the opinion that we should ‘listen‘ or ‘stop making hubbub’. And by doing that, you are ensuring that people who are uncomfortable with APIs protesting have an excuse to dismiss WHAT we are saying – that we want to look onstage, at a production where the setting IS CHINA, and see Asian American faces.
I am a long time supporter of the GLBT Community, with fundraising efforts for The Matthew Shepard Foundation, BC/EFA, Desert AIDS Project, the LA Gay and Lesbian Center, The Trevor Project, I sing regularly at Musical Mondays in WeHo…I live and work in the GLBT Community, and yet I would never say “well, I know what it’s like to be a Gay Man”. Because I cannot. Do I know TONS of Gay men? Yes. They are my closest and dearest friends. And Always Will Be– but I cannot know what it IS to be a Gay Man. Just as you cannotknow what it is to be an Asian American Performer.I thank you for your coverage of this issue, but I was dismayed by the end of your article. Truly. And, do I think that there will be more API’s when this show continues? No, I do not. I think they will just move the setting from China and then still cast exactly the way they want.Which is totally fine. Because in a mythic land of Far, Far Away, it can be as multi- cultural as they want it to be – but they cannot have China without Chinese people. They cannot portray China without Asian Americans.
Thank you for your time,
Erin Quill
fairyprincessdiaries 
Good for you, Erin! Agree completely!
Moises is going to love you!! lol Sort of like my Baayork Lee emails about being left stranded in Europe with a crappy show by the crazy bat!! You tell ’em!!
John, I’ve looked at Moises’ past work…he does not seem concerned with including Asian Americans in his Castings, and you can be diverse in The Laramie Project.
the american girl hawaiian doll has green eyes and light brown hair. no one gets any aapi character correct
My Family is Eurasian for 3 generations, that coloring does exist. I have greenish Hazel eyes myself.
I hear you sister. “Rainbow”! BAH.
we are people, not popsicle flavors!
how do i like this? i like this. I agree with you.
It’s frustrating to see things like this. It’s basically the same thing as saying “Hey, lets do a production of The Color Purple but lets cast it like ‘a rainbow'”. If you’re not going to hire asians for a story set in China, why have it set in China at all? Something I heard from a fellow actor friend was that they couldn’t find the right asian actors for the show. But honestly, I don’t think they looked hard enough. I’m a young non-eq Chinese-American musical theatre actor and even though I fit the description for the young Emperor down to the letter, I couldn’t even get an appointment to audition even though I submitted.
You should be angry. I’m angry. It’s fucking ridiculous. I am directing a play about a Japanese woman who comes to the US with a US soldier, have no name whatsoever, and was able to cast ALL Japanese actors for the Japanese characters. It’s freaking waiver theater and these wonderful union actors are not even being paid so the La Jolla Playhouse and Moises Kaufman are just wrong. Period.
Outstanding article and well, well said all the way around! I am proud to be the Artistic Director of GENseng, the only Asian American student theatre ensemble in the 64-campus State University of NY system where for 14 years we have cast only Asian American students in Asian and Asian American roles and taught them that YES, Asian Americans CAN act! (Shameless plug: see GENseng Geneseo on FaceBook and “like” us because, well, Asian American student performers (both student and professional) need all the support they deserve! Thanks again for sounding out on this topic — which, it’s the 21st century already, did Kaufman sleep through “The Miss Saigon Controversy” in 1990?
When I worked with Jodi Long, she played Anna Odintsov in George F. Walker’s “Nothing Sacred,” based on Turgenev’s “Fathers and Sons,” directed by James Simpson at Hartford Stage in 1989. She said, “Every time I go onstage, it is a political act.” That was TWENTY-THREE YEARS AGO. So cheers to Jodi and Jim and Mark Lamos. And to you. Keep fighting.
Thank you for making my morning coffee a little more righteous. It amazes me that major institutional theaters can still be so tone deaf about race and gender.
Well at least the English hired Lea Salonga for the lead and other Asian actors. I maintain, Americans are the most biased and prejudiced people in the face of the earth. I thought there was a law that states that in every production there must be at least one Black and one Asian in any production! With that attitude it will FAIL! They do that with American Indians as well. There are a lot of Filipinos who sing very well as all Asians know. The article is well written. I guess we can always picket to show people how prejudiced Mr. Kaufman is! Let me know and I will join you.
Yes, the Casting for MISS SAIGON was very extensive, and they did go to The Philippines to find Lea Salonga and many members of the Original British Cast. However, they also had Jonathan Pryce cast as The Engineer, and the prosthetic eye makeup that he wore during the show there, caused much of the controversy that followed the show when it was to open in the United States.
While there is no law that forces Producers to include minorities in any show, or any movie, with Producers who work in Film and TV there is a clause in the contract they sign with the Screen Actors Guild that says that they will ‘reflect the American scene’. Meaning that if they have a show, and they set it in a major city, that they will consider the ethnic makeup of that city when doing the Casting – if not for the leads, then for the Guest Stars and day players. The problem with that clause is – it is unenforceable. No Producer will bow to allowing other people to tell him/her who to cast, and while I would hope to see more Diversity, and I believe the Networks are trying – that has not trickled down to Broadway in a significant way.
And, here in the States, we actually use the term Asian American as a shorthand for API – which is Asian American/Pacific Islander to include all the various groups, so Filipino is Asian American. I have worked with mainly Asian Americans of Filipino Heritage in Musical Theater, and they were all fantastic performers who I have been privileged to work with. Talaga!
I agree! and it keeps happening non stop! specially with Asian and Latin shows. Just look at EVITA on Broadway. also
http://www.backstage.com/bso/content_display/news-and-features/e3ibb9f65ba12bc226fb043c2e87aad6970
Before you criticize a show for non-diverse casting, you may want to actually check the casting practices out. You threw War Horse into your list of shows that you wouldn’t be called in for based on your race. This is simply not true. War Horse employs color-blind casting, and has several cast members of Asian decent, along with other ethnicities.
Yes, but you will note that I stated, “I would not be called in for a LEAD”, there are Ensemble members who are of Asian Descent, and I applaud them and their Casting, but I am not throwing the shows listed ‘under the bus” – in many cases, it would not make sense that someone who has my heritage would be present in that world. For example, in MEMPHIS, it’s highly unlikely though not impossible that I would ‘fit’ in that world, being that it is meant to reflect the clash between “White America” and “Black America” and the eventual result that is heard within the music.
War Horse is based on a book about a young boy in Devon, England and his horse, and their journey through World War 1. Therefore the leads of that show, not the Ensemble who are weaving in and out as various characters, are going to reflect the setting of the play and the ethnic makeup of the characters. I applaud having a diverse Ensemble and I applaud the very skilled Puppeteers, who I have tremendous respect for. However, in terms of what I was talking about – being called in for a Lead in War Horse – based on both the story and the setting, it is not likely my Agent’s phone will ring.
To be clear, the shows listed were not being criticized, they were simply listed to show how little opportunities there currently are for Asian Americans to be in a Broadway show that would fit into the story, seamlessly, as a lead. Actually, when I saw ONCE, I was very moved, because I am 1/2 Irish, and I grew up with that kind of music, in pubs. I spent many hours with Paddy Reilly (Fields of Athenry) and Paddy Noonan (Famous Irish Accordianist) If you saw my Father, you would think HE would be great in ONCE, because he does look like he belongs there. However, though I toured for 3 years doing traditional Irish music, and though I have a traditional Irish music CD (avail on iTunes) – I will probably not be called in to represent denizens of the city of Dublin.
Which is fine by me, I love the show ONCE, and I hope it runs for a long time.
The issue that I have with The Nightingale is simply that it is set in China, and they have cast only one Asian American – and they expect that no one will comment, and that it is ok. It is NOT ok to choose to place a show in a country and then deliberately choose to ignore the ethnic makeup of that country. If this was a show about Martin Luther King, and they chose to cast the show with all Caucasians, or even, with All Asian Americans – would THAT be ok? (No, definitely not) but THAT is what the issue is, for me.
Thank you for your comment, and allowing me the opportunity to clarify my position.
I admit when I saw ur article posted on my FB page I began reading it ready 2 b a hater but 1/2 way thru I was cheering u on – as we say in Yiddish ‘what a shanda (shame)’ – count me on Team Princess!!!
Toi toi toi, thank you
I love you. We haven’t overcome yet, we aren’t “post racial”…it is still important to identify and proudly present racial stories and histories accurately. You don’t see anyone casting “The Sound of Music” like a bloody rainbow!
seems nothing was learned, or all forgotten, from the Miss Saigon casting fiasco
As a South Asian actor, I feel you…100% far too often.
Erin,
So what’s the action? What can we do as a community?
Let’s stay active.
Hi Jon,
I think, as a Community (which, let’s face it, is on again/off again) what we need to do is continue to study, continue to do good work, and continue to tell our stories.
We also need to continue to comment on these issues.
And perhaps provide History Tomes to Directors who choose to set their shows in Asian Countries, without considering the people who LIVE in those Countries.
I have heard very nice things about your upcoming production of HELEN, Congrats on all you do.
Thanks, Erin.
We’ve got your back.
Same problem we had with “Lovely Ladies, Kind Gentlemen,” the musical version of “Teahouse of the August Moon” back in the late Sixties. They will never learn. There were picket lines in N.Y. and around the Music Center in Los Angeles.
Thank you, Ms. Quill, for this terrific statement. What’s happened here is very distressing. Will people still have to be fighting the same old _______ in the 22nd century?
Well said, Erin.
The current system has never worked for our community. I suspect it never will because it is so focused on commercial success ($$$). Since they incorrectly assume that Asian American performers are less talented and that they are incapable of drawing a large audience, they will cast “safe bets.” We know that is absurd but it seems to be a part of our reality.
What we need to do as a UNIFIED group is to create our own UNIFIED system across the nation and put all of our effort into building that system for OUR community. I know there are efforts here and there in the theater world but what if it was expanded to include on-camera productions, and education/training (MFA level) on a large national scale? We have enough experience, training, and money in the community to build this professional system.
I look forward to being a part of this grand, unified, national movement to lift up our community of artists so we won’t have to rely on others to do it for us on the national stage.
And a Big Thanks to you and all of the AA artists/activists who have brought us this far. We are in a much better place than even 20 years ago.
Oh, right funcking ON.
And they really don’t have a clue, do they?
It’s beyond time for a conversation of Equity and not just Diversity in American Theater! A limiting diversity conversations allows for ‘creative choices’ that attempt to reflect the colors of the rainbow be short-sighted and irresponsible.
Well said, Erin. I felt the same way when they wouldn\’t see me for the role of Celia in The Color Purple..Just kidding. Fully agree with your post and it is beyond ridiculous and offensive to have no Chinese people in a musical set in China…Whhhhhaaaatttt? Good for you for speaking out.
I couldn’t get an appointment for The Color Purple, EITHER…talk about singing the blues….
Brilliant!!!
About ten years ago when I was a film executive, we had a project on our slate based on some Chinese books about a young man in Ancient China who had to travel to the top of the forbidden mountain of the gods to ask them to stop fighting and challenge their rule. I remember one film financing company asked “Is there any way we can make the main character White?” I then said “you want the story that takes place in Ancient China about the only white person living in a small rural village near the forbidden mountain of the gods?” and he said “yes”.
It is good to know that ten years later, progress has moved forward from having one white person in ancient China to having an entire community of white people in ancient China… With Chinese names. Yay progress.
Dear Disco Rich,
I love this story SOOOOOO much – and it kind of reminds me of when Justin Lin was asked to make the teens in his film, BETTER LUCK TOMORROW, Caucasian.
I hope there are more Film Execs like you, who have a keen sense of the absurd, and a full grasp of History.
I applaud you Disco Rich – 5 waves of the wand and best wishes!
Anyone remember Marlon Brando as an Asian? As a short white, slightly balding character actor, i could not agree with you more. I truly hope this play is boycotted by all self respecting actors who care. Brilliant commentary, and it is right not to blame the actors. We all want to work.
Thank you so much for this article. I definitely feel your pain!
I guess the principles are going to need a lot of black eyeliner…
You go girl!…I’m pure filipina, lived in L.A. Now based in Seattle. Played Bloody Mary 3 times, Madame Liang 1x, Imelda Marcos 1x, and then there’s the children’s theater roles where you don’t have to be a specific race. Plus I’m not union so I get what I can get. I totally feel the same way. Here in Seattle directors are a little more open to multicultural casting, however I have my age 48, my heavy set short stature against me as well. I’m more of a trained singer than actor, and I merely “move well”. I haven’t danced since college. So as of now I get the low end of the payscale or none. That’s for sharing.
Jessilyn Dumapias Carver
Erin…I forgot to mention to you tht I am Diana Insanto’s aunt…the two of us have discussed this topic for years now.
Ah, I love that Diana Lee Inosanto, I was lucky enough to work with her as an Assoc. Prod on her feature film, THE SENSEI,
and I admire her dedication and drive – she is a special person.
This is infuriating, and I’m not even an actor. But as a playwright, I genuinely don’t understand the motivation behind this kind of asshattery. If I wrote something set in a specific country and period, I’d probably want the characters to be a somewhat accurate (or within-belief-stretchingly reasonable) representation of that country/period.
Oh, plus: amazing restraint, not being a jerk in this post, and using humor and AMAZING examples to point out the idiocy here. But you know what? I wouldn’t blame you if you felt like being a jerk about it, too.
You rock, and I hope someone reads this and casts you in something fantastic.
They have another show too – Yoshimi Battles the Pink Robots – with no Asians yet.
This article is so pretentious and uniformed. You may want to do a little bit of research about the show that you’re tearing down before you post such a heinous critique. Alright, so yes, SPRING AWAKENING is a show about teens in 1890s Germany, so if we’re going to stay true to the story line the cast should be white as HELL, but you didn’t seen anyone complaining when there were Asian, Hispanic, and African-American cast members in the production. Why weren’t you up in arms then? Also, this isn’t a naturalistic or realistic musical. It’s Steven Sater and Duncan Sheik for Christsakes doing a musical about the Chinese empire. Indie rock music in Feudal China doesn’t sound like a period piece to me. If you had read or researched a little before going on your misinformed rant, you would of found that one of the biggest things that the Moises wanted to play with was skewing audience perception by having an extremely multi-cultural cast, which is, in my opinion, an amazing directorial choice. Whether or not you agree with this choice, it’s part of the production. Again, this is NOT a period or realistic piece, it’s abstract and meant to challenge audience perception. Perhaps you should take a directing class before you go around making huge sweeping statements about one of the most talented directors on Broadway.
ALSO, you FORGOT to mention that one of the leads of the show Nikki Castillo (who plays NIGHTINGALE in THE NIGHTINGALE) is an Asian-American actress.
Do your research next time before making such small-minded and uninformed rants. Good luck getting a job in this city after tearing down one of it’s most powerful directors, and don’t worry, word gets around quick. You do realize that he’s the man who brought the concept of eliminating hate and discrimination to the forefront of the American conscious with The LARAMIE PROJECT?
Also, really? “Moises Kaufman can kiss my ass & here’s why?” Go back to high school.
Geez, you sound really angry. And not really Asian.
A few things – I never said Nikki Castillo was/was not of Asian heritage, what I said was – there are no Chinese Americans in this piece, a piece you, yourself admit is to take place in CHINA.
I am pretty sure that Mr. Kaufman could care less about what I, or anyone else thinks of his Casting – however, as he did not choose to move the show’s setting from China, Feudal China – nor change the names from Chinese ones, I am, as a person of Chinese heritage, able to comment to my heart’s content, here on the Interweb, where you also seem to unburden yourself.
Also, if he was to take the time to devote himself to ‘ruining my career’, then he would have much less time to devote to his ethnic cleansing of China, Feudal China.
I do know EXACTLY who Mr. Kaufman is – not only having seen The Laramie Project in various countries, but also because I work with The Matthew Shepard Foundation, helping them with their Bear To Make A Difference Campaign for the past several years. I also saw I AM MY OWN WIFE, and loved it.
As I re-read what I wrote, I don’t feel my tone is anything but one of incredulity and a bit of humor, so while you seem to have your own issues – well, let’s face it, you obviously have a SUBSCRIPTION….I’m good.
If Moises wants to “ruin me” I’m pretty sure there are equal amounts of folks out there who have got my back, wait…let me turn around…yep, they’re there….I’m good.
Continued success in all you do…
The two leads of Spring Awakening were white. The majority of the major roles went to white actors.
Had Mr. Kaufman given all the lead roles in Nightingale to Asian American actors – with at least one role for an actor of Chinese descent for pete’s sake – no one would have minded smaller roles going to actors of other ethnic groups.
Hi Wanted to Give you the Response from AAPAC NY that I just received:
AAPAC responds to “The Nightingale”
Though AAPAC is primarily concerned with Asian American representation on New York City stages, we felt the current Page to Stage production of “The Nightingale” at La Jolla Playhouse is relevant to our mission and warrants our attention.
The story of “The Nightingale” is set in China. Of 11 cast members, however, only 2 are Asian American; the rest of the cast is made up of other races. We are deeply disappointed that in the rare instance of a new musical set in an Asian country, the creative team (Moises Kaufman, director; Duncan Sheik, composer; Steven Sater, lyrics) did not decide to cast all or mostly Asian actors. We do not in any way blame or begrudge the actors currently cast for their involvement – this is not about them. We simply find it baffling and frustrating that unlike “The Lion King” or “Bombay Dreams”, musicals where the majorities of their multicultural casts have been comprised primarily of African- and Indian-American actors respectively, the creative team would not consider it an artistic or social priority to find and cast Asian Americans in the majority of roles for a story set in Asia. That Moises Kaufman was a part of this decision – an artist who has long been concerned with giving voice to an oppressed minority and speaking their truth – is even more disappointing.
We want to know: Why was this decision made? Was there a perception on the part of the creative team that the Asian American talent pool was inadequate? Was it based on fear that there wasn’t enough of a box office draw with an all Asian cast? Was there not even that much thought given to telling the story with an Asian American cast in the first place?
“The Nightingale” is a glaring example of the continued lack of employment opportunities given to Asian American actors. This invisibility reinforces how Asian artists are often denied a voice in shaping how Asians are represented, particularly when it comes to the appropriation of Asian cultures and themes. We urge all of our friends and supporters to speak out against cases of exclusion like these. Stand with us in our opposition to minorities getting excluded from future projects under the seemingly benevolent guise of “multi-cultural casting.”
[…] Via a Facebook friend (who is a great director who happens to be Indian-American), I was pointed to this lovely article: Moises Kaufman can kiss my ass & here’s why. […]
Just Tweeted by Me – “OMG was just ‘threatened’ with career ruination by a “Minion of Moises”…obviously he has an inflated idea about how my career is going – ROFL”
Yep, I’m on The Twittah, you can follow me at @Equill
Amen Erin!
Thanks Erwin, you talented thing!
Also, for those who are including Nikki Castillo in this issue – she’s in 8th grade – she’s not an adult, so I did not bring her name into the blog, because – SHE IS IN 8TH GRADE – but if you read this interview – even Nikki knows that the show is supposed to be in China, Feudal China.
http://actorsalliancesd.blogspot.com/2012/06/actor-spotlight-nikki-castillo.html
Firstly, I’m not a “minion of Moises.” I don’t know him, but I’m just saying with a title like “Moises Kaufman can kiss my ass” you are bound to make more enemies than friends in an industry this small.
I understand your frustration with the subject, but again this is not a period or naturalistic piece, this is an abstract representative piece of theatre, very similar to what SPRING AWAKENING was. It has a historical context, but it is not necessarily placed within that historical lens, hence, why multi-cultural actors were cast. It was a casting decision to cast the show based not on ethnicity, but based on talent. By including actors of other races it made the show not only pertinent to Asian-Americans but every American.
And in regards to Nikki, yes, she is in 8th grade, but she is also an Asian-American actress who is cast as the TITLE role, and your blog stated that there is only one Asian-American actress in the show, which is not the case.
I’m not trying to pick fights, but what I’m trying to say is this is not a racism or exclusion question, it’s a directorial question.
Aha, so what you are NOW saying by writing ‘to cast the show based not on ethnicity but based on talent’ is that there were not enough Asian American Actors OF TALENT available to render a full and accurate, albeit ‘abstract’ concept of China.That ‘talent’ and “Asian American’ are words that are simply incompatible and unfathomable to the average American theater goer.
Well, THAT is not offensive at all…if you keep digging, you may actually wind up IN China, and then you can tell us all what the people there look like.
You are negating the fact that your tone was hostile and that you told me to ‘go back to high school’. These were things you said because you were concerned about MY career longevity. That by saying ‘see how long…’ etc, you were ‘merely’ trying to guide me to a higher understanding of directorial process…I see.
This casting is, actually, racism BY exclusion, and rather than question MY ability to discern ‘directorial process’ methinks you should point that mirror at yourself.
They could have used all Asian Americans and had The Nightingale be a different race, that would have been a way to go. Or another ‘directorial concept’ would be to take this show of ‘multiculturalism’ OUT of China, and place it somewhere ‘far, far, away’ so that people would expect to see a broad spectrum of races. That would negate this whole argument. If the show and it’s creators did not insist that this show is set in China, Feudal China then none of us would even blink, we would be happy there were 2 APIs in the show – it’s all about perception.
And your perception, which I guess goes in line with Mr. Kaufman’s, is that there are not enough Asian American Actors of talent to accurately portray China and it’s inhabitants.
Got it. Thanks for the comments, although these are all you are going to get. I’m pretty sure I understand what you are saying, I did fairly well on my SATS in reading comprehension, although YOU probably think I did better on the math portion.
Now, pass me your Coke.
Spring Awakening as a shiny example of inclusive multi-cultural casting? Hilarious. The original Broadway cast was majority white. All the leads were white. The only Asian American actor in the production to have a media profile is Jenna Ushkowitz (thanks to Glee), and she was an *understudy*.
Spring Awakening didn’t need to be fully multi-cultural due to its setting. That’s why no one ever criticizes SA for not having a more diverse cast.
A sensible cast for Nightingale would be as majority Asian (if not Chinese) as the SA cast was majority white. If the leads and most of the big roles were Asian/Chinese, I doubt fairyprincessdiaries would have complained about some roles going to actors of other ethnic groups. This would have been a celebratory post, probably.
And for pete’s sake, stop using Nikki as your token to gain an upper hand in a discussion about racism in the industry. Not only is she a minor, she also plays a BIRD! Hers is the one role in the entire production where ethnicity does not matter.
“By including actors of other races it made the show not only pertinent to Asian-Americans but every American.”
Oh please. A show set in ancient China has only two actors of Asian descent, one of whom a minor and playing a bird, and you are making this about “including” non-Asian actors? The idea of inclusion is to include marginalized groups and give them more opportunities. Tell me again how white actors like the two male leads of Nightingale are more marginalized than Asian Americans on Broadway.
oh miss saigon, have we learned nothing?
well maybe they could at least get susan tsu to design it
In the midst of Erin Quill’s valid points the most salient for me is that the piece, whether realistic or no, takes place in Feudal China. Pretty much end of story. But before I go, let me put in a plug for the Forgotten Asians, my Filipino/a kaibigans. I’ve worked with many scores of Pinoys/ays on my play The Romance of Magno Rubio and I couldn’t have worked with a more talented and generous group. Note that the great Lea Salonga and one of my favorite leading men Arthur Acuna will be doing The God of Carnage in Singapore during the run of Magno November 30-December 8. Shameless self-promotion, but I thought it worth a mention. Mabuhay! from Lonnie Carter
Lonnie, nothing “shameless” about promoting good things. Have just finished overseeing a student-directed production for my Asian American student performance ensemble, GENseng of Jeannie Barroga’s EYE OF THE COCONUT. Pinoys are a tiny minority at SUNY Geneseo where I teach. Between some members of the cast, and the Rochester Filipino American Association we broke records for the number of Filipino Americans in our theatre simultaneously. We keep plugging away, right? (Shameless promotion: see GENseng Geneseo on FB!)
Randy,
Please write me backchannel at lonniety@comcast.net. Need to tell you some things about MAGNO RUBIO. Anyone else who wants to know about MAGNO, winner of 8 Obies, please write me as well.
Thanks,
Lonnie
Lonnie,
Thank you for giving props to us, the Filipino community. As I mentioned in a previous post to Erin, me being a short, chubby filipina, it’s pretty difficult to get cast in anything else but comic relief roles. ie: Bloody Mary, Madame Liang..etc…so for me I’m lucky if I get a role twice in one year. So far I average one show per year. Last year I got called back three times for South Pacifics national tour. Casting decided to go a different route. They chose a very thin, older Japanese lady with less stage experience than I do. An actor friend told me its because they wanted someone raw and to change it up a little. Well that didn’t make me feel good. So thank you for acknowledging us Filipinos.
Ralph Pena declared me “an Honorary Filipino” from the stage of the Obie Awards in 2003. I’ve not had a prouder moment.
Also wanted to mention: yes, OK, Mr. Kaufman did a good thing with LARAMIE. But having once done a good thing does not automatically guarantee one will always do a good thing. It is important to learn and re-learn about these issues over and over again until they become second nature. It is the height of arrogance to do otherwise. As a Caucasian artistic director of an Asian American student performance ensemble at a university that is only 6% Asian or Asian American (because the Office of Institutional Research does not differentiate, another frustrating story), I must always remain vigilant and mindful. Mr. Kaufman needs to work on opening his ears again. I am sick to my heart that here is a golden opportunity for Asian American, specifically Chinese American, actors, and they are not getting the opportunity. I am reminded of a story Mako once told about “looking too Japanese” to take a role in RASHOMON opposite Claire Bloom and Rod Steiger. That transpired in the late 1950’s, if my memory serves me. Fifty years ago, and we are still seeing this in American theatre? It’s a blot on La Jolla and Kaufman and his casting team. And if he hears that I said so, oh, well. This is still a free country and the truth is its own defense. By the way, Ms. Quill, I will be using this case and your blog as part of my ethics of directing unit in Directing I this fall.
Omigosh, I love you!
Been feeling it with the gay-thing for a while: a confessed straight actor playing gay (and always over the top) is an acting powerhouse worthy of any trophy we can find. But a gay actor, no way. And God help the gay actor who does NOT play it half-way to drag queen.
But this situation, just WOW! For all it’s uber-liberalism, the theatre scene can go backwards in time faster than H.G. Wells, who will be played in this missive by (imagine it) B D Wong!!
In reply to…smiley face icon(?), you mention that this is supposed to be an abstract piece. Yes, but the problem is, they’re taking something that has deep, historical significance to national and American-born Chinese and Whitewashing it. And I mean that only in a creative sense of the word.
Granted, as Erin pointed out, there is one African-American female in the cast, but this is hardly the “rainbow” that others say it is. Asian American actors have it hard enough trying to fit into roles that aren’t stereotypical or insulting to their identity. Now a show pops up in which some extremely Asian-(Chinese-)American actors could and would proudly fill those spots, only to be left of out of the cast and replaced by a bunch of White folk. What I think is really scary is how these Whiteys (I’m White so I can say that) might portray these characters. Dear God, please don’t let them attempt any accent whatsoever. I seriously hope no one decides to channel Charlie Chan in this play.
When you’re given very few chances by the mainstream to jump in, seeing the perfect vehicle float towards you with folks that really don’t belong, well that’s just very distressing.
Oops. I meant to say “extrememly talented AA actors”
Seriously: WTF is wrong with these producers?
I’m NOT Asian (mixed heritage and pretty much everything but!) but my wife and Child are. I’d like to think my Daughter is growing up in a world that has equal opportunity but nonsense like this makes me wonder.
Next I’ll learn “All You Need Is Kill” has no Asians in the Movie Version..
O. Wait…
I am angry and disappointed – especially since this first cast usually sets the precedent for future casting. Either the creative team failed to make an effort to look for Asian American (at this point, I’m not even going to specify Chinese American) actors, or they failed to realize that at this point in time, casting non-Asian American actors in what should be Asian American roles is not progressive but quite the opposite.
I’m also angry and disappointed along with you. However I will say this, it is better than the often default portrayal of Asians in media, where by the male lead is white and to fill the diversity quota the female lead is Asian. And of course any Asian male characters are portrayed as antagonists, insignificant or subservient to the white male and asian female couple. Funny enough, I think if Moses were to have casted the play as I just described, half of the commenters on this thread would not have found this a problem.