Archives for the month of: May, 2014

The Fairy Princess eagerly awaited “Up-fronts’ this year like a small child whose dreams of sitting on the lap of a costumed man of girth had not yet been dashed by the commercialization of the holiday in question.

LUCKIES? Seriously Santa, WTF?

LUCKIES? Seriously Santa, WTF?


And, unlike when someone wanted a BB gun….


She got what she has wanted for every major holiday and wish upon a star for a long time….

The Fairy Princess heard tell of 4 new shows with Asian Americans featured prominently and thus, she did NOT want to shoot her eye out – which is usually how she feels after hearing what got picked up at the Up-fronts.

How many IS that Feist?


Let’s, for the heck of is, just list them:

Madame Secretary:


Set in Washington, DC – unlike other shows set in that fair city, this one has a diverse cast that does include Asian Americans like Actor, Geoffrey Arend – who was so great in Body of Proof. Also in the cast, Yale Grad, Mozhan Marno, CMU Grad & TONY Winner Patina Miller, and of course, from the Musical Theater, Mr. Erich Bergen, who is also going to be appearing in the feature film directed by Clint Eastwood, Jersey Boys coming out in June.

The cast in exceptionally diverse in gender & ethnicity & most likely, sexual preference (because why would they leave that out?), and The Fairy Princess looks forward to this show. It seems smart, quick, and topical, and when looking at the bios of the cast on IMDB, quite a few are fluent in several languages, and that can only add to the portrayal of a dynamic White House with a Madame Secretary of State.



The Fairy Princess likes this trailer for several reasons –

1. it takes it’s concept from Pygmalian by George Bernard Shaw.

2. It looks like it is going to examine our current obsession with all things superficial

3. Stars John Cho as the Romantic Lead. Yeah, I said it – ROMANTIC LEAD. JOHN CHO. ROMANTIC.


Fingers crossed for you, Mr. Cho – I hope the show knocks it out of the park.



The Fairy Princess is going to like this show – it is going to scare the s##t out of her, because it will remind her of friends who have gone through this problem, and it will remind her of when someone did not like her blog and threatened to hurt not only her, but her kid….but she will watch this show, for sure.

The Fairy Princess is particularly partial to Hapa Actresses whose surnames end in Q.

(You may have heard that before….)

Quigley? Quill? Get it? Get it?

Quigley? Quill? Get it? Get it?

And finally….drumroll please…

Fresh Off The Boat


Now Fresh Off The Boat, is the story of a little guy named Eddie who grows up to be this guy:


Celebrity Chef, Eddie Huang. It’s based on a book that he wrote, and it is, for all intents and purposes, his ‘brand’.

The term Fresh off The Boat is giving some in the Asian American Community agita, and here’s why – because we, Asian Americans, use it amongst ourselves to denigrate one another.

We totally do.

We do. Not anyone else. We, us.

It is a term used to separate ‘cool’ Asian Americans, with an emphasis on American, from those who were freshly arrived immigrants who probably had accents, and perhaps lacked some fashion sense, according to American Asians. We are very judgy, Asian Americans – no wonder we suffer from depression – right, Kristina Wong?

So now, APIs who have been gleefully disdaining one another for YEARS, are worried that “White People” are going to hear the term, “Fresh Off The Boat’ or “FOB” (sometimes said, fob, as in watch fob and not just the initials), and they are going to add it to the pantheon of insults to call Asian Americans as they walk harmlessly down the street.

It should be acknowledged that ABC Network wanted to change the name of the show to “Far East Orlando”, but no one liked that title either – particularly not Chef Huang, and he lobbied fiercely to get it changed back to match his title and his brand.

The Fairy Princess is not disavowing that racism happens – she could not possibly when she herself has harmlessly walked down the street and been called all sorts of racial names by ignorant people driving by safely in cars, or heard what was yelled from a school bus while she rode her bike to school, or even, just you know, well, for example this is a conversation she actually had, but it is repeated at least twice a week, somewhere in her week:

ME: Bagel and Coffee Please

COUNTER GUY: Where are you from?

ME: New York.

COUNTER GUY: No, where were you born?

ME: Manhattan.

COUNTER GUY: NO, I mean, where is your Family from?

ME: Ireland.

Never got that bagel and coffee. A bit of Hapa Humor – because what he really wanted to hear was China…or Japan…or Korea…or some other Asian country that he would then be able to tell me he either wanted to visit, was once stationed there during a war, or perhaps, he wanted to tell me to go back to there.

These are all things I have heard throughout my lifetime. And worse. Much, much worse.

The Fairy Princess gets that APIs are concerned about the title – but growing up in New York, she can assure you of one thing – we all borrow from other languages to express ourselves, capice?

Even if FOB makes it into the vernacular – is it really worse than ‘Chink‘? Or “Jap“? Or “Gook“? Or “Slant“? Or “Hey, Love You Long Time“? Or “Bitch“?

Or any combination of those with added slanderous words concerning my perceived place of origin, my Parents, or my very existence, is it?

Given those variables, The Fairy Princess would relish simply being called a FOB. Because she has been called all those other things throughout her life – being a Viking explorer would not actually be that insulting.

These Folks are Fresh Off the Boat as well....I dunno, they look pretty fierce

These Folks are Fresh Off the Boat as well….I dunno, they look pretty fierce

So I’m newly arrived? So what?


Is that, in a nation of Immigrants, really a big deal? That one arrived by boat? Shouldn’t one be glad that someone in his or her family took a giant leap of faith and left everything they knew, in order that we, Asian Americans might wallow in hypersensitivity and yell about titles of television shows that have not even aired yet?

My Forefathers took a boat to get here – they were escaping oppression and war, and they took a boat.

It was from Dublin.

Everyone has suffered from Xenophobia in America - Everyone

Everyone has suffered from Xenophobia in America – Everyone

My point is – at one time, any transoceanic travel was only accomplished by boat – Asian Americans do not have a monopoly on arriving anywhere via ocean.

The uproar over FOB is because we are the ones that turned it ‘into something’ and now, we do not want to reap the consequences of that. Too bad.


This show has not only been trashed talked because of the title, but because the lead actress, Constance Wu, has a accent. Which, she should – because her character is from Taiwan. Asian Americans do not get their increase in numbers from birth rate, we get them from immigration.

Let me put it another way – if the character were Caucasian and from Dublin, and had an Irish accent – would you have a problem with it?

Colin Farrell would probably play the part with an Irish accent, but then everyone would be upset he was playing a Mom

Colin Farrell has an accent. I am ok with it- Ladies? How about you?

No. Because it would make sense for a character from another country to arrive in America and speak with a slight accent. As it does in this case – it makes sense for the character.

The complaints keep coming though, and they are getting more and more upsetting…

I read a comment that said they were upset that lead actor, Randall Park, who is of Korean heritage, is playing a Chinese American.




The Fairy Princess says NO!

Absolutely NOT!

Do not project your own issues onto an unsuspecting sitcom. Do you have ANY idea how GREAT it is to have not one, not two, but FOUR television shows on major networks with Asian Americans, showing a panoply of the depth of Asian America? DO YOU?

The Fairy Princess does.

It has been a long, hard struggle for those both in front and behind the camera to get to where we are now – twenty years have gone by since an Asian American family was the subject of a sitcom on a Major Network.



Or just do us all a favor and just watch kitten videos for the rest of your life. ONLY kitten videos.


The Fairy Princess will NOT listen to any more of your idiotic complaints….


The Fairy Princess is going to challenge Asian America – here goes:

I want you to watch, DVR, On Demand, Internet – however you watch television now – I want you to watch the above four shows.

I want you to prove to NBC, CBS, and ABC that Diversity matters.

I want you to prove that Diversity = Dollars.

What you are doing, by going to town with these complaints is proving that Diversity = Damage Control.

This is the wrong message to send.

The end result will be less Asian Americans on television, because you will have effectively told the Networks that you are going to raise hell every time an Asian Family hits the air, and you will make it ‘too much trouble’ to have an Asian American family hit the air at all.

Are you hearing me?


All this bickering and in-fighting and you know what? No one cares about your insecurities except you, your Family, and a trained Therapist that you should definitely call after reading this.

The Fairy Princess does care if your internet hashtag war it is going to give a network exec pause before greenlighting another sitcom about an Asian American family that may be coming down the pipeline. Or if it gives ABC second thoughts about where it places Fresh Off The Boat come mid-season.

The Fairy Princess thought the trailer was funny. The end. Funny trailer, it deserves it’s shot.

Pull it together, Asian America – you are acting like someone who needs a Snickers bar cuz they are having delusions that they can see Russia from their backyard.

I am going to leave you with these final words, Hunties….think about them, because all these ‘protests’ seem to come from deep rooted insecurities and perhaps a smidge of self-loathing, what scares you about this show? Really? Because, it’s a comedy. It is not supposed to send you to your ‘dark place’, but if it is – you have other things to think about.

Because as Mama Ru says:



Can I get an ‘Amen’?


The Fairy Princess‘s  toddler had four “Revolutionary Costumes for the Day’ – four, before Noon.


Oh HIIIIIII‘. Indeed.

Grandmas should not be handing out chocolate covered strawberries like it was revenge, but there you go. (And maybe it was, I was a tough kid)

Short post today, just to ‘sum up’ as it were:

Ok, so fun things – The Fairy Princess spoke on her friend, Dennis Hensleys Podcast, “Dennis, Anyone?”

Dennis is a writer, a director, and most recently, was one of the Writers for Fashion Police with Joan Rivers, on E! We have been friends for a ton of years, and I find him outrageously delightful. He also has two books I heartily recommend – Screening Party and MisAdventures in the (213)


The Fairy Princess appeared on Global Village Broadcasting, on the show, Cabarabia, Hosted by Director/Producer Clifford Bell. Clifford directed me in my very first cabaret show, They Shoot Asian Fosse Dancers, Don’t They?, so it was great to catch up with him.


AND…just to wrap up, she found this really fun little clip from when she went on the Frank DeCaro Show on Sirius, Jim Colucci was hosting, and she talked about the 10th Anniversary of Avenue Q.

And this is what a gal dressed as a Drag Queen looks like:

The House of Xmas Eves...

The House of Xmas Eves…

Only in regards to myself, of course – everyone else looks fantastic.

And THAT is probably one of the shorter blog posts I have done, but in case you wanted to hear what The Fairy Princess sounds like – there you go!

The Fairy Princess had a lot on her mind the last week or so- and the initial announcement of the casting of Australian Tenor, Stuart Skelon as Otello, a part that is designated as a person of color, a Moor,

Stuart Skelton, Tenor

Stuart Skelton, Tenor

at the English National Opera (ENO) was enough to make her want to

The Scream by Edvard Munch

The Scream by Edvard Munch


However, The Fairy Princess is a bit different than others who have written, quite excellently, on the subject of Mr. Skelton’s casting, because The Fairy Princess was a Classical Voice Major – and having been one, for these reasons – 1. she has several friends who are actively singing on the World Stages and 2. her sibling worked for Herbert Breslin, who was a famed Opera Manager who represented Luciano Pavarotti for much of his career, she thought she could write a bit on the subject.

The Fairy Princess ‘knows’ from opera. She is by no means an expert, but she has been a delighted observer, listener, and audience member for classical music since she was in sixth grade – which was when she was first shown La Boheme, performed in English, by her fellow classmates – which was a unique tradition installed by the Music teacher of the school. In fact, later that year, she auditioned for and was chosen for the 6th grade performance of The Pirates of Penzance, which started her love affair with all things Gilbert & Sullivan.

Which started her down this road in the first place.

What this means, ultimately, is that when she has a question about Classical Music, she knows who to ask. She has, both in her Family and in her friendships, some erudite and supremely knowledgeable people who work in Classical music the world over.

The world over. That is an important distinction, and here is why:

When the ENO announced their casting of Otello, The Fairy Princess assumed that this was a similar situation to The Royal Shakespeare Company’s casting of The Orphan of Zhao – that this was a ‘white-washing’ of highest order, made only more offensive because the ethnic population of London is exceedingly mixed, and the idea that a white man was going to portray a black man (or an ethnic man) on a stage where a large majority of the population is not white, and use public money to pay for it, struck her as offensive.


The Fairy Princess assumed that, with a bit of research, and well placed questions, she would be able to throw several names of world class, first rate, Black Dramatic Tenors to highlight that the ENO had missed the boat on this casting.

Now, being a Classical Voice Major, one is aware of several distinctions within the Operatic Vocal Descriptions – it is not that every Soprano is simply a Soprano, nor is every Tenor simply a Tenor, likewise with Mezzos, Baritones, and Basses. The timbre (pronounced tam-ber) of the voice in every singer is different, and to those distinctions, opera has it’s own descriptives that tell people what they need to know about the singers vocal capabilities, they denote a voice’s ‘color’ and range.

For Tenors, there are four acknowledged types: Counter Tenor, Lyric, Spinto (also referred to as Heroic), and Dramatic (also called Heldentenor).

No one sings everything – because Composers from different eras and different countries wrote for their own tastes at the time. Preference, in Opera, is everything. Some people only do Art Songs, some only do French Operas, some only sing in German – the reason they do, is because their type of voice tends to work particularly well with one specific type of role. Singers do not jump fach. A Soprano does not sing the roles of a Bass.

Are there instances when maturity changes the voice and requires a changing of repertoire? Yes. But that generally occurs rather early in one’s twenties, and usually singers have figured out their fach by the time they are in their late 20’s. Usually. There are always exceptions. However if one is a professional singer on the level of the ENO, one knows one’s own vocal abilities.

So what, The Fairy Princess asked, are the requirements of performing OTELLO?

OTELLO requires a Dramatic Tenor.

A Heldentenor.

There are arguably (because Opera fanatics love to argue) 10 great Otellos since the piece was written. Some, will knock off a name or two – they will argue over the recording, they will argue over when it was recorded in the singer’s career, they will argue over just about anything.

But here are the names of the (always and consistently in debate because classical music people are relentless), 10 generally agreed upon ‘great’ Otellos: Vladimir Altlantov, Enrico Caruso (who was preparing the role when he died and only made some recordings), Placido Domingo, Martinelli, James McCracken, Mario Del Monaco, Luciano Pavarotti (who only did it in concert), Francesco Tamagno (who was the first Otello, ever), John Vickers, and Ramon Vinay.

And as we have mentioned them,  let’s take a look at what the role requires vocally – pulling from videos available –

Ramon Vinay:


Placido Domingo in 1991:


Enrico Caruso – long considered the Greatest Tenor of all time, he never performed the role, but he was preparing it when he died – keep in mind the recording quality is not what we consider now to be even passable, and given that, how much we are ‘missing’ and yet how much still comes through:


And of course, with even more scratchy scratch, is a recording of Tamagno, our first Otello ever:


As everyone can hear – it is a big role. It is one of the biggest roles, and though it is done somewhere every year, it is not part of the standard rep, because it is difficult to cast and then there is that sticky issue with ‘blacking up’.

What is blacking up‘, you ask?


It has been ‘standard operating procedure’ to ‘black up’ for Otello ever since it was written, because underlying racism in the story is the jumping off point for Iago’s master plan to bring down Otello, the Moorish General who is married to a white Venetian woman of great beauty. It’s not pretty – the blacking up, I mean, not the score, the score is tremendous.

The Fairy Princess is relieved that greater scholars than she have considered these issues for this book, Blackness in Opera.

She was also delighted to read this post by the UK’s Daniel York. Mr. York’s piece definitely cut to the chase, as it were, on the mood right now, amongst those frustrated by the lack of diversity on UK Stages.

The Fairy Princess does not like the idea of ‘blacking up’, she is not, in any way for it. She has no problem with a wig, or added facial hair, but excessive makeup to make one look like another race? Nope, not for it. She does not like it when they do it to Butterfly either.

In 2005, at The Royal Opera in England, they made a decision to not do it, when a white singer was cast in a black role. To somewhat of a relief, the ENO has also announced that they will not ‘black up’ Mr. Skelton. That they announced this via Twitter is, perhaps a sign of the times and a hope that they would like this whole issue to go away as fast as possible.

However, when The Fairy Princess heard about it, she was annoyed. After all, she reasoned, there must be half a dozen Tenors who could play that part, who are People of Color. She determined to research the issue, but as one who had once had a pinky toe in the waters of Classical music. She thought that she could easily hit the internet and get names and performances that would knock everyone’s socks off.

But she was forgetting the specific requirements of playing Otello, and they are – one must be a Heldentenor.

A Dramatic Tenor. Remember – 4 kinds of Tenors out there – Counter Tenor, Lyric, Spinto, and Dramatic.

There are amazing People of Color who have been gracing the World’s Operatic Stages since the 1940’s, and it is to Opera’s credit that it embraces people of varying sizes, varying appearances, and varying skin tone, because they are concerned with just one thing – the voice. La Voce.

The Fairy Princess found some amazingly talented Tenors who are People of Color.

There is Vinson Cole


Mr. Cole is a Lyric Tenor. (Listen to the notes at the end, just gorgeous)

There is Lawrence Brownlee, here he is with Renee Flemming


Amazing. He is a great interpreter of the Bel Canto (beautiful voice) style of singing. In fact, he is one of the most ‘in demand’ tenors IN the Bel Canto style, he has won all sorts of awards, and as you can hear – is a breathtaking singer.

Not a Heldentenor.

But he is thrilling. Absolutely thrilling.

There is Noah Stewart, whose solo cd, Noah, reached the top of the Classical Charts in the UK. Here he is singing with Nmon Ford, Baritone.


Mr. Stewart has commented publicly, as well he should, on whether or not race matters in Opera, and he would know. His journey has been remarkable and he is an acknowledged world class talent.

Mr. Stewart is a Lyric Tenor.

Eric Owens is a wonderful singer….


Mr. Owens is a Baritone.

Solomon Howard is a Bass. That is lower than a Baritone.


Ryan Speedo Green:


Is a Bass Baritone.

Here is Norman Garrett, singing one of The Fairy Princess’s favorite Schubert arias


Mr. Garrett is a Baritone.

Reginald Smith?



In point of fact, The Fairy Princess posed the question of “Where is an Otello who is a Person of Color?” to several active Opera Singers, International Voice Coaches, a Former Manager of World Class Opera Talent, an Agent at a top Classical Agency, not to mention several online searches and she only came up with one name – Michael Austin.


Yes, only one. Mr. Austin  has sung at The English National Opera as Joe in Carmen Jones.

But when there is only one – and Opera Scheduling being what it is – he may have been booked already.

This is not an excuse – this is a challenge and a call to actionfor Conservatories and Young Artist Programs around the Globe.




Because here you have a role that requires, requires the premise of racism as a plot point, and all the research and the experts are telling me that, well, ‘I don’t know of any” or “there are none to my knowledge’ or, “He’s a tenor, but that is not his fach“. Which should be ludicrous.

Should not even the existence of this role be an inspiration to potential Dramatic Tenors? It is a bear of a role, but if you can stay the course and study and grow – there is not even a door to knock down, you can just blow softly and it will swing open.

If the uproar over this casting has shown us anything, it has shown that there is both a need and a longing for Verdi’s great music paired with a Dramatic Tenor who fits the description of Otello without hideous makeup.

Are there social issues, issues of access, education, and exposure preventing there from being Dramatic Tenors who are also People of Color within Classical Music?


A recent study showed that when People of Color ask for Mentors in University settings in the USA, they are overlooked, quite often. So, yes, undoubtedly that would hold true to some extent in Classical music.

There are also issues in Classical Music with Female Conductors. There are issues of every shape and size – there are financial considerations to buying a ticket, there are financial considerations to studying, Opera Companies are closing at an astounding rate,  and there has been a trend in Opera concerning esthetics that have entered into the equation as a result of all the wonderful feature video recordings that bring the audience much closer to the singer than was ever intended.

One wonders if the Great Caruso would even be able to get an audition today, given his appearance.

Enrico Caruso

Enrico Caruso


But the casting of Mr. Skelton is not like The Royal Shakespeare Company’s casting of The Orphan of Zhao.

In that case, there were tons of highly skilled and available British East Asian Actors who could convincingly portray people whose background was Chinese, but The RSC would not cast them because they thought that no one would accept them in a repertory season.

No, The ENO did not pull an RSC. Though, I doubt they did quite as much research as The Fairy Princess in trying to acertain that information, they knew of only one – and he has performed there prior.

Did they ask him?

We have no way of knowing.

Stuart Skelton sang Wagner at the ENO in 2012, Carmen Jones was performed there in 2007. People like to work with people that they have recently worked well with.

The Fairy Princess does not negate any feelings towards the Casting of the ENO – there should INDEED BE a Dramatic Tenor, a Heldentenor, who is a Person of Color -She does not know why she could only find one.

However, as a singer, she has to look at the role and the range requirements, and she has concluded that, aside from Mr. Austin, she was unable to find a singer who fit the bill. It is puzzling – and everyone she spoke to, emailed, texted, was equally puzzled.

It does NOT mean that he is not out there – it means he is working on it. It means, he is studying, it means he is determined, it means that there is everything for him to ‘win’ if he can stay on track.

And we must help him – whoever he is.

So, my fellow People of Color – in addition to my challenge to the Conservatories, I also charge you with one task – get yourself a recording of Otello and play it. Play it for the children, play it for the teenagers. Play it for those who sing, and for those who do not – but play it. Perhaps too, go and see it – see it for the possibilities of what could be. See it because it is one of the great Verdi Operas. See it because Opera and the love of it, is accessible to everyone.


Because exposure is the first step to curiosity. And Curiosity is the first step towards wanting something.

And this will change.

There are people to be inspired by in Classical Music, just listen to Mr. Stewart and the reaction he gets:


The Fairy Princess knows that people will become angry at this post. Because it is lovely to assume that just because one sings, one can inhabit any role – and that is, on my word as a singer, not the case. If one wants to throw names simply to show us that yes, there are People of Color in Opera, well….ok.

There are many, many talented, world class People of Color in Opera. Also on Broadway. Also, everywhere there are Singers.

But right now, I know of only one Dramatic Tenor who specializes in Otello.

People deserve to hear Verdi sung.  If we can all agree, Opera World, that “Blacking Up’ is not going to happen (Well, everyone will agree except Germany, they are in love with it over there) because of changing demographics and sensibilities, then it honestly does negate the thorniest issue.

The text is problematic – yes,  it does undermine the story to not have a Person of Color as Otello, but in Opera, it is more about the voice than anything else – everything falls second.

Perhaps that is equality in it’s purest form?

There are wonderful things happening in Opera right now – wonderful, inclusive and diverse things, and like anything else, your ‘vote’ is your purchasing a ticket. Whether it is to a recital, to an opera, to a Broadway show – you vote with dollars.

The Fairy Princess has great hope that the next time she does a search like this, for a Person of Color who is a Dramatic Tenor, she will come up with those half a dozen names that will light the world on fire. She hopes that they will fit the role vocally and physically (Otello is supposed to be imposing), they will be able to act their faces off, and they will, in every way, be a world class Verdi singer.

Until then, the current situation will stand.

No one is sadder than I about it.



The Fairy Princess and most of Broadway is still reeling from the announcements of our highest theatrical honor – The Antoinette Perry Awards.

This week were the TONY Award Nominations, which were both thrilling, and devastating to the Broadway Theatrical Community. Shows close as a consequence of the nominations, and the first casualty was Jason Robert Brown & Marsha Mason’s The Bridges of Madison County. You can catch it till May 18th. Also, it is going on tour, and there has been a Cast recording, so if you miss it on Broadway, you may be able to catch it soon near you.

While The Fairy Princess is but a casual observer of the TONY Nominations this season, not quite in a tree, but…

oh, Theatrical Producers if you want me to shut up all you have to do is employ me to do 8 shows a week, because one doubts that The Fairy Princess would be able to hold down that schedule, raise a toddler, and blog

but till then, she could not help but notice that in a Season with no Asian Americans nominated in the Performance Category (and yes, there were people around to be nominated in the Cast of Aladdin), the TONY Committee had Film and Television Star, Ms. Lucy Liu announce the awards with James Franco.

James Franco, TONY Host Hugh Jackman, and Lucy Liu

James Franco, TONY Host Hugh Jackman, and Lucy Liu

I suppose that is supposed to give The Tony Awards a bit of Diversity?

Or because May is Asian American month?

It seems a weird misfire – after all, no better way to point out that there are no Asian Americans in leading roles to nominate than to have an actual Asian American announce said nominations?

Perhaps it means that Ms. Liu is considering a stage role? One can only hope.

The Fairy Princess did not miss the irony of this, and she is sure she is not alone.

There was one API nominated for Best Costume Design of a Musical, Linda Cho for A Gentlemen’s Guide to Love and Murder. Congratulations! I saw it, and the Costumes were fantastic. So was everything else. That show has 10 TONY nominations, and deserves every single one and could have actually had a few more in my opinion.

There was one Performance Nominee who is Asian, but not from America.  Mr. Ramin Karimloo, who is Canadian and of Iranian aka Persian descent, and yes, that is considered Asian. He is nominated for Best Performance by an Actor in a Lead Role in a Musical for his Jean ValJean in Les Miserables.

Congratulations Mr. Karimloo!

Ramin Karimloo, TONY Nominee from the Revival of Les Miserables

Ramin Karimloo, TONY Nominee from the Revival of Les Miserables

What IS it about Canada that their Asian heritaged Actors do so well?

Canada also has this lady:

Canadian Actress, Sandra Oh, who created one of the fiercest television Doctors the world has seen, Dr. Christina Yang

Canadian Actress, Sandra Oh, who created one of the fiercest television Doctors the world has seen, Dr. Christina Yang

Sandra Oh – dealing another deathblow to Asian representation on American television, by departing Grey’s Anatomy after 10 excellent seasons. The Fairy Princess tips her tiara to Ms. Oh and hopes her journey will take her next, perhaps, to Broadway?

One can dream.

Maybe I should move?

But back to the main point, which is that the Tonys were announced, and people are puzzled with how some of the ‘nods’ came down. I supposed ‘egregiously overlooked‘ is not just for Julie Andrews anymore….


Seems as if the nominations this year are a bit xenophobic this year, a bit anti-Hollywood, and a bit…frustrating. How do you not use all five slots in your BEST MUSICAL category when there are a plethora of musicals this season? The Fairy Princess could go on and on, but we all have to Sondheim it.



The hard part about these nominations is that they have direct influence on whether or not shows stay open, whether or not several hundred people stay employed, and whether or not new ‘stars’ are made.

However, I’m going to go a bit Anne of Green Gables here, it is not my usual M.O., but here it is:

If you are in a Broadway show, making a living, having 8 opportunities per week to perform the craft you love so well, then you have already won – regardless of what any Nomination is given or not given.

As Patti LuPone once said, when cheering up Ken Page for not receiving a nomination for his role as Old Deuteronomy in CATS – The Base of the TONY is plastic, let’s go have lunch!”

The way to keep shows open – with or without nominations is simple – you ‘vote’ with your dollars. You buy a ticket.

If you have a favorite play or musical this season – go see it again. If you have a favorite Actor or Actress, make sure you catch them in their show. This is one of the strongest seasons in a really long time – get out and go see something you will enjoy, go out and see something that will challenge you, go out and see….something.

Because although the TONY base is plastic, the People of Broadway are not – and they need you, the audience, more than anything else. A show can survive without nominations, it cannot survive without audiences.

Congrats to all the Nominees – may the odds be ever in your favor.

And for those who have been ‘egregiously overlooked’ – let’s remember:

“Time heals everything” – Jerry Herman.



It is kind of giving me the giggles to think how much Hugh Jackman is probably sweating it trying to come up with something to beat this opening last year:


Go Hugh, Go!

The Fairy Princess’s head is kind of spinning – there was a LOT this week, so since the post was getting too enormously long, she’s going to divide it up into THREE!


Here’s just two things that I am happy about:

Here Lies Love re-opened at the NY Public Theater. What she loves about this is that it proves that a show starring Asian Americans, telling an Asian story, can not only be a sellout success, but it can come back and sell out again! This bodes well.



Then the kerfuffle at The Lantern Theater Company that she first addressed on February 18, 2014, had a bit of closure when the Artistic Director, Charles McMahon sat down with Japanese Artist, Makoto Hirano.

Mr. Hirano, wrote his letter addressing the situation titled “How To Stage Your Show Without Being Super Racist” in early March, on or about the 5th.

Would she have asked some different questions? Undoubtedly. However, Mr. McMahon makes it clear in the video that that would not have happened in any case, because The Fairy Princess is not a local Philadelphia Artist.

So be it.

Closure asked for, closure received.

Thank you Mr. McMahon for your honesty and candor. The Fairy Princess appreciates that you agreed to talk about this issue on camera, with a Japanese born American staring you down the entire time. She gets that this was uncomfortable for you, and she appreciates it.

But Lantern Theater….we’ll be watching you.

Cuz you thought THIS was ok:

Jered McLenigan as Anthony - Photo by Mark Garvin

Jered McLenigan as Anthony – Photo by Mark Garvin


It’s not.

So just know that we’ll be watching, and if we see it again….