Many moons ago – how long has it been since The Fairy Princess blogged…a while, apologies, my kid is almost 10 months as of this writing and he is pulling himself up on everything in an attempt to give me heart failure and himself a concussion every ten minutes.
Anyway, way back those many moons ago, I was sent a Casting breakdown for a new musical called BUNTY BERMAN PRESENTS, which was supposed to take place in Bollywood – which, if you have never heard of it, is India’s Hollywood only with more musical numbers and no full frontal nudity. (Just kidding Bollywood, I know who you are)
Bollywood is a wonderful place full of talented people. People who sing, and dance, and act – often at the same time. They are a People who Perform for People, and they make way more films than the United States Film Industry.
“Nothing’s better than more, more, more” – Graphic stolen from Businessweek article
So I was thrilled to hear that The Acorn Theater was going to do a new musical based on this concept until I read the Casting Breakdown which stated “NOTE: We are open to seeing actors who are non Indian but who can believably play Indian characters.”
This was super not cool. This was like saying, “We thought that hideous Bollywood-esque production of PIPPIN in Chicago was a GREAT idea!
Boy, this looks kinda sari, doesn’t it (Jen Bludgen & Co in Circle Theatre’s PIPPIN)
This was like saying Moises Kaufman is going to have me over for Passover Seder!
This was like saying the RSC was right! (Which is LUDICROUS because everyone knows that ACT is actually right!)
This was like saying everyone was ok with no South Asians in South Asia….actually, it wasn’t ‘like‘, was it? That was what it was ACTUALLY saying.
It was looking to be a very “Drood” Bunty….with everyone in Brownface and accenting up a storm…and The Fairy Princess did use it as an example of what the trickle down effect can be when we “Whitewash’ Asian Americans out of Asia.
However, Director Scott Elliott very sneakily grabbed a page from the ACT Playbook and yep, he gone and dun it!
In a musical set in India, he cast South Asians!!!!!!!!!!!!!!!
Not only that – he cast Erik Avari…who I j’adore as Bunty!
Erick Avari aka Bunty Berman
WHY do I j’adore?
BECAUSE HE IS IN THE MUMMY!!!!!!!!
The Fairy Princess has an unusual love for that film…and all it’s many spinoffs…she has even, dare I confess, watched that one about The Scorpion King when he was a young man…anyway, as Whitney used to sing, “it’s not right, but it’s ok”…but I mean COME ON a Mummy that comes back to life and is HOT? What’s not to love?
Seriously, WHO does not love THE MUMMY?
Anyway, not ONLY are there people who were born in India playing the role of someone who was born in India….wait a minute…I can’t…I have to….can we stop for a moment and just yell SHUT THE FRONT DOOR!!!!!!!!! This is AWESOME!
Right, George?
It was the LAST thing I ever expected, given the Casting Breakdown that went out. I thought it was going to be a hot mess that would make everyone’s third eye get a twitch. Honestly, I did. I was wrong.
So here’s the deal, The Fairy Princess wrote about the “Broadway Brown” of Edwin Drood and mentioned that Bunty was coming up and possibly not having South Asians in the production. People got very mad, and tweeted mean and nasty things to The Fairy Princess, things that were ignorant and based in racism and all sorts of stuff. Things got a little threatening, and things got quite heated. Why everyone was so ‘het up’ over a show that had already announced it’s closing was the real mystery.
All that kerfuffle made The Fairy Princess kinda….not mad, not sad, certainly not glad, (I’m not effin’ Anne of Green Gables) but just a little tiny bit exasperated at how many Caucasians tried to ‘school’ me on what a ‘show within a show’ means and how many were convinced it was their ‘right’ to use exaggerated face paint and use exaggerated gestures to typify a culture because when they did that role in college, they had a great time.
The Fairy Princess was feeling a bit…well, annoyed that every time she wrote a blog post it had to include a map to show where in Asia they were white washing the culture from. The Fairy Princess was starting to think that the umbrella was not adequate for the sh*tstorm that seemed to rain down on her each and every time she pointed out things every Director should be on board with – things like context and authenticity and yes, creativity.
The Fairy Princess’s wings had drooped and her tiara needed a polish. But her crystal ball told her to not lose faith, to check back in and see what the situation was with Bunty Berman Presents, after all….anything can happen in the wood….
The Fairy Princess put on her Mary Poppins “Spoonful of Sugar” recording, and went internet searching, and low and behold…. it seems…it seems…it seems…the point has been made.
Which makes TWICE! (San Fran’s ACT was 1st)
The Fairy Princess does not take credit – maybe this was their plan ALL ALONG?!?!?! Who knows? But perhaps, perhaps she helped a little bit. Perhaps being a mouthy Asian American with an Internet connection has hit a chord? A Dominant Seventh? Who knows what would have been the result if there had been blogging back when Miss Saigon was opening on Broadway with a Caucasian playing a Eurasian Pimp?
It seems that people are listening. Or reading, rather.
(I mean, no one would actually be LISTENING to me unless I was speaking at a conference…I’m available for weddings and bar mitzvahs too, btw…) Anyway…
Let’s DO this thing:
The Fairy Princess would like to congratulate the Cast of BUNTY BERMAN PRESENTS: Erick Avari, Raja Burrows, Nick Choksi, Katie Chung, Sevan Greene, Andrew Guilarte, Shoba Narayanan, Lyn Philistine, Debargo Sanyal, Pallavi Sastry, Gayton Scott, Lipica Shah, Alok Tewari and Sorab Wadia
She would also like to give five tips of the tiara to Director of The New Group, Scott Elliot, who is helming this production – written by Olivier Award nominee Ayub Khan Din and Grammy and Emmy Award winner Paul Bogaev.
Careful the things you write, people will listen….
As you know…The Fairy Princess has had some things to say about casting, particularly theatrical casting – both in the USA and abroad.
I’m thinking…I’m thinking
Ahem.
Just a few things (thing 1, thing 2, thing 3). We’ve gone from Chinese people being eliminated in Mythical China, to Chinese people being eliminated from a Chinese play that is set in real, actual China but shown onstage in the UK, to South Asian people being mocked on Broadway…it’s been a busy year for neglect racism.
Or as I call it in terms that render it more a medical condition, and therefore treatable – Lazydirectitum aka Castingidiotum aka Artisticdirectorless
There have been several theater conferences on the issue – a forum hosted by the venerable East West Players in Los Angeles, “Open Door” in the UK hosted by British Equity, and most recently one held in Chicago hosted by Silk Road Rising Theater Company.
There was also a ‘talk back‘ at La Jolla Playhouse, and an upcoming March ‘closed door’ meeting at The Roundabout theater company, and now, FINALLY there has been some real, definitive action – a Master stroke has been dealt and it is a doozy.
A.C.T. – the American Conservatory Theater has taken aim at that pesky windmill of neglectful racism and in two, bold and daring moves, they have put the theater community on notice.
What is this you say? Wait, could it BE? Could there be a light at the end of the railroad tunnel? Is it possible?
The light shines brighter in San Francisco
YES, my Children, they have done it.
ACT is doing 2 shows with…wait for it….Asian people.
SHUT THE FRONT DOOR!
President George W. Bush can’t believe it EITHER
Boldly going where few have gone before in recent memory, ACT is doing Stuck Elevator in April 2013 – a new work based on a real undocumented Chinese Delivery Man in New York, who was stuck in an elevator for 81 hours. Poor guy.
(The Fairy Princess was stuck in an elevator once, in New York City, but it was only for forty five minutes and no one wrote a musical about it because all it would have entailed was The Fairy Princess sitting her butt on the elevator floor waiting for someone to realize she was missing, so it is good that no one ever optioned that particular story from her life.)
The Fairy Princess is gobsmacked! She even knows two of the folks in the cast – Raymond J. Lee (He’s in The Mikado Project trailer, rapping A Wandering Minstrel )
and Joseph Anthony Foronda.
Joseph Anthony Foronda & Erin Quill in 50th Anniversary Production of Flower Drum Song at AMTSJ
Both of whom are exceptionally talented, and with whom The Fairy Princess is very honored to have shared the stage and screen with.
What? What you say? I KNOW, I know…you are very excited.
DANCE BREAK!
Ok that’s enough. Stop now. Because you will never, ever, never ever EVAH guess what ACT has planned!
They are going to take that same translation of The Orphan of Zha0, yes, the VERY one that The Royal Shakespeare Company had commissioned from James Fenton –
RSC’s Poster
and….AND.…They are going to put a Chinese American Actor in the lead role!
DROP MIC! Grab a towel and let a peon wipe your brow, ACT, THIS is Victoria Beckham ‘MAH-JOR’!
Gregory Doran must be so pissed! (And not in the British ‘pissed’ = ‘drunk’ way, but pissed off)
He’s saying “What, what? The Colonies? They’ve done what? And who is in the Cast? Who? Shown me up, have they? Made legitimate casting decisions based on text, have they? Upstarts! Well I NEVER!”
Yes. We know that, Mr. Doran.
You never. Because you did not feel that British East Asians should be in a repertory season, so you just thought it was better to not bother with them at all in a show set in China, that you went over to China to do research on. Because even though there are conservatory trained Actors in the UK, no one would ‘buy’ them in a Brecht play, in your opinion, so you just felt…eh, why bother?
Oh, you are back Mr. Doran, sorry I was doing a gig of happiness – well, I’m Irish, sometimes you have to…
You know what? When The Fairy Princess puts them one under the other, the photos, doesn’t that little boy seem like he could possibly grow up and be TONY Winner BD Wong?
OH.
OH.
You see, Mr. Doran, That’s the point. The point is – is that there is going to be an Asian American Actor portraying an Asian person!
He’s not going to be a dog puppet….
Joan Iyolia & Chris Lew Kum Hoi in rehearsal Playing the dog, sorry, dog puppet at The RSC’s Production of The Orphan of Zhao
He is not going to have to ‘learn’ how to tape his eyes…..
Or use a terrible accent…..
He is just going to get to be the Lead, in a production that is set in a country, where, historically, his Family may have been from.
It is mind-bogglingly simple. It is the Casting that need not speak it’s name. It’s a home run.
So what, Dear Reader can we do to support this bold and brave casting choices?
We can all buy tickets and go.That’s how you vote in theater, with your dollars and common sense.
Look, you may be reading this as an Asian American Actor, or you may be reading this as a theater fan, or you may be reading this because you are going to post on the comments how awful I am and how I know nothing (opinions are indeed like a**holes, everyone has one) but for whatever reason, you are here. Don’t waste this beautiful opportunity to be part of the change of American theater. Buy at ticket to these productions – and you know what?
KEEP BUYING TICKETS – go to the theater, go to film festivals – GO, GO, GO! Even if you don’t like the first thing you see, or the second – when you see that the theater community is reaching out, reach back.
One of the biggest obstacles in including Asian American performers more into our Theater culture is that ‘no one‘ will buy tickets to see an Asian American as a lead. Prove them wrong. You’re someone, aren’t you?
I don’t have a crystal ball
I borrowed it. (Photo by Dr. Michelle Ko)
But if I did, I would tell you to keep your eyes open because this is a very encouraging and exciting thing.
The Fairy Princess wanted to take a brief moment and congratulate the British East Artists on their award of Nee Hao Magazine’s Man and Woman of the Year Award.
The fight for recognition in theater or for those in the UK, theatre, is so very complicated and exhausting, that it is truly, truly a wonderful thing to see their work recognized in a way that the US Asian Americans have yet to be, though AAPAC is doing great work under the leadership of Pun Bandhu.
Here is the article from Nee Hao and as part of the “international support’ team, I am absolutely thrilled.
After much deliberation from the judges in reviewing a pool of impressive candidates, a decision was made. On February 9, the winner of the first-ever Nee Hao’s Man and Woman of the Year Award is to be received by the British East Asian Artists (BEAA), a collation of amazing men and women from diverse professions involved in directing, acting, writing, broadcasting and filmmaking. Normally the award should go to an individual man and woman, but this year an exception is to be made because of the special achievement of this group. A full list of the other finalists will be in articles to follow.
The Judges’ Decision
BEAA was selected by a stellar line of judges comprising of:
Dr. Catherine Xiang In charge of Mandarin section at LSE; responsible for Asian Languages, liaison for Confucius Institute Business, London
Raymond Wong MBE, the Honorary Chairman of the Bristol Chinese Association
Dee Lo, presenter and co-producer of BBC Radio Chinatown in Manchester
GK Tang, the founder and entrepreneur behind OrientalUK.com based in the North East
Ben Donn, Entrepreneur and founder of V Town Events based in Manchester.
Editor of Nee Hao Magazine Steven Ip, who was not part of the judging panel, had this to say: “Their courage in breaking barriers to incorporate more East Asians into the arts and cultural sectors is truly inspirational. Fighting racism, prejudice and underrepresentation, the BEAA truly deserves universal recognition; I am proud that Nee Hao has played a small part in recognising their contributions”.
Gathering together in 2012, the BEAA campaigned against the Royal Shakespeare Company’s (RSC) adaptation of the Chinese play “Orphan of Zhao”. The RSC only cast three British East Asian actors in the play, reflecting a lack of the organisation’s dedication to equal opportunities-casting. The pressure exerted on the RSC through BEAA’s efforts in rallying up online support resulted in a written statement by the RSC to review their policies. Although it is impossible to recount all the individuals involved in the initiative, notable mentions have been made regarding Daniel York, Anna Chen, Dr. Broderick D.V. Chow, Kathryn Golding, Paul Hyu, Michelle Lee, Chowee Leow, Hi Ching, Jennifer Lim, Lucy Sheen, and Amanda Rogers.
Victor Wong, Executive Director of the Chinese Canadian National Council, who co-nominated the group stated:
“Through their efforts, the BEAA successfully challenged the racist assumptions and stereotyping of the theatre industry. Their efforts to break the glass ceiling of “invisibility” in the UK also benefits the British Chinese and East Asian communities in general, and especially for young people at the beginning of their careers. The BEAA were able to attract international support and also engaged with important allies including Equity representatives, media, funders and political representatives”.
Yinsey Wang, contributing editor of Nee Hao, who also supported the nomination of BEAA, stated of the Nee Hao’s Man and Woman of the Year project:
“We wanted this award to support what we feel is lacking in the British East Asian community: unity. The BEAA has shown dedication to a truly unified cause and enchanted the imagination of the British East Asian. As a British East Asian, I feel empowered to know that together we can make substantial differences in Britain, and can even engage the serious problems that affect the heart of the international community, such as racism, underrepresentation and misunderstanding”.
BEAA continues to create extensive ripples in the arts and culture of Britain, providing a forum for creatives to share and develop their work. Nee Hao is proud to celebrate this year’s men and women from the BEAA that have outlined 2012 as an important step forward for all British East Asians.
A statement by BEAA is to be made at the awards ceremony and shall be reported on after the festivities of Nee Hao Magazine’s Chinese New Year Show in London, which includes a fashion show, performances, a charity raffle in support of Chinese orphaned and abandoned children, and delightful culinary creations.
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The Fairy Princess also wanted to take a moment, and recognize the passing of a true Artist and Pioneer for API performers, particularly those of us who fall into the even smaller category of “Eurasian’ aka “Hapa” aka “Mixed Race” performers – Kevin Gray, known for his work in Miss Saigon, The King and I, Phantom of the Opera, The Lion King, and many more – died suddenly of a heart attack at the age of 55.
(If you click on the names of the shows, you will find articles from Playbill.com on his many successes)
Here is an interview of Kevin when he was doing The King and I at The MUNY
When I looked at my Facebook and Twitter feeds, I was staggered by how many of my friends had worked with him – friends of all different backgrounds and so many different kinds of shows – he touched them all through his work and his friendship. He was a pioneer simply because he was a wonderful performer and his talent was second to none.
This is not an obituary of Kevin, it is simply a thank you – I am not qualified to write one for him, but Theatermania and Playbill have done so, and if you click the words there, you will see them.
The Fairy Princess wanted to acknowledge that though we are all still fighting for recognition on our world stages, there was a brilliant warrior fighting that same fight, simply by being a standout in all he did.
Rest in Peace Kevin Gray – many thoughts and prayers to your Wife and Family.
Monday, Jan. 7, 2013, 8:09 AM PacificBUNTY BERMAN PRESENTS
Theatre
V/T: THE NEW GROUP – Acorn Theatre
AEA – ANTC CONTRACT
NEW YORK, NY
Artistic Director/Director: Scott Elliott
Book and Lyrics: Ayub Khan Din
Music: Ayub Khan Din andPaul Bogaev
Choreographer: Josh Prince
Casting Director: Judy Henderson
Casting Assoc: Kimberly Graham
Rehearsal: February 24, 2013
Preview: April 10, 2013
Open: TBD
Close: June 1, 2013
SUBMIT ELECTRONICALLY
JUDY HENDERSON & ASSOCIATES
NOTE: We are open to seeing actors who are non Indian but who can believably play Indian characters.
[BUNTY BERMAN] Male. 50. Needs to be able to play South Asian but open to all ethnicities. Mr. Show Business! A Bollywood producer/director who’s charming, resilient, resourceful, and going broke after a series of flops for his studios. He’s loyal to the point it ensures his dream’s survival. A self-made man who came from the humblest beginnings, and built this studio with his best friend and the leading man of his greatest films, Raj Dahwan. Boss to Nizwar and Dolly. Must sing.
[RAJ DAHWAN] Male. 49. Needs to be able to play South Asian but open to all ethnicities. Made his way to Bombay to be part of a new business set to boom: cinema! He was convinced by Bunty Berman he had what it took to be a star and went on to be the greatest Hero in Indian film. However, fat, over the hill and over the top, Raj is now a laughing stock facing forced exile but this Hero doesn’t want to go quietly into the night…even if he should. Must sing. ROLE CAST
[NIZWAR] Male. 38. Needs to be able to play South Asian but open to all ethnicities. Bunty’s right hand man and frequent collaborator, a screen writer with a Communist streak in him a mile long. He’s generally a voice of reason for Bunty but an admitted coward with big ideal but questions whether he has the guts to realize them. A loyal and devoted employee. Must sing.
[SALEEM] Male. 21. Needs to be able to play South Asian but open to all ethnicities. A spot boy, a general dogsbody/servant, usually attached to the stars of the movies. An orphan from the streets who believes he can one day become a star. Earnest, a romantic, and filled with integrity, but empty of the belief in himself to reach for his dreams. Until he comes under the mentorship of Raj and gets to show Shambervi there’s more to him than just tea. Must sing ROLE CAST
[SHAMBERVI] Female. 20. Needs to be able to play South Asian but open to all ethnicities. Smart, ambitious, and knows how the system works: a Heroine only has a small window of opportunity to make her mark and ensure a career for herself. She’s got all the talent in the world but is being dragged down by Raj’s decay. She’s not looking for love but is thunderstruck by the handsome Saleem when he consoles her over the studio’s woes. Her own woman in a time when it wasn’t so popular or accepted to be one. Must sing. ROLE CAST
[DOLLY] Female. 38. Needs to be able to play South Asian but open to all ethnicities. Bunty’s long suffering secretary who has a deep affection for her boss. Dolly handles the day to day operations of the studio and puts more sweat into making it run smoothly than anybody. She’s level-headed, strong willed, the voice of reason with more of a spine than Nizwar but is no less loyal to Bunty. Must sing.
[SHANKAR DASS] Male. 55. Needs to be able to play South Asian but open to all ethnicities. One of Bombay’s most successful gangsters. He came up the hard way, crawling and murdering his way to the top. A hard man who has recently become obsessed with a torch song singer, the enigmatic Sandra de Souza, who he hired to be his own night club’s headliner in hopes of winning her but finds his attempts always spurned. The rebuffs to a man who is used to getting everything his own way is driving madder by the day. Fueling his rage is the suspicion his son, Chandra, is having an affair with her. ROLE CAST
[CHANDRA DASS/SANDRA DE SOUZA] Male. 29. Needs to be able to play South Asian but open to all ethnicities. Grew up hating his father because of the way Shankar treated Chandra’s mother. And Chandra’s got the cunning and the drive to take his dad’s top spot. But more than just that, he has plans to become the biggest star in India under his persona, the stage siren Sandra de Souza! He intends to make his father’s lust for Sandra a weapon and the platform of Bunty Berman’s studio as the perfect launching pad to achieve his dreams as Sandra. Must sing.
[MOHAN BATT] Male. 30s-40s. Needs to be able to play South Asian but open to all ethnicities. One of Shankar’s henchmen. Loyal to his boss as long as he doesn’t have a better offer on the table. Brother of Mitlal.
[MOTILAL BATT] Male. 30s-40s. Needs to be able to play South Asian but open to all ethnicities. One of Shankar’s henchmen. Loyal to his boss as long as he doesn’t have a better offer on the table. Brother of Mohan.
SYNOPSIS: Set in a failing 1950s Bollywood studio, with songs in the style of Hollywood’s Golden Age, this sparkling and hilarious new musical from the author of New Group hits East is East and Rafta, Rafta…. Movie producer Bunty Berman has long been the toast of Bombay, but now Raj, his biggest star and best friend, is losing his lustre. When their new movie bombs, Bunty must navigate through divas, mobsters and ambitious tea-boys to keep his studio alive. A world premiere from the company that created Avenue Q and The Kid.
NOTE: The New Group is an important Off Broadway Theatre in New York City Our web site is:http://www.thenewgroup.org
The Fairy Princess has been lax – and I admit it. I have not been blogging because there has been a new addition to the family. My Niece arrived on December 28, adding to the fun of my having a now, 8 month old, and my first niece who is nearing her second annum. So…blogging came a very distant second, third, fifth to the holidays and the naming days and actually all other days that could possibly have a name. I apologize, my wings were trying to beat quickly, but there was just SO MUCH happening I could not get a clear thought in my head.
Until I saw this.
What is that? Ceylonese Arm Wrestling?
Was ist das?
You may ask – and you may ask it in German, as I have just done. German would be the way to address this issue because, this issue cannot be addressed properly in English. It should have been able to be addressed in Sinhala or Tamil, but that would assume one has familiarity with the languages of Sri Lanka, formerly Ceylon, and one cannot assume, as Felix Unger warned us so many years ago.
If you have not been flap ball changing around The Broadway, you may not know that there is currently a revival of The Mystery of Edwin Drood playing at The Roundabout Theater. The premise of Drood, which was a novel that was never finished by Charles Dickens, is that we are watching a ‘show within a show’. Meaning we have been transported back in time to Victorian England to watch a show done by a Thespian troupe, who are giving us a show about a book that was never finished.
The musical has no ‘definitive’ ending. All we really have is the setup, and then after poor old Edwin has been ‘whacked’ every which way but Sunday, the audience gets to vote on who ‘did it’. Much merriment ensues. Technically you have to see the show several times to see all the different ways in which Old Edwin bites the dust. Therefore not only is it a show within in a show, it’s a moneymaker within a moneymaker. If you love it, you will go back to see it over and over until you are satisfied that you have exhausted every possible motive everyone could have possibly have had, and you will bask in the knowledge that you, good Sir, are a bona fide fan.
It is all very good to want to place things in Victorian England, I wouldn’t mind a place there myself – next to the Dowager Countess of Grantham if possible – but this is impossible because we live in 2013.
Yes, hard as it is to believe it, The Fairy Princess is beating her wings after the Mayan Calendar told us that life as we knew would end. (They did not predict the end of the world, the History Channel has been very clear on that matter, don’t get it twisted). And the Fairy Princess knew that two of the characters in the musical, The Mystery of Edwin Drood, are supposed to be from Ceylon. Which is now the country of Sri Lanka. But in 1870- something was Ceylon.
So when there was an announcement that Drood was coming back to Broadway, I was eager to see who would be cast as Helena and Neville Landless. All I knew was that they were both to have been from Ceylon. I have never been to Ceylon now Sri Lanka, guess where it is?
Oh. Sri Lanka borders Asia, The Middle East, and the Indian Ocean. If one were to own property in Sri Lanka, one could probably even see parts of Africa from their backyard. (Which would make Sarah Palin happy – she likes land masses viewable from backyards). The Fairy Princess loves research though, so she thought since she now knows WHERE Sri Lanka is, she would take a look at the people of Sri Lanka.
What do people of Sri Lanka look like? I thought I would take a look – Sri Lankan people in 1870…go!
Ceylonese Man Circa 1870
If I were casting the character of Neville Landless in Drood, I imagine that I would look to people who have appeared in musicals, on Broadway or National Tour, who may have South Asian heritage. (Actually you could go a lot of different ways with this, given where Sri Lanka is, but let’s go with the supremely easy choice of South Asian).
It would be refreshing to have that Diversity in the Cast of a Broadway show. It would also fit with the storyline – in fact, it is WRITTEN IN the storyline, and…there are lots of people to bring in and sing for it. After all, since the Original Drood hit Broadway, we have had a whole crop of South Asian Broadway performers setting new standards. It is awesome! So…who would I call?
I might go with Aasif Mandvi, who played Ali Hakim in the last Broadway Revival of OKLAHOMA! (And yes, I had to sing it to spell it)
Dev Janki – Recipient of the Lucille Lortel Award for Best Choreography
Or certainly, without a doubt I would call the star of the only South Asian Broadway show, BOMBAY DREAMS, the one and only Manu Narayan Here’s a clip of him (pay no attention to Mike Meyers or Jessica Alba, you can DO it!)
Yep, any of the aforementioned Dudes would have done a great job of representing a Native of Ceylon, and they have the chops to sing it, dance it, and have been on Broadway stages previously. Easy peasy. I was able to cast that part in two minutes.
But let’s see who Director, Scott Ellis went with:
Andy Karl, Native of Ceylon (Now Sri Lanka)
Now, Wikipedia tells us that it is not actually clear to what extent Helena and Neville Landless are Ceylonese, or Sri Lankan. Perhaps the choice was that Neville Landless is NOT a Native of Ceylon, perhaps he is a British Ex-Pat, who just lived there and got some sun….
I could have gone with that, till the NY Times pointed out, “silly imitation exoticism‘ and “...absurd burnt umber makeup‘. Which seems to imply that the Director, Scott Ellis, is actually meaning to have a Caucasian Man put on “Brownface’ and dance around in an imitation of what is South Asian traditional dance.
No!
Who would DO that?
THE MYSTERY! OF! BROADWAY BROWN!
Ok, perhaps the part of Neville has been cast with what the NY Times calls ‘absurd burnt umber’ leanings, but let’s turn to the part of Helena. After all, brothers and sisters don’t always look alike.
I mean, in my Family, which is Eurasian, we all look completely different. I decided I would try again – given that Neville has been painted in shades of Umber, I guess that the Director was going for a “Native” look – so I took a Google walk, and here is what a Native Girl from Ceylon (Now Sri Lanka) looked like in the 1870’s.
A Native Girl of Ceylon circa 1870
And here is how Director, Scott Ellis saw the role:
Jessie Mueller, Native of Ceylon circa 1870
Well.
How awkward.
This is as bad as a white guy playing the King of Siam…oh wait…yeah, see – that rarely happens anymore. This is as bad as the Engineer being played by Jonathan Pryce!
Yeah, ummm, Broadway doesn’t DO this anymore, right?
The issue is not whether or not Helena and Neville are technically Ex-Pats of England brought up in Ceylon, or that this is a show within a show and they are portraying actors from Victorian England who would have portrayed natives of Ceylon in burnt umber makeup – the issue is – why?
Why would you, in the year 2013, find it a strong directorial choice to have two Caucasian actors put on makeup and ‘exoticism’?
If they are English ex-Pats, wouldn’t they be as Caucasian as they both are, but just wear the Native dress and perhaps have an accent? OR…here is a thought – if you are to make the determination that the characters are Native Ceylonese, maybe cast some Actors who look like they could be from that area?
I mean, why Cast this way in the year 2013?
This just does not make any sense!
This is like telling me that Julie Taymor and Bono hang out and go for long walks together! This is like saying that Porgy & Bess should have had an All Asian American Cast! This is like saying that The M*therf*cker with the Hat should be cast with all White Peo…oh wait, didn’t they do that in Connecticut? Nevermind. It’s Connecticut. The point is – all those thing are ridiculous!
I mean, if Neville and Helena were from Africa – which, as you can tell on the map, is just right across the sea from Sri Lanka, and NOT implausible, would you allow Caucasian actors to put on Blackface? They damn well wouldn’t. And THAT is actually Equality – if you would not do it to one Minority, you do not to it to the Others. Even Steven in this case, works just fine.
But wait, they will probably say that they looked, but could not find any South Asian Actors. Yes, yes, we hear this all the time – no Asian actors to be found, thus we were FORCED to use Caucasians in the role.
Really? Couldn’t find any South Asian Actors and Actresses….I see….what? They were all off working for the Wachowskis on their next Sci Fi movie because Tom Hanks is now going to do Broadway and there was an Opening? Right. Nice try.
I mean, is the whole cast of the Bombay Dreams busy?
The Fairy Princess is astounded. Here is a show which is written to include South Asian characters, and they were erased in favor of a what? In favor of a Mikado-esque depiction of the Natives of Ceylon now Sri Lanka!
(Before we get too crazy, please note: Actors are hired, directed, and give the performances that the Creative Team wishes them to give. So no hating on Andy Karl and Jessie Mueller– they are both very talented Broadway performers. All my Caucasian friends who have seen the show have raved about it. As for the rest, the Fairy Princess is reasonably assured you would understand their feelings.)
Most would ask why, Fairy Princess? Why does this tilt your tiara? It is a limited run, and who is this really going to hurt? I mean really?
What effect can one show have on an under represented group?
Well, l received a Casting Breakdown from a new show that the Acorn Theater is presenting, it’s called BUNTY BERMAN PRESENTS -It is a show about Bollywood. It is written for an entire Indian Cast by a writer from England named Ayub Khan Din.
Here is the first line of the Breakdown:
NOTE: We are open to seeing Actors who are Non Indian, but who can believably play Indian Characters.
I mean, if South Asian people don’t get to play South Asian on Broadway – why should they get to play themselves Regionally? Why, when it is so FUN for Caucasians to put on thick makeup and accents and have a rip roaring, R and L dropping, Sari wearing heck of a time?
The Fairy Princess has no answer for this. The Fairy Princess finds this very sad.
So five smacks of the wand to The Roundabout Theater and Director Scott Ellis – you had a chance to be a leader, and embrace Diversity in a show where it is part of the plot, and you chose not to. And if you still do not see what effect the casting of a Broadway show can have, what the trickle down is, then please go and re-read that line from the Bunty Berman Presents Breakdown.
AAPAC Opposes Brownface in Roundabout Broadway Production
After seeing The Roundabout Theatre Company’s Broadway production of “The Mystery of Edwin Drood” and receiving numerous complaints about the use of brownface in the production, AAPAC feels it is necessary to release the following public statement:
We were deeply disappointed to see white actors impersonating characters of South Asian descent complete with brown grease paint, appropriation of costumes and dance movements and relying on stereotypes in place of characterization. The obvious talents of the actors notwithstanding, the use of brownface had the effect of being extremely surreal and alienating, as if a joke was being told that was not intended for the Asian American community to hear.
We understand that the racism inherent in this musical is a reflection of the social mores within 19th century British panto and Music Hall traditions. Director Scott Ellis was being true to tradition, historical precedent, and to the story itself.
However, we would assert that if these characters came from the British colonies of Jamaica or Cameroon, and not the British colony of Ceylon (now present day Sri Lanka), blackface would never have been utilized in the same casual way. Today, you would never see a white actor in blackface playing the title role in “Othello” with the excuse of, “oh, well, that’s what was done in Shakespeare’s day.” We wonder why minstrelsy is acceptable when it comes to Asians?
The Roundabout production seems to show little awareness of the long history of Asian impersonation we are trying to put behind us or how racial politics and demographics have changed even in the 28 years since this show first premiered. There were a myriad of ways Mr. Ellis could have handled this issue with more sensitivity. For one, he could have hired actors of actual South Asian descent. Or, if he wanted to preserve white actors in these roles, the use of brownface would have been more ironic or satirical had the entire ensemble been cast multi-culturally. This would have been particularly effective since Hispanic-American star Chita Rivera was already in the cast. However, we have heard from quite a few members of the Asian acting community, including those with major Broadway credits, that requests from their representatives to secure an audition were denied.
The Roundabout Theatre Company does not have a good record when it comes to inclusive casting. Last year, we released a report looking at the percentages of actors of color hired at 16 of the top not-for-profit theatre companies in New York City over a five year span. The Roundabout made our list of the five theatre companies least likely to hire actors of color. In fact, they ranked second to lowest.
We are reaching out to the Roundabout to engage in closed-door discussions about these issues and are hopeful that they will accept our invitation. We are certain that their record does not reflect a conscious policy of exclusion and we hope that by bringing these issues to a more conscious level, the Roundabout can become an ally in an industry-wide commitment to more inclusive casting.
In the meantime, if you feel as strongly as we do, it would be very helpful if you take two minutes to send Artistic Director Todd Haimes a short missive via their FB page:
Until there is conscious attention given to these issues throughout the industry, opportunities for American actors of Asian descent–and all actors of color– will never be truly equal.
Yours in Solidarity,
The AAPAC Steering Committee
Pun Bandhu, Cindy Cheung, Kimiye Corwin, Angel Desai, Siho Ellsmore, Christine Toy Johnson, Peter Kim, Julienne Hanzelka Kim, Nancy Kim Parsons, Kenneth Lee, Allan Mangaser, Eileen Rivera
XXXXXXXXXXXXXXXX
UPDATE FROM THE ROUNDABOUT THEATER COMPANY PAGE:
Thank you for your post. Listening to our audiences is at the core of Roundabout’s values, so we appreciate all feedback and take it very seriously.
Roundabout’s leadership team is planning to meet with Asian American Performers Action Coalition to discuss their concerns. In the meantime, we will refrain from further comment here on Facebook, and look forward to a constructive meeting.
Tom Hooper, Director of the film version of Les Miz
I know, that’s a bold statement, considering he has just presented us with the completed film version of Les Miserables, but after watching this film – and yes, I paid for it, on Christmas Day, just like a non-Entertainment Industry person would do – I’m sticking with it.
Tom Hooper hates singers. Tom Hooper seems to hate musicals as well. Tom Hooper hates musicals and singers SO MUCH – he decided to do a three hour version of his own personal hell and take us all along with it.
And here’s the funny thing – I LOVE MUSICALS! I love musicals so much, I already knew every word of that particular musical before I got to the movie theater. I love musicals SO MUCH, I studied singing so that I could, when conditions are right and I don’t prompt a regional theater to hate me for pointing out their obvious racist casting flaws, be IN THEM.
YES! I do musicals! I even hold a degree in Classical Voice from Carnegie Mellon University’s School of Music! I sing professionally! As do, roughly, more than half of the people I count as friends and co-workers. In fact, walking down Broadway when I am not in a show and every show I pass has a friend in it, is kind of my own personal version of Hell – but one I revel in. There are only two people in the world that I begrudge their careers, and they know who they are and what they’ve done, and we’ll leave it there. (Though, considering I am in the business I am, two is a relatively low number – perhaps even precariously low, but it’s accurate).
So here’s some Fairy Princess thoughts, some SINGER Fairy Princess thoughts about the film version of Les Miserables.
I’m thinking…I’m thinking
First: no one is able to sing well if they have to lose a bunch of weight right before you make them sing it repeatedly while massive waves are knocking them over. Or if they are trying to look emaciated so that they can sing and ‘die’ while ostensibly dying of consumption. Singers in Operas love to die of consumption – but they don’t diet for it.
This is what weight loss does to the voice when it happens too fast – it creates a wobble. Yes, it creates a wobble that makes you unable to stabilize and hit all the notes you are reaching for. And, when you do happen to hit those notes and you are trying to sing around a wobble, THIS is what also happens – you change timbres. (Pronounced Tam-bers). Meaning the quality of the voice. So the ‘realness’ that it is supposed to be creating – yeah…it’s just distracting. It’s not ‘profound’ or ‘real acting vs. musical theater acting’, it’s ummm…a wobble. Also, for men, you lose the ‘bottom’ of the voice – the rich, roundness that would make the recitative (the dialogue that is sung through) able to work for the story, instead of against. So – for vocal health – NO SUDDEN AND EXTREME WEIGHT LOSS!
Second: if you cast someone who you know cannot sing it – even if you give them intense voice training for a whole FEW WEEKS before you start filming, and then make them do it over and over and over and over, and do not fix it in post – they are going to sound raspy, under-supported, and flat. It’s not their fault. They did their job, they showed up, they knew their lines, they were ‘committed’, but you can’t make a classic musical theater baritone out of a grunting rock voice purse.
Stunt casting was done well in ONE part, putting Colm Wilkinson, the ORIGINAL Jean Valjean in as the Bishop who lets Jackman steal the candlesticks. Otherwise…you didn’t need it. It’s Les Miserables. Longest running, biggest money maker, blockbustery musical in the history of this current time. Even the Mayans could not predict an end to Les Miserables and it’s popularity. Really, isn’t it kinda mean to put some actor in a position where his ass has NO CHOICE but to hang out – given those conditions? I mean, if I didn’t think that Tom Hooper hated singers, I would at least have to consider that he may hate Russell Crowe.
Me, I like Norm Lewis. How about you?
Third: We saw the candlesticks more than we saw Fantine or Eponine. I mean…they had their specialty light and they just kept showing up! Jean Valjean makes his escape with a rope and a toddler, and bam! Candlesticks show up, even though we didn’t even see them run with a carpetbag! Nary a valise to be seen, but the CANDLESTICKS have been magically transported to the new location. It’s the power of musicals I guess – the same thing happened with that cat in GLITTER.
Fourth: Water. Singers and cold water are not friends. Here’s why – in terms of drinking, it will shock your vocal chords right out of that warm up exercise that you just spent twenty minutes doing. In terms of singing IN WATER? We don’t. It’s why things like theaters and opera houses have roofs. It’s why theaters that are under the stars aka outdoor theaters do not have shows when it rains. This is what happens when singers get wet – no, it’s not quite Gremlins, but it’s close.
When singers get wet, we are not like normal people, we do not just get the chills. We get contagion. We get bronchial pneumonia that will leave us gasping for air for MONTHS. We get sore throats walking past a rain gutter that is dripping when we are on the way to our lesson. Singers are big babies. Big friggin’ ‘susceptible to the elements’ babies. We have scarves, we have hats, we chug anything and everything that is suppose to lubricate our throats, clear our sinuses, and keep us able to hit those big ‘money’ notes that people go to see musicals for.
Unless you are shooting the big musical that people have paid big money to see, so you tell your actors to ‘dial it down’. This is reasonable because you are not shooting a musical, you are shooting a vocal “Survivor”-type boot camp for singers where they will have to sing barefoot in water, on what is likely a very cold sound stage – because sound stages are ALWAYS freezing. Which means BIG UPS – and I mean, friggin HUGE ones to this Cast who had to sing through more water than the Cast of Titanic had to deal with, and their movie was set on an ocean liner that SANK!
Let’s see, Hugh Jackman had the MOST water – he was pulling a ship into dry dock, he threw himself into the river, he was buried in a river of (Fake) human feces, that he did not get double pneumonia and need a lung transplant only means that he really IS Wolverine. But Samantha Barks as Eponine did not have a “Little Fall of Rain”, she had a a deluge! (That is French for “a hell of a lot of water”). I didn’t just want to hug her because she was Eponine, I wanted to give her Wellington boots, a hot toddy, and a good Mary Poppins umbrella, because her rendition of “On My Own” was practically perfect in every way.
Fifth: No one was allowed time to breathe. Singing is air. Singing is breath. You can sing and act. But you need to be allowed to do so. The actors that had vast experience doing musicals seemed to be doing BOTH! (What is that, you say? Acting AND singing? At the SAME TIME?) But they probably just let the director talk and then did it their way.
And here’s what happened, in the middle of a movie, a musical movie broke out! Yes, as soon as Aaron Tveit and his Revolutionaries showed up – looking at you too Eddie Redmayne – it was like, not only did the singers start breathing, the audience did too. THIS was the film they came to see, THIS was what they were waiting for. It was so shocking the four teenagers behind me, who were talking and giggling through the whole film, shut their yaps! It was a Christmas Miracle! Yes, the intimacy of the previous numbers was nice, I have always like singspiel, but not in France. Not in Victor Hugo’s France.
Sixth: Yes, I cried. Three times – “A Little Fall of Rain” (Samantha Barks and Eddie Redmayne had me at “Don’t You Fret”), When Russell Crowe pinned Gavroche’s corpse (Recent events), and at the end when, right after the candlesticks made their final appearance, Fantine came back to sing Valjean into Heaven. So yes, I had problems with the vocal production but not enough to not make plans to buy it on DVD when it comes out. (Have I mentioned I loved, loved, loved Eddie Redmayne in this? Cuz I do. I did. I really did. Mister Redmayne, I was moved by you! Who knew you could sing like that? You Sir, have logged a fair bit of time in a Voice Studio!)
Oh, Mr. Hooper – other than the singing there IS this one thing – the sound effect when Javert hits the river? REALLY? Ouch. Tom Hooper…you have to hate Russell Crowe. I cannot see how you would add that otherwise, it was just…did he throw a phone at you in a previous life?
There was much in this film I really, really enjoyed -like, I liked that in Heaven, Fantine got a sandwich, but curiously, not a weave. I liked that the underlying theme to this musical is that Blond people will have everything work out for them as long as they have a Heart Full of Love, when what they really needed all along was a lung full of air. Brunettes though, unsustainable, even though there was air for days and the tiniest waist I have seen on a healthy looking person in several years. I liked that though Sacha Baron Cohen was the only one using a French accent when he showed up as the Master of the House, he quickly remembered that the rest of the Cast was in jolly old England, and switched – because nothing says France more than sounding like Wills and Kate out at a charity event.
The ‘REAL” Master of the House
Seventh: I send this out to Mr. Hooper, with whom I would like to someday ‘hang’ professionally, and to the other burgeoning directors of movie musicals who will follow his lead, and have the singers sing live and then add the orchestration later. Take it for what it is, which is good advice – these songs, how many times are they sung in the actual stage show? That would be once. One time.
For that one time, the singer in question will curtail their daily activities, modify excessive behavior, and in general, remain focused on giving the audience a thrilling time at the theater. Singing big ballads over and over and over and over again only guarantees one thing – that the singer is going to get tired. And when we get tired, we fall back on technique, if we have it, to get through that.
The voice is often talked about as ‘an instrument’ – but it is actually a muscle, a series of muscles. Just like in any other sport, you can ‘tweak’ a muscle, you can strain a muscle, in short – there is damage to be done by over exerting these muscles. Calling the voice ‘an instrument’ often inspires in non singers an attitude that singers are able to repeat and repeat, and …it’s not true. If a running back ‘tweaks’ his tendon, he rests. Same principle.
If you are using people that are not used to singing a two and a half hour shows eight times a week, you may get great takes on tapings 1-5, after 5, it is going to get strained. After 10 it is going to likely get hoarse. And any more than that, you are looking at a singer who may get vocal damage – so I would caution you to take care of your Vocal Artists and show them the same respect you show to the light. It can take hours to set up the lighting so it is just right. You see where I am going with this? (And it would not hurt either to have a vocal tech person on the set, reminding the singers to breathe, place it more forward, put the voice in the head, and so on, so that when you get to see the ‘Dailies’, everyone is happy.)
This is NOT a review of the movie, I don’t want to confuse anyone. This is what I, as a professional singer, took note of while watching the film. I liked the film – but not from a singing standpoint. And, I thought that once or twice on the barricade, a revolving shot that made it look a bit like a stage turntable would have been a tip of the hat to the fans of the show – but ok, that didn’t happen. Anyway, I liked it.
Yes, I enjoyed this film as a moviegoer even though, as a singer, I was horrified. It used to be enough to sing, dance, and act. Now everyone is trying to up the reality of a musical. For heaven’s sake – it is a MUSICAL! I want it to sound fantastic – I want the actors to have their best foot forward. If they have to record it first and sing to track, I am ok with it.
I know, I know, this is a new way of shooting musicals – fine, but if you are going to make your Actors almost die to sing through the elements, then you’d better get more people in there like Samantha Barks, Aaron Tveit, and Eddie Redmayne.
And if you are lucky enough to get the brilliant and amazing Hugh Jackman to work on your musical movie – who I have seen live in The Boy From Oz and was knocked on my ass by how stunningly talented he is – then do not EFF with his instrument by making him slog through mud, water, weight loss, and singing it live so many times he might not do the best he can do. Hugh Jackman is amazing – I want his Agent to read his contract better the next time so I’m not so worried about him! (He should get an award for this, I think, he worked HARD)
All it all – this is a great reason for why more Musical Theater Actors and Actresses should be working in Television and Film. If you have done a musical, 8 shows a week, nothing phases you. And Bravo to those who mounted the monster barricade that IS this musical.
Tom Hooper, if I met you, I would thank you. and perhaps curse you, you and this new way of shooting musicals that is now going to torture all of us! However, because of you – more people who deserve it will be working. More audiences will be open to it, and pay to see it, and that will mean MORE movies that are musicals.
May I suggest you look at RAGTIME for your next project? As far as I know, there is no water in Ragtime except for the crossing of the immigrants from Europe – but…you are pretty resourceful, I bet you can FIND some!
However, Mr. Hooper, with respect – I still think that you still hate singers. Which is ok, sometimes I hate us too.
The Fairy Princess’s wings are beating a bit sadly at the moment, and her tiara is pushed back in frustration…why, you may ask?
Because it is World AIDS Day, and while there have been great advances in medication, we are still losing people to this terrible disease.
The last person that the Fairy Princess said goodbye to because of AIDS, left this realm in 2009. He was a funny, talented, dynamic man who, to the end of his life, in the hospital, would not actually tell The Fairy Princess that AIDS was the reason they were there. He did not want to be a statistic. He did not want to be part of ‘that group’. He denied it up and down, forwards and backwards, and indeed, The Fairy Princess was more inclined to accept that her friend had kidney failure, and that was the reason we were in the hospital. The only reason that FP knew we were in the hospital because of AIDS, was because she overheard a Doctor discussing it.
We were not in the hospital for kidney failure, that was a symptom.
The Fairy Princess had lost other friends, too many, very many before, to this disease – but this last devastatingly beautiful person had not shown any of the outward signs she had associated with the disease, he had just gotten very thin – and one can get very thin when dealing with kidney failure.
We were not in the hospital that last month – in and out, in and out, in and out – because of kidney failure.
The Fairy Princess did not chastise a nurse for not realizing her friend was having a TIA because of kidney failure. She did not run around trying to find Cool Ranch Doritos because that was the only thing he would eat because of kidney failure. The Fairy Princess was not walking up and down the corridors of the hospital trying to get medical attention because her friend was very uncomfortable because of kidney failure.
We were in the hospital because of AIDS.
When The Fairy Princess and other friends had to clean out his apartment after his death, we were in that apartment because of AIDS. When we had to haul clothes we were donating, send letters to his friends who regularly corresponded with him but for whom we had no phone number, box up things to send to his Family in another state, when it took SIX of us to accomplish all these things, it was because of AIDS.
When about 200 people showed up at his Memorial Service, and we all watched people speak of him with love, sing for him, dance for him, watched photos and clips of his work, when they met his Mother for the first time, it was because of AIDS.
It is World AIDS Day and I ask you, not to grow complacent because it IS possible to live a full and varied life with HIV medications – but to remember why there is a day for this disease.
There is a day for this disease because people who had this disease did not get another day.
There is a day for this disease because there is no cure.
We recognize this day because the people who get this disease are our Friends, they are our Family, they are strangers we do not know, they are people we have grown up with.
We recognize this day because when we lose so many, there is a chasm that is hard to fill in our hearts, in our daily lives, and in our society as a whole.
So please, because this IS World AIDS Day, please remember
1. People are still dying
2. AIDS is preventable with Education and safe sexual practices
3. HIV infection is on the rise
4. THERE IS NO CURE
5. ANYONE who does not protect themselves with condoms during sex, can contract AIDS
Respect Yourself Enough To Protect Yourself.
This clip is from a film called THE SENSEI, it deals with AIDS, Martial Arts, and Bullying. It is endorsed by The Matthew Shepard Foundation, and I was very honored to be an Associate Producer on it.
Here in the States we are quickly approaching Thanksgiving – which is when we are all supposed to look at relatives and friends at a giant table, before gorging ourselves silly, and say what we are thankful for. It could be…well, anything.
You could be grateful that you hosted this year, and thus avoided hours and hours of insane traffic. You could be grateful that you got all A’s this semester. You could be grateful that you look ten years younger than your old boyfriend who by interesting co-inky-dink has shown up to be seated directly across from you, which does not bother you in the slightest because you are blissfully happy in a stable relationship with a killer job AND a cute little non-yappy dog who wears holiday gear on his head with no problem.
Howdy, Pilgrim
The Fairy Princess has been to a lovely party this evening where she caught up with friends old and new…and she has decided to make a grateful list. Partially because when you have been feeling under siege for an extended amount of time, it is hard to see what good things are happening. However, good things ARE happening and I wanted to just take a moment and red-necked-nize, as Honey Boo Boo would say.
I loved these books as a kid, Anne of Green Gables by LM Montgomery
1. I am grateful that my post about La Jolla Playhouse’s production of The Nightingale brought attention to Casting Discrimination in American Theater. (That is self-congratulatory, but one is not going to kill you – just go with it)
You know we are p.o’d when you get graphics!
2. I am thankful that La Jolla Playhouse hosted a talk back with it’s Creative Team. This is the first time that the Asian American Acting Community has had the opportunity to have dialogue on this issue. Could it have been more…ya know…more? Well sure, of course. But the message was heard, and in their next two shows, there were Asian Americans in lead roles.
Cindy Cheung & Christine Toy Johnson at La Jolla’s talkback…they look so pissed off I feel like I need to go practice piano & bring home an A TIGER ACTRESSES! RRROOOOWWRRR
3. I am thankful that the Royal Shakespeare Company and Artistic Director Gregory Doran perpetrated a cultural theft upon China – because otherwise how would the dialogue that opened up Internationally, between the American and UK Asian Artistic communities have occurred? Do I think that Gregory Doran handled his criticisms poorly? Ummmm, let me think, give me a minute, oh wait – YEP. YEP I DO.
4. I am thankful that for the first time, there will be a talk held by British Equity on the issue of Casting East Asians in theater and television on the British stage.
Good thing British Equity is going to look for the East Asians…because apparently they have been misplaced
5. I am thankful that East West Players, the longest established Asian American theater company, and the oldest ethnic theater company in America, hosted a Forum on representation. They did not have to, but they did.
6. I am thankful that the LA Stage Alliance helped East West Players put that forum together, and that it was on the web, and I could see it in New York, as I was unable to attend.
7. I am grateful my six month old has cut one tooth.
Here he is a the CAPE Poker Fundraiser with DWTS Carrie Ann Inaba and H5o’s Ian Anthony Dale – This kid is a playah
8. I am thankful that shows like GRIMM, GREY’S ANATOMY, HAWAII 5.0, DWTS, NIKITA, GLEE, THE MINDY PROJECT, HOUSE M.D., ELEMENTARY, WALKING DEAD, THE MENTALIST, GO ON, COMMUNITY, DROP DEAD DIVA, ROYAL PAINS, RULES OF ENGAGEMENT, and SULLIVAN & SON have Series Regulars that are APIs.
(I am probably missing some, for which I apologize, the Fairy Princess only has 1 set of eyes to go with 1 set of wings)
9. I am thankful that there have been recurring roles for APIs on ONCE UPON A TIME, NYC 22, SCANDAL, PRIVATE PRACTICE, just to name a few.
(Hey Show Runners, wanna bump up those folks and make them regulars? How hard could it be?)
10. I am thankful that my Family made it through Hurricane Sandy.
11. I am thankful that there are shows being written like ALLEGIANCE, which set box office records for The Old Globe Theater in San Diego, proving that Asian Americans on stage, telling their stories, can be moving and universal.
12. I am thankful that the one of the things I make really well – is one that is welcomed during this holiday season, no matter where I go. (Irish Soda Bread is not for all occasions)
Crumb topping…YUM!
Have a Great Thanksgiving no matter where you are – and if someone tells you to ‘kow tow’ or to shuffle your feet, or
to ‘do it again with an accent’ and you don’t feel like doing it – tell ’em the Fairy Princess says to –
Here I sit in the Colonies, and I have just read The National Arts Council’s letter to Mr. Victor Wong, who is the Executive Director of the Chinese Canadian National Council. Mr. Wong quite obviously wrote to the RSC in light of Artistic Director Gregory Doran casting China with a coat of white paint. And good for him! Bravo! I toast Mr. Wong with a cup full of maple syrup whilst wearing a Mountie hat! Thank you Mr. Wong.
(My Canadian Chinese Cousins will be duly impressed by this. I don’t really know them, we are apparently related through a Great Grandfather with multiple wives and concubines, but what are you going to do? That’s China for you. A First Cousin married a Canadian actually, with my same name, awkward, but she has a fabulous company for Ex-Pat Canadians in Oz called Oh Canada !)
The letter is from Nigel Hugill, I will pull a bit of the text.
Selection of letter posted previously on FB Group site
What has occurred to the Fairy Princess, sitting here twiddling my toes in the lovely, balmy LA weather, and having just been to The Ovation Awards (LA’s Theater Awards) last evening is, that the Royal Shakespeare Company is very uncomfortable with language.
What’s that you say? But what is theatre if not language? The theatre is language and costumes and sets all designed to tell a story to make you think. There are plays that make you think about a variety of subjects – about love, or sex, or money – plays are designed to make you think. On occasion, there are plays that make you think about issues that you are uncomfortable with.
The Orphan of Zhao is one such play for The Royal Shakespeare Company.
It’s all very “words, words, words, I’m so sick of words” And it is not, actually the words AsianorEast AsianorCastingorDiversityorMulti-Cultural – those words they are willing to fling about like ramen in a food fight.
What is getting their goat is one other word, and it is not supercalifragilisticexpealidocious.
The word is….wait for it…apology.
I mean, yes, to apologize is to throw yourself on a sword a bit, Mr. Doran, but it’s not necessarily fatal. AND…I happen to have one right here, as a matter of fact:
In Chinese, a sword is called a “Dao” – I am going to call this one…Zhao
Just kidding, just kidding – don’t throw yourself on a Chinese sword Mr. Doran, you would be vastly uncomfortable and definitely need a tetanus shot.
What is odd to me about this whole situation, is that the Brits are known world wide for some very particular traits – Beautiful Princesses
Princess Diana, just stunning
Princess Sophia of Hanover, (she was smokin’ in the 1650’s)
Learned Scholars,
William Shakespeare well, I suppose he’d prefer no women a’tall in these shows – isn’t it funny to look back on all these theatrical prejudices and laugh….
Sweeney Todd (the legend, not the musical)
NO EAST ASIANS IN CHINA – FETCH MY KNIFE!
and..what is that other one…don’t tell me, don’t tell me….oh yes, ETTIQUETTE!
Isn’t the British standard held up for the rest of us because of their love of protocol? Doesn’t everyone have to have a card to leave on a silver plate with the butler while we wait to gain entrance? Isn’t everyone on baited breath to see if they will be received by the Host should they be having an ‘at home’?
It does not take a village, nor a an upbringing by a starchy, staunch Nanny to know that when you own a dog and it takes a big poo on the street, your obligation is to pick up the poo. (Preferably in a small plastic, recyclable bag which you then deposit forthwith into a receptacle of the trashy variety)
I like to think he is saying “No East Asians in China? That’s LUDICROUS!” Because in my fantasy this lovely English Bulldog ‘gets it’.
But THAT is not what Mr. Nigel Hugill is deciding to do. He has decided that all this kerfuffl-ing is not something he need immediately be concerned with. He is taking it under advisement. He is now off to don a smoking jacket, after checking his stocks on the “Change, and toddle off to his Club to enjoy brandy, cigars, and the company of his Peers. Poo on the streets? Didn’t bother Mr. Nigel, he just stepped right over it.
Mr. Hugill – the Fairy Princess is not on the British Arts Council, nor has she fluttered her wings across a West End Stage (and this whole thing has really stuck a pin in that one, wouldn’t you say?). However, you need a few smacks with the wand if you think that the British ‘love affair’ with East Asians has, in any way, given you any leeway in this situation. You don’t have a heck of a lot of credit with us, you are in foreclosure for the following reasons:
Exhibit A: The Mikado – yes, originally written to protest British mores, but that’s not the way it’s usually done is it? Nope, usually done in “Yellow Face”
Exhibit B: Jonathan Pryce in MISS SAIGON
Mr. Pryce explaining how he changes his eyes to play Asian. The Fairy Princess loves to hate this photo
Yes he did Miss Saigon in Yellow Face, till the Yanks yelled about it – so off went the prosthetic eyes, and off almost came the ENTIRE US Production as Cam Mac jumped up and down and raged about the right of his team to cast someone who was not Asian, as a Eurasian.
Well. Well. I am actually Eurasian so….you all were half right, or rather half wrong in that case.
But now we are on to Exhibit C – The Orphan of Zhao
I have a lovely friend who is a Broadway Veteran, who happens to be multi-racial, who said to me: “I don’t believe in people saying they don’t see color. How do they drive? What they should say is that they do not react to color, that they choose not to acknowledge it.”
There’s been all this back and forth about who is right and who is wrong and who is responsible for Artistry and so on, and it is time to call it a day. I would rather play with a Corgi and drink Earl Grey and forget this tiff with those of the British Arts Council and it’s minions.
Thus, The Fairy Princess is going to be magnanimous. She is going to ‘break it down’ for Artistic Director Doran and all the Members of the British Arts Council who are happily looking down upon the East Asians from their Ivory Tower of Pomposity. Ready? Here you go:
YOU. NEED. TO. APOLOGIZE.
Take a page from the book of La Jolla Playhouse, they apologized. Seriously, Moises Kaufman apologized.
See, once you do that, everyone can move on.
Digging in your heels and sulking that you were right, does not make it so, it makes you look like Veruca Salt in Charlie and the Chocolate Factory.
Here’s what you say:
Dear (Insert a respectful address, if you can bring yourselves to, won’t you?)
We at the British Arts Council and The Royal Shakespeare Company have heard your complaints. Given the vast amounts of attention that our Casting of The Orphan of Zhao has warranted, we have had time to look at the issue from all sides. While we believe fully in the talent of our current Cast, we do think that we made a mistake.
Casting a play set in feudal China with a majority of Caucasians, was, in fact, the wrong thing to do. While it was not done with malice, and cannot be undone, you can rest assured that the RSC and the British Arts Council will do everything in their power to make sure that this is never done again.
We value our UK Citizens who have East Asian heritage, both those that are in the Performing Arts and those who are valued Audience members of the RSC. We hope in the future, to go forward, working together, both to expand our knowledge of world plays and to respect the heritage from which the play came.
Our deepest regrets for any hurt feelings, we never intended that this be the result of what we hope will be a long collaboration with China, bringing their stories to our stages.
Yours truly,
Vastly Superior Public School Attendee blah, blah, blah, multiple letters from her Majesty blah blah
Seriously, just do that. No, go ahead right now and DO THAT.
Why? Because you are a Leader, and Leaders are not afraid to admit mistakes – they are only afraid to repeat them.
I would like to quote Terrence McFarland’s Ovation Award Speech, from the event I attended last night. Terence is an exceptionally thoughtful and erudite man.
Terence McFarland, Exec. Director LA Stage Alliance
“I am reminded that we, too, as theater makers, are in service.
Twenty years ago on the Taper stage a group of artists came together and served. They were a bellwether in the perception shift of a plague and redefined what was possible to accomplish in a single, epic play.
Margaret Mead’s quote seems apt: ‘Never doubt that a small group of thoughtful committed citizens can change the world; indeed, it’s the only thing that ever has. ‘
I challenge you, citizens, to embrace the sentiment inherent in Kushner’s infamous line from Angels in America:
“The Great Work Begins.”
And thus, The Fairy Princess challenges The British Arts Council and the RSC to allow the Great Work that they currently DO, to embrace what has been mentioned previously, and allow their future Great Work to include more East Asians.
It is possible to do Great Work when dealing with those whose heritage includes The Great Wall.
The Great Wall of China. WHERE? CHINA! YEP, THAT China.
ESPECIALLY if the show is set in CHINA, FEUDAL CHINA!!!!!!!!!
I wanted to go to sleep. Truly. I have an almost 6 month old, and sleep is much appreciated by all who dwell in …my dwelling. (Well, that’s where we dwell, so that would be about right, wouldn’t it)
Now we all know what happened in China oh so many years..well, I mean we all know EXCEPT the Royal Shakespeare Company. They don’t think Chinese people happened in China at all. (Did you see that baby in the trailer?) As far as the Royal Shakespeare Company is concerned, what happened in China is that the Royal Shakespeare Company did not want to get confused with D’oyly Cart,
so rather than do a shuffling and scraping Mikado and take down Japan, they were going to have a cultural smackdown with China and erase the Chinese people.
(Oh, notice that the set designer has put Asian faces on his little stick figures in the design? And how Doran said he could place it anywhere, Nazi Germany or such, which would have made sense with his Casting, but he chose to keep it in China….just…just…well, just cuz)
It’s like watching Hollywood adapt a film based on a Manga comic book!
(“You are the last of your kind” Oh…the last white boy, oh dear…has anyone checked Cleveland? Or Harrow? I’m pretty sure there are a few left.)
But let us not dwell on Gregory Doran, as he is veddy veddy British-y busy, what with his Ring Cycle of Repertory, and lollygagging to China to swipe their masterpieces – let us move on to the reviews.
Historically, the British Critics have provided scathing and yet, ultimately quite accurate reviews of their theater. They never fail to tell us if someone has discovered a penultimate performance within themselves or whether a James Bond franchise is an appropriate place for a Dame, or anything vaguely like a Dame.
I love Dame Judi so much, I would almost be ok with her playing Chinese… wait, no, that’s a lie, that’s a lie – but I still j’adore her.
But this is what tilted The Fairy Princess’s tiara today, and it is a doozy – none of the reviews have given more than a glancing mention to the fact that there are no Asians in Asia!
Are they confused? Do they not know it’s set in China? When they hear Emperor, are they looking for the Holy Roman one? Are they turning in their seats, paging through their programs looking for Hapsburgs and getting confused?
No, I don’t think so, as every review first off mentions that this play, this Orphan, is “The Hamlet of China”.Perhaps it is calling it “The Hamlet of China” that is confusing. Maybe they are stopping, mentally, with the word “Hamlet’ and imagining Danes of all kinds trying to wash out damned spots? When really the only damned things they have washed out of this play are East Asian Actors with lead roles.
(There is one Maid and 2 Dogs that are played by East Asian Actors, but the Maid is murdered and the dogs are really puppets. I can’t imagine they are verbose, the dogs. Unless they are pulling Timmy from the well. Like Lassie.
Lassie…why does that kid keep falling down a well? You need another kid.
Who was played by an actual dog. And yes, they had wells in Feudal China, because…WAIT FOR IT… just like every other human on the planet – Chinese people require water to live. Ah, the similarities are astounding!)
The Critics are siding with The Royal Shakespeare Company!
“East Asians you say? In the THEATRE you say? What, what? Never do, Never do, Fetch me my snuffbox and an inkwell I must write the Prime Minister”
The East Asians who were not even asked to audition and who then rose up in Interweb protest on several valid points have been dismissed summarily as ‘sour grape actors’! One Critic even went so far as to tell us that ‘the best actors got the job‘.
How do we know that?
We know some very fine Actors were cast, it is after all, the RSC, but what we do NOT know is how many East Asian Actors were called to audition for a play set in Feudal China. Artistic Director Doran says that he called ‘lots and lots’. What a very precise number, did he go to public school?
In an informal survey, out of the approximately 100 or so Actors who were of East Asian descent that they could have called, the RSC called eight.
Eight.
I have more fingers and toes than that. As do you, hopefully. Go check. Go check now. Ok, look at your hands,
So MANY to choose from, but just pick TWO, and now count…I’ll wait
now take away your thumbs and any hope of evolution….
Well, I’ll be a Monkey’s Uncle looky thar, no opposible thumbs! Great! Now count again – I’ll wait….
Yes, that many Actors of East Asian Heritage were called in for a play that boasts 17 parts and takes place in China.
Please place your thumbs back on your hands.
The Guardian said “while I would have liked to see more Asian actors on stage, this should not diminish the power of an extraordinary theatrical event.”
Quite right. It IS Extraordinary that there were not more East Asian Actors on the stage. It is, indeed, a powerful statement that the major critics are perfectly fine viewing “The Chinese Hamlet” without Chinese people.
I wonder what ELSE the Critics would be perfectly ok with?
Stealing tuppence from children? Firing a nanny for sliding down banisters? Forbidding Mrs. Banks to attend Suffragette meetings? Asking Cook to mind the children? Doesn’t that all lead to anarchy? A ghastly mess?
Here is the point, and the Fairy Princess will make it ONE MORE TIME – so that the Critics and Interweb Racial Identity Stalkers Who Post Crazy Crap will get it –
You cannot just decide to co-opt Asian stories, keeping the costumes and character names, making the set and props ‘authentic’ and then conveniently leave out the faces that go along WITH those other things.
And remember, the World is watching – how do I know that? I read The Huffington Post.
THE HUFFINGTON POST here in the States said of The Orphan of Zhao“In a play designed for Chinese characters, the bias seems to reach absurd levels of discrimination.” Thank you Ariana Huffington – OPA!
REALLY MR. PRYCE, REALLY?
Aren’t racists tired? I mean, here in the States they are all crying over Election results and threatening to depart our shores to go to England or Australia. (As an Aussie, I find that offensive since Oz has Universal Health Care, a National Voter System, a Female Prime Minister etc.)
It has GOT to be just EXHAUSTING being so afraid of other people all the time, even while you insist you must tell their stories, use their identifiable costumes and structures to build the world of the play…. and it’s just not cool, Folks.
Five spanks of the wand to the British Critics, save two, because when they could speak up and make a difference and raise awareness, they chose to kow tow (yeah, I said it like that) to the “Establishment’ and try to push the East Asian Actors under an Oriental Rug.
To the Critics at The Guardian, BBC,The Express & Star, and everyone EXCEPT The London Evening Standard who said “The fuss about casting was justified‘…. and The Stage –You can all KISS MY FAN TAN FANNIE
(And Congrats to the British East Asian Actors who look to be getting their Forum to talk about all this in the open – you fought the good fight, and you must stiff upper lip it and carry on!)
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