The Fairy Princess had an audition and she was required to use an Accent.
If you have been reading along, you might guess that The Fairy Princess has a problem with this, and the answer is – within parameters, The Fairy Princess does not have a problem using an accent of any kind.
Yes, some people just flat out refuse to do them, due to personal mores (which is fine), but The Fairy Princess comes from a family built by immigration and the accents she heard growing up – Irish, Australian, Chinese – and by marriage – Korean -, and through friendships – too numerous and international to be counted – means that she is well aware that accents exist on the planet, and it would be completely ridiculous not to acknowledge that when one is acting.
In her own opinion.
This post is not really for Actors, who kind of ‘get’ what the job is, but it is more for the “Activists’ out there, who I have noticed, seem to lose their mind when an Actor of Color has to use an accent.
So The Fairy Princess is going to share her very simple rules for when a Minority Actor or Actress should/can use an accent without getting flack for it from the general public, bloggers, and those who share their every thought on social media.
You know – people like me. 🙂
THE FAIRY PRINCESS’S EIGHT SIMPLE RULES FOR USING AN ACCENT
1. If the character is an immigrant.
Asian Americans will not like this first one, but the truth is, though the API population is growing rapidly, we still get most of our population numbers from immigration. It would be ludicrous to assume that someone arriving in America is going to get off the plane speaking “The Queen’s English”, one or two – likely, every single one? Not possible.
Immigrants have accents because they have not assimilated to the new country – and this is not just an Asian accent thing, immigrants from Australia, Britain, Ireland, Wales – they all have accents to American ears – accents are not ‘owned’ by any particular group. We all have them – look at New York vs. Chicago – Fuggitaboudit!
2. If the character comes from a region where a specific dialect is well known and expected
Examples would be, of course, the American Deep South, or Australia, or Norway. Or a particular city within the USA that has well known regional flavor…or Canada. There are lots of regional accents out there, and if a play is set in a particular city, one would expect to hear them.
3. If the character and the play are set in a historic time and the entire cast is using an accent –
Well, for example, Shakespeare – even Americans sound vaguely British-y when they do Shakespeare, perhaps it is psychological or perhaps it just sounds better that way, who knows – but it is hard to say “Out damn spot!” without trying to Dame Dench it.
Those are my top 3 reasons of why an Actor would choose to do them, but having said that, The Fairy Princess has rules, for herself (but she is sharing now), of what she expects of herself when doing an accent as part of her work, so here are 4-6….
4. It must be authentic.
If the character is Korean – then the accent must mimic someone from Korea who has just learned English – likewise for Hispanic, Cyrillic, Celtic, just ANY accent – it has to be authentic. If you are supposed to be from Japan, you cannot sound like you are from the Philippines.
By being authentic, you are being respectful. Which brings me to my next personal rule:
5. It must respectful.
The Actor should not allow the accent to wear them, they should ‘wear’ the accent. In practice, Actors often need to find something about a character to like, in order to do the character justice. If the accent is being used for comedy, that is fine- but have the joke be funny by performance, not by accent alone. It is a fine, fine line – yes, but the benefits are that one does not feel that one has taken a bath in sewage after every performance.
6. It must serve the play, television show, or film
Having an accent ‘just to have one’ does not really, to The Fairy Princess, have a point to it. Given that the world is getting more diverse, one expects to hear more accents on our screens and stages – or that is the dream, in my mind. The accent has to be given to the character for a reason other than to play into stereotype or to serve as a foil for debasing the character who has it.
Those are The Fairy Princess’s rules for personal use of an accent – but there are a few exceptions and we are going to go into them right now:
7. Caucasians do not get to use accents to mock the Immigrant character.
We have seen it in film,
television,
The Cast of How I Met Your Mother
and Broadway,
Revival of The Mystery Of Edwin Drood with Andy Karl and Jessie Mueller
– it is not what is supposed to happen in this day and age.
Let’s all agree to be better than that.
Otherwise what good are theater conferences and diversity panels? None at all if you are going to turn around and give us a tv show or musical without employing Actors who can take the stage/screen without browning, yellowing, or blacking their faces.
8. Other Minorities, likewise, should be judicious with assuming that because we ‘share’ minority status, that it’s ‘allowed’ to put on accents of other races.
Not so much, Folks – not so much.
Just because you are not Caucasian does not mean you get a free pass. Because you are not Caucasian means you know what it feels like when you are mocked by a stereotype that you do not embody – so let’s be kind to one another.
If, for plot’s sake, your character has an accent because it fit the ‘regional’ requirements listed above, that is, of course, different kettle of fish. Plot points are plot points.
Are there exceptions to any and all of these rules?
There are to most rules, but these, not really.
Accents are part of the costume that we Actors wear, and they will always be a part of the profession – unless we decide to get dull and boring and lose all sense of reality and humor – some are already there.
Ahem.
However, it is not the accent that makes the performance, it is the execution by the actor and the intention behind the employment OF an accent within a role.
If you hate the accent, so be it – turn the channel. But let us not flay actors who are gainfully employed by taking away their tools to do their job – if they are playing an immigrant, they WILL have an accent – and uber sensitivity is NOT going to help the great strides being taken by both Networks and Actors in breaking down the doors that have been closed to diversity.
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?
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.
Selfie:
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.
GET INTO IT.
Fingers crossed for you, Mr. Cho – I hope the show knocks it out of the park.
STALKER:
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?
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
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
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 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.
Really?
REALLY?
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.
DO NOT BLOW THIS FOR US!
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 Princessdoes 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.
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.
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
at the English National Opera (ENO) was enough to make her want to
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.
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’.
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.
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.
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 action – for Conservatories and Young Artist Programs around the Globe.
WHERE ARE OUR DRAMATIC TENORS WHO ARE ALSO PEOPLE OF COLOR?
I CHALLENGE YOU TO FIND THEM.
WE NEED THEM.
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?
Undoubtedly.
A recent studyshowed 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.
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 Princessdoes 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.
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 Liuannounce the awards with James Franco.
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
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
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.
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.
PS:
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:
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!
Yes, 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.
HERE LIES LOVE Cast Photo
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.
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
It’s not.
So just know that we’ll be watching, and if we see it again….
The Fairy Princess has been writing about diversity in theater for close to two years now – and the message had been heard around the Globe – except, apparently by Opera Australia.
Luckily though, after reading this blog by Diva Knows Best, she knew that all was not completely lost – it just feels that way sometimes.
This is what was puzzling – Director Christopher Renshaw won the Tony Award for directing The King & I on Broadway, and as the King, he cast Lou Diamond Phillips, who is of Asian Heritage.
The Fairy Princess had several friends in that production, which was beautiful and award winning, and who inhabited the Small Musical of Rogers and Hammerstein with their usual professionalism, grace, and ability.
It is to their credit that the production was so well thought of, that Lincoln Center is planning another revival of it in 2015, which has not been announced officially, but which everyone knows is coming.
Even Playbill.com – who, no, has still not issued an amendment to their Twitter Contest to ‘name the next King” when they egregiously overlooked the fact that they published 4 Caucasian choices as potential Kings. (All talented men, all not of Asian Heritage).
The Fairy Princess is waiting, Playbill.com for that new article she suggested. Ahem. Seriously, where is it?
Anyhow, The Fairy Princess was troubled to see that though Director Renshaw had worked with talented Asian American leading men, when casting the new Australian National Tour with Opera Australia, he…ummmm…forgot?
It seems that everyone forgot that the King of Siam was a real person and this is what the King of Siam looked like:
Phra Bat Somdet Phra Poramenthra Maha Mongkut Phra Chom Klao Chao Yu Hua (Thai: พระบาทสมเด็จพระปรเมนทรมหามงกุฎ พระจอมเกล้าเจ้าอยู่หัว), or Rama IV, known in English-speaking countries as King Mongkut (18 October 1804 – 1 October 1868), was the fourth monarch of Siam (Thailand) under the House of Chakri, ruling from 1851–1868. He was one of the most revered monarchs of the country.
How do you work on a musical that once won you one of the highest honors in your profession, and forget who you worked with and why the show ‘worked’ in the first place?
Seems odd.
Because here is who Opera Australia chose to go with for The King, and of course, they insist it had nothing to do with the fact that he is dating the woman who is currently playing Mrs. Anna:
Teddy Tahu Rhodes
He looks more like he would be the King in some kingdom we have not reached yet on Game of Thrones because we are trying to read the books in conjunction with the television show so that we do not ‘spoil’ it for ourselves.
He does not look like this:
King Mongkut of Siam, now Thailand
The Fairy Princess was upset, not only because she knows this is a huge cultural mis-step – but because…wait for it…The Fairy Princess is an Aussie.
In Cairns, with my Grandma, I am the baby.
Oy vey, oy vey, oy vey.
Yes, and my Chinese Australian Family has been part of the Australian Cultural Landscape since the 1870’s.
Yes, I said the 1870’s. We have all sorts of fun folks in the Family –War Heroes, Artists, Business People – people who have helped shape Australia, so it seems odd to me that in all of Australia – which, I know personally, has been diversifying since, well, the late 1800’s, that they could not find ONE person of Asian descent to play The King.
Not one?
But they found a Tuptim (Jenny Liu), a Lady Thiang (Sh-Cheen Yu), and a Lun Tha (Adrian Li Donni) ?
Just no King.
In all of Australia, with all the Asians, and Eurasians, and Asian influx….not one? Really?
Ruh- Roh
Dear Opera Australia, I guess you missed my speech last year.
And just between us, Opera Australia – The Fairy Princess could have informally polled her rellies, quite honestly, and found someone. Her Grandmother was one of 13 – she has hundreds of relations. Tons of musicians.
However, I will say this for Opera Australia – they had a bit of a backlash when they announced Mr. Rhodes as their King – (and by the way, this is not an indictment of Mr. Rhodes or his abilities, no performer hires themselves after all) and they listened to it – because people spoke up!
Way to go Oz!
The Fairy Princess is going to imagine that they did not understand that by hiring Mr. Rhodes they were doing this:
Why NO, they do not look Asian AT ALL
Perhaps they did not understand that Diversity = Dollars.
Which means, that quite a lot of people, theater bloggers and so forth, loudly stated that the casting of Mr. Rhodes was not something they were eager to see.
So when it dawned on Opera Australia that they were being ‘culturally insensitive’ and more importantly, that it would cost them money – they very quickly did this thing that they should have done in the first place when they decided that no one in Australia would ‘suit’.
They sent an email.
Isn’t technology amazing?
And they hired this guy:
Jason Scott Lee.
Beginning the tour in Melbourne.
He was in Hawaii. The Fairy Princess can tell you from many flights from the USA to OZ and back – Hawaii is actually a fairly reasonable flight Down Under- once we were in Hawaii, we were halfway there.
Right on, Opera Australia! (You should have done it in the first place, but…at least you paid attention)
So you see, my fellow Thespians – there is always hope. If people speak up, if people write, if people stand up for things that are simply right (diverse casting, freedom from captivity for cetaceans, no child trafficking), things CAN change.
My Friend, Anderson Jones always used to say “If they knew better, they would do better” and The Fairy Princess would like to acknowledge that Opera Australia and Director Christopher Renshaw have demonstrated that while, yes, it is too late to change the first leg of the tour, they can adapt to our more modern sensibilities about Casting.
As The King himself sings “Every day I do my best for one more day’
So, break a leg, Jason Scott Lee – we are all pulling for you, and that flight from Hawaii is not so bad…maybe you’ll get to fly over with these guys…
The Fairy Princess has had a terrible bout of food poisoning, shared by her toddler. Recommendations include never, ever eating again at a mall in Glendale. Even if you have successfully eaten there in the past.
The Fairy Princess is recommending to just say no, or if you are, as an actor, going to eat at a mall in Glendale, do it before Pilot Season because then you will be almost the exact rate beloved by television execs everywhere, which is about 30 per cent under the recommended daily weight for your personal height.
The Fairy Princess vows to not eat at a mall in Glendale till next January at least. And then she hopes to book a series regular. Other than that, this bout of food poisoning is totally wasted on me.
Although, I must say, my collar bone looks fantastic right now.
A singer who moves well, after several days of food poisoning….just LOOK at my collar bone! IT. IS. GORGEOUS!
So to say she was feeling a bit ill, was, honestly, gilding the lily at this point – but I should have suspected that it would not be long before I was feeling like I was witnessing gilding the TIGER LILY, because then I read an article from Playbill.com on who should be the next King in the as yet, not officially announced, (but every Asian American Actor knows it’s been coming since War Horse was going to move), production of Rogers and Hammerstein’s The King and I. At Lincoln Center.
Who doesn’t love The King & I?
Ummm, from what I hear tell, people from Siam. (Now Thailand). The film was banned because it was disrespectful. And likely, people from Burma. (and you have to hiss when you say Burrrrma, because that is how it is done in the show) (Burma is now Myanmar).
Of course there are all sorts of reasons for that, but the musical is based on a book by Anna Leonowens (who was, actually Eurasian of mixed Angl0/Indian descent born in India) which posits Anna as the great white savior-ess of the poor, befuddled, savage-adjacent King of Siam. So already, you know you are in for a bit of white-washing, ahem. There are all sorts of historical errors in the book, but you know, it was a ‘memoir’ technically, so if that’s what she remembered…?
Did you know that Tuptim was later reported to have actually married Chulalongkorn, who had 36 wives, so…no death by beating? History is so tricky, right?
But people in the United States love The King and I, and truly, The Fairy Princess loves The King and I because it was my first big ‘gig’, playing Lady Thiang, first wife, opposite Debby Boone as Mrs. Anna. (I had very good quotes, even though we tend to say we do not read reviews, actors love good quotes about the work)
With Debby Boone & Julie Garnye @ Jim Caruso’s Cast Party
But this is whatis made me thing my food poisoning was making it’s return:
Playbill.com playfully tweeted “who should be The King and tweet us your answers‘, and people of the general public gleefully avoided ‘nominating’ anyone that was Asian American!
NOT. A. ONE.
NOW THAT IS AN EFFIN’ PUZZLEMENT!
EXCEPT for Asian American Musical Theater Actors who actually took the question seriously and gave real answers based on both star power and those who had played the role before, some several times.
So LET’S SEE who the General Public picked which was PUBLISHED by Playbill.com as viable choices that should potentially be considered to play The King in the next up and at ’em production of The King and I:
Hugh Pannaro – who starred as both Raul and The Phantom on Broadway was chosen by a Twitter Fan
Three Twits chose Michael Cerveris from The Who’s Tommy and Titanic – possibly because of the hair?
And a Twit chose Raul Esparza who is currently on NBC’s Hannibal, but who also starred on Bway in a number of shows including Company and Leap of Faith
Paulo Szot who earned a TONY Nomination for 2008 ‘s South Pacific
These four gentlemen are, yes, all brilliantly talented.
The Fairy Princess has seen each and every one of them live and in digital form, and they are Musical Theater Masters, each in their own way. So, to a certain extent, she does understand the General Public ignoring one glaring fact about any of them taking the iconic role of The King, because they are Broadway Superfans and fans tend to, you know, be FANS, and ignore things like –
NONE OF THESE TALENTED MEN ARE ACTUALLY ASIAN HERITAGED MEN.
Which, in this day and age, does make them ineligible to play The King of Siam. On Broadway.
Because we of ‘The Broadway’ do not find this:
acceptable.
The Fairy Princess was dismayed, to say the very least, that an esteemed theatrical news outlet like Playbill.com would actually publish Caucasian faces as ‘potential’ Kings for The King & I. The reason she is so dismayed is because Playbill.com has been covering the change, in the last two years, of the way ‘yellowface’ is regarded in the Industry.
Change you say? Oh yes, The Fairy Princess gave a speech about it at LA Stage Day
Playbill.com has, actually, been covering the changing attitudes in Casting, and doing a very good job of it, for the past two years. For example: They covered the uproar at La Jolla Playhouse over “The Nightingale‘, they covered the protests at the last “Miss Saigon“ tour, they have even quotedThe Fairy Princess!
(Which, btw, I was very moved by, because I read it all the time)
As one can see it is not as if Playbill.com was unaware that Caucasians playing Asian is, thankfully, turning into a big ‘no no’.
So, they are familiar with me, and let’s face it, It is not like I have ever refrained from saying this:
So if you are aware, Playbill.com, of the changing attitudes why publish this list as you did?
Wouldn’t it be a stronger editorial choice to say “look, yes, there are superfans that tweeted names that are not Asian American, and that is all well and good, but let’s concentrate on promoting and sharing potential Kings who have both the resume and the heritage to make this ‘tweet contest’ a list that Casting could look at seriously.”
Because if, say, there were going to be a revival of, oh, I don’t know, an August Wilson play, and someone tweeted you a photo of Tom Hanks – would you publish it?
Would you, Playbill.com?
The Fairy Princess is being serious.
Because of all publications, Playbill.com is in the best position, better than almost any, to know the percentage of Asian Americans on Broadway, and to know how rare it is to have a show that can encompass a mostly API Cast, and what potential that has for us, as a group.
With all the coverage when there is a bi-lingual West Side Story, or of All The Way, which focuses on Civil Rights, or After Midnight, which so gorgeously highlights the music of an era and a people, why, when it is Asian American, is it ‘ok’ to publish a list that includes Caucasian faces?
The Fairy Princess doubts that you would do that to any of those shows, Playbill.com
The Fairy Princess is willing to bet that this was a light-hearted attempt to get everyone excited about a revival of a show that is a Musical Theater staple, as most Twitter things are, but there needs to be editorial responsibility.
While The Fairy Princess is grateful for the coverage that Playbill.com has given to Asian American representation on Broadway, and the various Casting issues that have arisen over the last two years, she does think that in this case, they could have done better. They could have drawn a line in the editorial sand and said “we are going to stand with Asian American performers because it is the right thing to do’.
Because Asian American Performers who are delighted that they may get a chance to audition or be in the new cast of The King & I did not need to flip through that list, and see that General Viewing Public would be just as glad to see this revival if there were no Asian American faces in it.
We did not need to see that.
We see that every day.
We read Playbill.com all the time, and we rejoice for any and every friend and acquaintance that has mention, and we get delighted for any and all coverage on musicals because we love them so much – but we did not need to see one of ‘our’ industry ‘papers’, ‘zines’, etc, etc, etc, throw up NINE potential “Kings’, with FOUR of them being Caucasian.
C’mon Playbill.com – you published it. Which is…kind of endorsing it, doncha think?
We did not need to see that.
We see that every day.
The Fairy Princess does not want to get into a hashtag war with Playbill.com – there is no point to it, they do good work, and she is sure that there is a way to fix this.
In fact, she has thought of one:
The Fairy Princess thinks there should be a ‘revised’ list by Playbill.com reporters – who take into account the last time the show was in The West End, on Broadway, Regionally, who amongst API Actors started in Musicals and perhaps have gone on to popular television shows, things of that nature. They should compile this list and publish it.
Publish THAT list.
The Fairy Princess thinks that Playbill.com should lead the way in enlightening the General Musical Theater Going Public as to HOW MANY Asian American candidates there are for The King – and if there are 10, or 20, all the better.
The Fairy Princess is not going to debate who, now, should be the once and future King in the revival in 2015. Mainly because she knows most of them, and no matter what order they are put in, or how they are listed, she will hurt someone’s feelings.
She is going to trust that Casting, the real Casting Directors, will do their job wonderfully well, and put together a new and inspiring production of this show.
She wishes all of the potential Kings well – may the odds be ever in your favor.
Look, to quote the show, “Every day I do my best for one more day”– so come on, let’s just do a bit better
Well, she is not a football fan – mainly because she was in the Color Guard in High School and got pneumonia waiting for those endless games to end.
The Fairy Princess likes gymnastics, ice skating, and dressage. Yes, dressage.
Lee Cheng Ni Diani of Malaysia riding Antschar in the Asian Games
The Fairy Princess could not care less about football.
Which is why, of course, she would go on to marry someone who plays Fantasy Football on a competitive level. (She doesn’t get that either, it’s a fantasy! It does not exist! Picking names of superstars that are already superstars does not make y’all Mr. Roarke! It makes it another reason to ignore taking out the garbage.)
You know what is a fantasy?
This:
Here is The Fairy Princess on her yacht, cruising the islands of somewhere where there is no mobile phone access
You know what is a nightmare?
This:
This is NOT ‘being a fan’. Trust me, I’m in Entertainment, I know what ‘a fan’ is. THIS is being an ASSWIPE – I also know what that is from working in Entertainment. Ahem.
This is not ok.
Or this:
But THIS is not ok either:
Because it took away the focus of what Stephen Colbert was trying to say – which was that the name of the
Football team is offensive to Native Americans and should be changed. Steven Colbert’s comedic sketch was implying that the team in Washington knows that they should change the name, but that they are stubbornly refusing due to some innate sense of white privilege.
He was saying that trying to hide the fact that they know that they should change the name by establishing a charity is bullshit. And then he pointed out that to call the charity you are funding by the very name that is most offensive to the people you say you are going to help with this charity is, to put it in the mildest way possible – absurd.
This week, Asian American Bloggers have been asked to join with Native Americans whose opportunity to be the subject of a national conversation on the continued use of derogatory sports team names was co-opted by some folks very quick to hashtag.
The Fairy Princess joins this conversation, not only as an internet observer, not only as an “Asian American blogger’, but she joins the conversation as someone who has visited a Reservation.
She joins the conversation as the daughter of a man who was “Tribal Council Judge” to a Native American tribe.
My Father represented two Native American tribes as their lawyer in their quest for state recognition prior to a debilitating stroke that left him unable to work during the last five years of his life. It was one of his greatest regrets that he was unable to continue his work for those Tribes due to his illness.
You see, The Fairy Princess, as she has stated before, had a Father who was an excellent man. He was a man of learning, a man of science, and he believed in Native American rights, not because he was Native American – but because he was Irish.
My Father was an Irish American Lawyer, who grew up in New York City.
Himself
He was a Labor Attorney and he always considered himself an advocate for ‘the little guy’. My Father was a single practitioner of the law – he never joined a firm, although they were always after him to do so – he was not comfortable with the idea of ‘a firm mentality’ deciding who he should represent, he had his own moral code.
My Father, when asked by me, why he chose to devote so much time to helping these two tribes told me that Americans – particularly he felt, Irish Americans who had done so well in this country – had a responsibility to the Native Americans, because we decimated their cultures to make way for our own.
My Father, who was an avid student of history, often compared what Americans did to the Native Americans, to what the English did to the Irish with their ‘invasion’, although he would of course, say that the Native Americans had it far worse.
A rendering of the battle at Wounded Knee
My Father would go up to visit the Tribes he represented – not often, so much can be done on the phone – but frequently enough to be a part of their councils. When he came back, he would be both energized and depressed – energized to help more, and depressed that so much needed to be done.
The Fairy Princess is not a casual observer of the fights that Native Americans have been involved in, she has been an participant – helping with paperwork and research, phone calls and so on. She has actually been to “The Res”, where she felt the wind whip through her bones. She has met and talked frequently with Native Americans in her life- obviously the ones her Father represented, and others whom she met and worked with in a show business career.
(The Fairy Princess does not believe this makes her better than anyone, she just wants to note that this is not her first time observing the way we ignore Native Americans and their issues.)
While The Fairy Princess is not Native American in any way, she understands, as a student of history and as a Person of Color in America, why images and names of sports teams, matter.
They matter because they hurt.
They matter because they are rooted in cultural misunderstanding.
They matter because they were created to substantiate the supremacy and the “Manifest Destiny’ of Caucasians in this country.
They matter because a President of the United States said this about them, to justify his attempt at extinguishing them:
“After a harassing warfare, prolonged by the nature of the country and by the difficulty of procuring subsistence, the Indians were entirely defeated, and the disaffected band dispersed or destroyed. The result has been creditable to the troops engaged in the service. Severe as is the lesson to the Indians, it was rendered necessary by their unprovoked aggressions, and it is to be hoped that its impression will be permanent and salutary.“— Andrew Jackson
The Fairy Princess is standing with the Native Americans in their quest to have the name of sports teams changed because she is following the example set by her Father. My Father gave of his time, he gave of his intellect, he gave of his knowledge of the law.
All that The Fairy Princess can ‘give’ is a blog of encouragement, and sign a petition or two.
It is not really enough, now, is it?
The Fairy Princess has this to say to say to ‘fans’ who believe wearing face paint and bastardized Native American head dresses is not offensive to Native Americans….get ready:
You are wrong.
A Football Fan
You are offensive.
You denigrate the sacrifices of the Native American community so that you can play ‘dress up’.
The Fairy Princess has said these words before, in regards to Asian American representation, but she offers them to the Native American community, to use as they wish, for she believes that it applies to their situation as well.
The Fairy Princess will stand with the Native Americans – and she believes that Asian Americans have a responsibility to do so as well – because once again, some who believed they had ‘a right’, took away one more thing from the Native Americans with no regard for how it would affect them.
The Fairy Princess has observed people having a bad week or so – and she wanted to take a moment and publicly state that she stands firmly, in regards to the issues of the last two weeks, behind Jeff Yang, Phil Yu, Kristina Wong, Calpernia Addams , and Greg Watanabe and the positions they have taken.
There is no need for any community of any kind, that acknowledges in fact, that they are a community, to turn on one another and try and destroy it based only a need to be ‘right’.
Maturity can admit mistakes, in as much as immaturity cannot be self- aware.
On to #GoodThingsThursday – here is what is going on:
1. The Fairy Princess is Co-Hosting Celebrity Doodles this coming Saturday, April 5, in Palm Springs with this handsome fellow –
International Magician of Mystery, Matthew Dowden
Celebrity Doodles is an Art Auction/Fanciest Cocktail Party you have ever been to, type thing, and it is a blast! This year, they are honoring Suzanne Somers and Alan Hamel, Taylor Dayne is singing, and the artwork is amazing. Click here for more information. There ARE still a few tix left.
Special THANK YOU to The Frank DeCaro Show on Sirius XM Radio for having me on to talk about Doodles and all sorts of other things – Frank and Doria Biddle run a great show, broadcast around the Globe, that focuses on Pop Culture, LGBT Issues, News and it is always a fun time. If you have not gotten a chance to hear them, you can click here for more information.
2.YELLOW FACE, the play by David Henry Hwang, is having another go-round in London! The last time it ran, just a few months ago, it had a four star rating. It will be at The Park Theater – and I encourage you, if you missed it the first time, to run off and view a great display of British Talent.
May 21 – June 16th. Break a leg, Everyone!
Gemma Chan & David Yip in DHH’s YELLOWFACE, re-opening in May 2014
Is anyone else ‘trippin’ just looking at this artwork?
4. Tiananmen, a new musical, under the aegis of director, Stafford Arima (who also directed Allegiance), made it’s NY Concert Debut in the best room in town – 54 Below.
Cast of Tiananmen, the musical, backstage
5. The API’s of the new Broadway musical, IF/THEN made their Red Carpet Bows:
The lovely Ann Sanders
IF/Then Cast Members Marc DelaCruz, Pearl Sun, and Charles Hagerty
Alongside these Superstars –
LaChanze, Anthony Rapp, Idina Menzel from the Cast of IF/Then
Speaking purely from a Diversity standpoint – this show looks to be a standout. This is one of the more diverse casts I have seen, the show is set in New York City, this is exactly what Diversity means.
The Fairy Princess says YES, this IS what New York City looks like!
Good job, Telsey + Company!
6. This next one is pretty exciting – especially if you were one of those who were sad to see the end of the TV show, NIKITA – Maggie Q, one of the most bankable API’s on Television, is back in a new pilot by Kevin Williamson.
Meet ‘Detective Beth Davis” from the new pilot by Kevin Williamson
In addition to that, Maggie Q is also in the DIVERGENT Trilogy and a bunch more stuff. The Fairy Princess is particularly partial to Hapa Actresses whose surnames are Irish and start with Q, so many congrats to her.
7. And finally – a shout out to BD Wong, who appeared in a comedy sketch on The Colbert Report.
To put a period at the end of the Great Hashtag Wars of 2014.
Thank you, B.D. Wong,our only Asian American TONY Award Winning Actor.
And there you have it – seven (or 8, you can count HLL 2x if you want to) things to feel good about as we wend our way out of Pilot Season and into Broadway – Happy Thursday, Folks!
fairyprincessdiaries 