The Fairy Princess actually thought she was going to have a good day….after all, one of her old bosses is up to be an EGOT (Emmy, Grammy, Oscar, Tony) Award winner today, and she has EVERYTHING crossed for Kristen Anderson Lopez and Bobby Lopez to win for Best Song – LET IT GO, from the film, FROZEN
The Pasadena Playhouse has announced that under the direction of new Associate Artistic Director, Seema Sueko, they are going to produce a workshop of playwright, Philip C. Chung’s play, COME DOWN IN TIME, as part of their Hothouse series. They will co-produce with East West Players, and it will take place on March 20 & 21, 2014 at 8:00 PM at The Vault, 60 Los Robles Avenue, Pasadena, CA 91101.
The HOTHOUSE Series is designed to highlight and develop plays that ‘authentically align with the Playhouse’s commitment to Diversity’ and will be focusing on playwrights whose representation in American theater are traditionally under-represented.
The Fairy Princess has known Philip C. Chung for a long time, and she is absolutely thrilled that his work is getting the recognition by two venerable Los Angeles Arts Institutions. Philip has been working on his You Offend Me, You Offend My Family Website and it’s accompanying YouTube Channel, as well as his career as a screenwriter, but I knew that he missed writing for theater.
So there you have it – a hit! A palpable hit!
And…as good news comes in threes – she found out that Philip Anthony Rodriguez is going to have a cool story arc on the NBC Show, GRIMM! He’s going to be a Henchman for the Royals!
Three good things in the past few days! Thus the Fairy Princess was unprepared for her emails this morning about…well, for a moment let’s go back…remember this guy?
He was the chappie who brought us that production of The Orphan of Zhao, which was the oldest play from China, about a Chinese subject, and has been called The Chinese “Hamlet’, and he did THIS to it –
All coming back to you? Sounding familiar? The Fairy Princess gave him a bit of a trouncing in her blog, and the past year has been fairly quiet on the Western Imperial Front from RSC. In fact, the British East Asians celebrated/… the year anniversary of that controversial show, and we were kind of thinking everyone had learned their lesson.
Because it is damn tiring to have to keep teaching it.
And honestly, isn’t everyone tired of reading it yet?
Well, they have not gotten the message at The Wooster Group yet, and THAT is lying heavy on the head that wears my tiara. The Fairy Princess has long been an admirer of The Wooster Group, and in general, she believes that they are a fairly sensitive, arty crowd, who do their utmost with their liberal political underpinnings to do groundbreaking work. After all they were founded by Spaulding Gray!
Or that is what she thought they did.
Then, they decided to team up with the RSC for a production of Troilus & Cressida, and examine, how did they put it? I’d better just pull the quote:
“CRY, TROJANS! originated as a co-production with the Royal Shakespeare Company of Troilus and Cressida at the World Shakespeare Festival in conjunction with the London 2012 Olympics. In that collaboration, the two companies took opposite sides in the Trojan War: the Wooster Group staged the Trojan scenes while the RSC staged the Greek ones. Scenes with both Greeks and Trojans were staged by both, each side developing its own version. The companies worked separately and without consultation until they met a few weeks before performances to sew the two halves of the show together. The seam was intentionally left rough so that the contrast of artistic approaches remained a foreground feature of the production, accenting the face-off of warring cultures in the play.
Seeking a decidedly American angle from which to encounter the RSC and the language of Shakespeare, the Wooster Group reimagined the Trojans as a pastiche fictional tribe of early Americans struggling to assert its dignity as doom closes in.
Following the special engagement with the RSC, the Wooster Group returned to New York and converted the collaboration into an independent piece. The spirit of the absent collaborator/enemy still manifests in various ways, but CRY, TROJANS! concentrates on the Trojan side of the story: the corruption of sincere love and the downfall of a noble hero.”
Ah yes they are going to examine ‘the corruption of sincere love and the downfall of a noble hero”.
Yet it winds up seeming to The Fairy Princess to be a corruption of Culture exchange and the downfall of Compassion. It seems odd that in the spirit of the Olympics, which is supposed to be all nations coming together and sharing and learning, the Wooster Group has fallen back artistically – perhaps with encouragement from RSC, perhaps on their own. Who knows how they came up with their concept, but it allowed the British to remain Caucasian and the Americans to don ‘war paint’ and ape the Native American experience – with no Native Americans seemingly visible on stage or in the artistic planning.
This is the issue – and it’s long enough that we actually have a subscription, but here it goes – Native Americans are not a pastiche to be bandied about with when you think you have run out of ideas as to how to play cultures at war with one another.
Does this look ‘right’ to anyone?
Probably to Gregory Doran, because, after all, he pulled one of these:
Well, I guess he told The Wooster Group to bang a gong and get it on, because….
I mean, SERIOUSLY?
I had to learn about this on Oscar Sunday? Hmmmm why does Oscar Night and Native Americans seem so aligned in my head already? There must be a reason….
Oh right, who stuck up for Native Americans once upon a time on Oscar Sunday?
He was awarded an Oscar, but instead, he sent this message:
Now, tis true, that perhaps The Brits do not ‘get’ the long, bloody and shameful history that America has with it’s Native Peoples – although WHY they would not, I have no idea, as they set the ball in motion – but Americans know. Though Americans are not taught the history of most minority groups in their classrooms, they are taught of our shocking and bloody, full scale war upon the Native Americans. We are. Every one of us.
Not to mention dozens of other ways we decimated Native American tribes – blankets from people who died of smallpox, anyone? Putting them in camps? Creating and then taking back Reservations?
Bury your heart at Wounded Knee?
General rape and pillage for absolutely no reason at all except a desire to push West?
Yep, those were covered in our classrooms.
But if one needs to catch up, one merely needs to go on the world wide interweb and do a search on American Genocide and you can find THIS documentary which I first saw at a film festival many years ago:
We also know that Native Americans are not one peoples – there are 566 listed Federally Recognized Tribes in America!
That is not a ‘pastiche’!
What is a pastiche? Technically? It’s a pie filling.
It is from the Italian word pasticcio, which is pie filling mixed from diverse ingredients. It is also an piece of work that imitates the style or character of the work of one or more artists. It is not a parody – which mocks others.
The Fairy Princess is very, very sad about this new production from The Wooster Group – and she is even sadder that they are running it again in Los Angeles at REDCAT – without RSC.
How, in the City of Los Angeles, the City of Angels, where we have been swimming in Diversity panels like they are pools in a Beverly Hills mansion, could they have invited THIS production to perform in LA? Did no one say “Hey wait a minute, we are under fire here for bad casting decisions in the past which highlight our apathy and cultural insensitivity, so perhaps we should not invite a production where all the Native Americans are being portrayed by Caucasians?”
As a country, we cannot – can not – apologize to certain groups ENOUGH for what we, as a country, have done to their people. We all know who those groups are – African Americans, Native Americans, Japanese Americans.
Unless The Wooster Group is comfortable doing this:
Then they should NOT be doing this:
Because IT. IS. THE. SAME. THING! Get it? GET IT?
If you are so artistically bankrupt that you need to go and paint your actors because you cannot come up with a new concept for a Shakespearean drama – then quit. Seriously. Time to go. You cannot think of anything better than Rome-pan or Rome-many Nations – you are done.
Not because the concepts do not work – but because you are letting down your concept.
You cannot continue to mine the cultures of other peoples and then refuse to cast people that represent that culture. If you want to make a statement about Native Americans and your support of them and their journey in a Shakespearean way – go ahead – BUT CAST NATIVE AMERICANS!
If you want to set a show in a Rome that has been conquered by Japan, then you better have some Asian American faces in that cast. If you try to find members of that group and insist that you just cannot or that you have not found talent that you are excited to work with… change the concept. Set it in Norway, set it in France, set it in Russia, set it in Ukraine, set it in South Africa, set it in New Zealand, set it in Australia, set it in Ireland, Scotland, Wales, there are lots and lots of places one can possibly set a Shakespearean play where the actors will not have to actually paint themselves. (Unless you want them to paint Celtic Blue – because you know, the Celtic Warriors did actually paint themselves for battle – and there you go – one interesting concept, go ahead and take it)
Why? Why? Because you, the Director, look more intelligent. Because you, the Director, look more educated. Because you, the Director will then look like you know more about the world – both the one you are trying to create and the one we all live in.
Now, there have already been reviews of this production – and one of my favorites was reading that this production is “Wooster-lite“. The reviewer did not feel this play lived up to the reputation of The Wooster Group. Which means what? Here is a quote: “The result is an uncharacteristically tame production, one that left me time to ponder the awkward politics of an overwhelmingly white ensemble horsing around with cultural caricatures of race.”
It means that it is no longer acceptable to critics, or to audience members, or to the theater community to continue to insist that Caucasian actors can paint or clothe themselves to portray other ethnicities. You know that when theater critics start talking about the the casting versus the concept, as opposed to the casting working with the concept that this is a problem.
The argument for Diversity is ongoing, and it is uphill, even with Critics like Wendy Rosenfeld speaking up.
The thing that gets to The Fairy Princess, is the theater establishments resistance to using full mental capacity to notice that the world has changed, is changing, will continue to change. The reason that The Wooster Group’s production is so shocking is that they were considered the cultural elitists in New York City for a very long time – melding acting, concept, technology, and new ideas.
And now, I guess I would consider them…well…behind.
Far, far behind – behind The Pasadena Playhouse, behind East West Players, behind NY’s Public Theater, and part of me thinks “my goodness, how very sad that is.” It is like seeing Dorian Gray’s portrait hidden in the attic when you have been having a delightful sherry with him in the parlor all evening.
So 10 smacks of the wand to The Wooster Group – you went to London to share, and you came back with the worst kind of Imperialism running rampant in your production. What, precisely did you ‘learn’? How to totally ignore what you know to be right, and walk all over the culture of Peoples of Color – well, you seem to be an excellent student.
Next time they ask you to do something like that, just say
Even if you think they are the totally fancy, culturally elite, Royal Shakespeare Company and you want them to be impressed by you.
Just remember, they did this:
Because once you put a production out there….