Archives for posts with tag: Blackface

The Road to Show Boat is Paved with…Intentions….

February 18, 2015 //

The Fairy Princess did some “Activist-ing’, she did.

Normally, she writes about productions and they are generally in a different town or somewhere where to get involved in the physical aspects of protesting, she would have to jump a plane.

Sadly though, right here in New York City, the National Asian Artists Project, has decided to do an All Asian American production of Show Boat.

Yes, this Show Boat.

At this point, everyone knows which Show Boat we are talking about – the Jerome Kern/Oscar Hammerstein classic, Show Boat, which deals with the divide between the Caucasian and African Americans Post- Civil War in the Deep South.

Show Boat is a show that, in TFP’s opinion, is not one that can be done by APIs with any sense of dignity or sense of history, or, well…sense.

In fact, if one is to do this show without the Cast as written, based on the novel where these themes – between Caucasian and African American – are not honored, it makes you appear as, well…

TFP attended this ‘talkback’ given by NAAP, to see what was going to be said.

Some pretty interesting things were said, particularly by Co-Founder Steven Eng.

Co-Founder of NAAP, Steven Eng

TFP Live Tweeted exactly what was said, but it would be tiresome to replay it all exactly

(although if you wish you can go to her Twitter account @Equill and check them out)

To sum up what was said by NAAP at this ‘open forum”, and share what TFP learned:

1. Baayork Lee is the only reason Big Name Directors will work with Asian American Performers

2. If they were to cast African Americans in Show Boat, it would not ‘serve their mission“

3. “We are not denying opportunity to Caucasians or African Americans because we were never going to cast them’ – Steven Eng

4. “We are driven by our mission…and Tommy Tune is very aware of that’ – Steven Eng

5. “I am not going to talk about Tommy’s concept (for the show) I don’t think it is fair when it is in development” – Steven Eng

6. The Rogers & Hammerstein Organization is the one that did all the intermediary legwork between the Hammerstein and Kern Estates to help approval happen, specifically Ted Chapin.

(Sidebar: If TFP were Ted Chapin, she would be a bit concerned about how often his name came up and his enthusiasm for this project was mentioned and how much he loved it so they did not have to do any of the ‘leg work’ because good Ol’ Ted Chapin was the go-between for them between the estates of Kern and Hammerstein to get this clearance. Methinks Ted Chapin may get an earful from some folks…some folks…somewhere…just sayin’) (Watch your back Ted Chapin)

7. “We will not be changing the show” – Steven Eng

8. “Tommy has been given leeway to change some things‘ – Steven Eng

9. “You have to trust us” – Steven Eng

10. One of the reasons they chose it was ‘to see if Asian Americans could do it’

11. Baayork Lee and Tommy Tune chose this show specifically because they felt other shows were ‘too easy’.

(One can only assume they meant ‘too easy to do without offending and erasing an entire people from their actual history’. That kind of ‘too easy’ )

Which made TFP and others kinda feel like:

Now, observers at home, lest you think that this meeting was unattended – it was not. In fact, prominent Musical Theater Actor, Jose Llana was one of the first to speak of his dismay.

Broadway Performer, Jose Llana

Mr. Llana wanted to know why, specifically why, this particular show was chosen – which was a question that would be asked and remain unanswered repeatedly through the evening.

Hansel Tan asked a question on everyone’s mind as well – how was this going to harm us (API Performers) in the future? Because, as he pointed out, “Nothing here in New York happens in a vacuum”

Actor, Hansel Tan

Cast Member of the Current Broadway Revival of The King & I, Marc Oka stated “It is a visceral feeling, it does not feel right….What some of us would like to tell you is of the danger of this production...’

Broadway Performer, Marc Oka

Co-Artistic Director of Lodestone Theatre Ensemble and member of the LA Ovation Committee, Chil Kong gave a blistering speech asking for the justification of this choice, and requested information that he could bring back to colleagues that are People of Color, to make them understand this, when very few in the room could understand it either.

Noted Tenor, Dillon McCartney,

who sings with The Three Irish Tenors came simply to see, as a fan of the show, what the discussion would be.

So the ‘crowd’ as it were, the crowd demanding answers, was diverse, which was heartening.

Actor, Orville Mendoza, who did not think that he was going to get up and speak, felt compelled after listening to Mr. Eng circle endlessly around the fact that yes, he knew the show was about race, but would not say why they were choosing to ignore the historical factors race played in the show to explore…well…race...but they were intending to explore race because Show Boat is all about race….

Yes, It was confusing.

Actor, Orville Mendoza

Anyway, Mr. Mendoza got up and with great respect, did say that he felt that doing a show about race where you are ignoring the race that belongs in that particular show due to historical accuracy was like “putting a hat on a hat, (because) this show already has a message”

Many views of those present were variations of thoughts expressed in the book by “Show Boat; Performing Race In An American Musical” by Todd Decker (link to purchase here) for example: “My emphasis on race rests equally on definitions of whiteness and blackness. Magnolia and Ravenal perform their whiteness every bit as much as Joe performs his blackness and any actress playing Julie must perform that character’s mixed-race identity, whatever that has meant in particular times and places.”

Show Boat is a musical where, everyone agreed, race matters and despite repeated and fervent requests from several people, a concept was never explained.

One wonders what noted journalist, Jeff Yang is going to say about this whole situation, as he took copious notes on his laptop in the back of the room. TFP is a big fan of Jeff Yang, so she will be very interested to see if he writes on this debate.

Jeff Yang aka @originalspin

After a while, TFP decided to get up and speak – she had made points before, but she wanted to go on record and reiterate why she is convinced that this production is the wrong thing to do:

1. This is not an Asian American story to tell, in any way. We were not ripped from our homelands and made to serve in the most degrading ways possible, people who believed they were superior to us based on nothing but skin tone.

2. After all the strides that have been made in getting theaters to acknowledge that they should cast APIs in roles where the writing requires an Asian Heritaged Actor, to now decide to look to another Minority group and co-opt their experiences makes us hypocrites, and weakens our advances.

3. TFP is a Person of Color within the Broadway community, being part of that community, and also a student of the Musical Theater, she could never think that her auditioning for the role of “Queenie” (which is the role she was asked to come in for) was ‘right’ in any sense of the word. Not as a student, not as a colleague, and not as an Artist – The Fairy Princess will not be playing Queenie.

4. The final point that TFP made was that the concept is offensive, but then to add insult on top of injury, NAPP has chosen as a Director, he tallest White tap dancer in the world….

and THAT was when we finally heard from Baayork Lee, who had sat (after reading a small statement in the beginning) staring blindly ahead in a chair at the front of the room and never speaking, but that was when we heard from Ms. Lee.

She yelled out “Native American, he is Native American!”

TFP apologizes to Mr. Tune for calling him Caucasian, she did not realize it was offensive.

But then TFP was curious about Mr. Tune and his Native American heritage (you may know her Father represented NA Tribes so she knows a bit more about NA issues than an ‘average’ American), and while she does not want to ‘see his tribal card’, she was curious if he had channeled his culture in his work.

Because, when one is a Person of Color…

their heritage often shows up in their work, and perhaps he felt, as a minority, he could use that to enter the minds of African Americans after the Civil War.

Maybe that was why he chose it?

Anyway, TFP was curious, and you know what it did to the …

So she took a walk on the internet and in a book called “The Great White Way: Race and the Broadway Musical” by Warren Hoffman, (Link to purchase here) she found this passage:

“Despite the fact that Tommy Tune himself is part Native American, The Will Rogers Follies was accused of depicting Indians in a poor light. According to a letter sent by representatives from the American Indian Community House in New York,

“The life and work of one of the Cherokee Nation’s most famous citizens is currently being butchered and distorted at the Palace Theater in The Will Rogers Follies. The show is replete with racist caricatures and stereotypes; everything from a braided man in buckskin crashing a unicycle to Tommy Tune’s interpretation of Indian dance, which is more suited to an episode of Scooby-Doo than Broadway“.

They took special offense at a piece of choreography that featured an actor costumed as a Native American dancing on a drum and summed up their comments by stating “These antics are applauded and laughed at by an audience who doesn’t know any better and thinks that this Indian version of “Stepin Fetchit’ is totally acceptable…What is most hurtful about this show is that Tune, it’s director as well as it’s choreographer, is a self identified Choctaw Indian’.

TFP has many thoughts about this…but let’s get back to the meeting….

Several young NAAP devotees also arose to say these various things, here is a sampling with TFP’s reaction in green.

1. “I just moved here” (Can the Adults please smoke?)

2. I grew up in Hawaii, and we don’t have a big pool of talent in Hawaii, so everyone just plays everything, and no one cares (Cuz it is Hawaii and you were in high school, we are in NYC)

3. I’m from Japan, and yes, in Japan we do All Asian Casts, but we are not in Japan, we are in New York, and here, this would not be right to do. (Smartest Gal in the Room in her 20’s)

4. NAAP is my home, but I have a problem knowing if I can audition for this (You really don’t, you just wanted us all to look at you in case that helps you get the gig)

This went on for a while, and then a young blonde lady spoke, she seemed in her 20’s as well, and she said that this production would not bother her at all. She felt that this show would not be taking a job from her. She felt that, as an Artist, isn’t the point to be controversial?

After a few of these, “well, I don’t see why we can’t” comments, a lovely young man named Jonathan Flemings spoke,

Jonathan Flemings @JBlake212

and he quoted the show, the very first line, as originally written, and asked if Kevin (didn’t catch the last name) would say it. Kevin did not want to respond, so TFP interjected, (after he started listing his various heritages) “Are you going to say the N-word!”

Kevin stated that no, he would not use the N-word, and TFP bitchily responded, “Then you can’t do Show Boat”.

TFP can definitely be bitchy, but she does not see that as a detriment.

Anyway, by the end of the event, these things were said by Steven Eng:

1. It is too late to change the show (But they have not finished casting, so it is not, actually)

2. They are going forward with the show. (Cuz they paid for the rights & won’t admit it’s a mistake)

3. They ‘may’ talk to Tommy Tune about releasing some of his directorial vision (Which is the closest they are going to come to admitting this is a big mistake)

4. This will not be a traditional treatment of Show Boat. (Cuz APIs will be playing African Americans)

A question was then asked if the Creative Team was going to reach out to the Black Community to perhaps get a “Consultant’ to help them with issues in the script that, well, they would have absolutely no knowledge of as they are not, in fact, African American, and they said “maybe”.

TFP later learned that they approached a gentleman whose face appears on this blog posting to fill this position.

TFP has no confidence that this production will go well, despite the best of intentions by the Creative Team. She felt that the lack of real conversation, the refusal to actual listen to the voices of the Asian American Broadway Acting Community, who were present, who asked, repeatedly for them to NOT do this show, is indicative of an actual artistic problem with the vision and execution of this piece as they intend to do it.

She did speak to some of the younger folks present afterwards, who, oddly, said that they were big fans of her blog – which is curious because they still seemed eager to do Show Boat, so she wonders really if they read it, per se.

Anyway, advice is free, and that is what she gave them in passing, which she will now share here –

If you are set on this course, if you are going to be in NAAP’s Show Boat don’t put your name on the program, and do not list it on your resume. People of the Theater are all connected, in ways you cannot realize yet, and if you proudly display “Queenie” in Show Boat on your resume, people will call you on it.

They may ask how you, as an Actress prepared to be an African American post Civil War in the Deep South – and that is putting it mildly.

So go ahead…but be prepared…

Connie Wong in A CHORUS LINE will probably now be cast as an African American.

We can say nothing.

All Latino FLOWER DRUM SONG? Go right ahead. All Caucasian HERE LIES LOVE? Well sure, it’s only based on real people and events….that doesn’t matter anymore, does it?

The King and I – Susan Graham (Anna Leonowens) / Lambert Wilson (The King) © Marie-Noëlle Robert – Théâtre du Châtelet – SEE HOW STUPID THIS LOOKS?

Because we are soooooo post-racial.

Production Still: Seattle Gilbert and Sullivan’s Production of THE MIKADO

None of us see color anymore, which means of course that we obviously should not be licensed to drive.

In other words….back to the…

In Closing, TFP wants to say to the NY African American Acting Community specifically and to the larger community – no API Actor who has been on Broadway or who is currently on Broadway that she has spoken to, texted, or who emailed her in the last few days is in favor of this production.

We all see the danger and the insult in this – and there is nothing we can do. We have tried repeatedly to amend this situation, but we cannot, and we apologize, this is a rude awakening that our Asian American Acting Community as such, does not exist.

You cannot be a Community if no one is listening, can you?

However, if people would still like to try and change this situation…and why not?

Why not write to the licensing company and share your thoughts?

R&H Theatricals Amateur Theatres
Ph: (800) 400-8160
Fax: (212) 268-1245
e-mail: amtheatre@rnh.com

R&H Theatricals Professional Theatres
Ph: (212) 541-6600
Fax: (212) 568-6155
e-mail: protheatre@rnh.com

Because of course, while this is a super super bad concept to begin with, they were given permission…but you know….maybe someone will think about it and say…

In which case they could start working on the “All API Version of Grand Hotel” right away….

TFP out….

Tags Baayork Lee, Blackface, Chil Kong, Connie Wong, Dillon McCartney, Diversity, Hansel Tan, Jonathan Flemings, Jose Llana, NAAP, Nina Zoie Lamm Tommy Tune, Orville Mendoza, Rogers and Hammerstein Theatricals, Show Boat, Steven Eng, Ted Chapin, Yellowface

Categories Diversity

How about “NO BOAT!” #NAAP should pick another show

February 15, 2015 //

The Fairy Princess was doing just fine and recovering from a wicked cold – she was just fine -until she was asked to audition for this:

An “All Asian American Version of Show Boat”?

You mean…this Show Boat?

Seriously, this Show Boat?

Do you mean to tell us that during BLACK HISTORY MONTH, an Asian American Theater company has chosen to do SHOW BOAT, the quintessential musical about the racial divides in this country post Civil War in the Deep South, and they want to remove African Americans from the show, even though this show reflects their story within America?

During BLACK HISTORY MONTH?

TFP was asked to audition for the part of Queenie. If you look in that second video, you will note that the part of Queenie is supposed to be played by an African American woman, in the video and in the Broadway revival by Hal Prince, it was played by Gretha Boston.

Who won a TONY.

Congratulations Ms. Boston.

TFP turned down the audition to play Queenie, because TFP does not believe that it would be right for an Asian American woman to play an African American one.

She believes doing that is more like…well….

In fact, after a quick poll of her Broadway friends, she cannot find one – Asian American or African American who thinks that this is a ‘good’ idea – and she has had to charge her phone three times since this was announced, she has had so many texts and emails about it.

The only people who seem to think that this is a good idea are the Director:

Director of Show Boat – TOMMY TUNE

The Executive Artistic Director….

Baayork Lee, Executive Artistic Director of NAAP (National Asian Artists Project)

And the Casting Director

Casting Director Michael Cassara

Those are the only ones who seem to be ‘down’ with this All Asian American Show Boat.

The idea of which makes TFP want to do THIS:

Now, to be perfectly honest, when TFP first saw this announcement, and then when her Agent called with an appointment for it, she was sick to her stomach – because National Asian American Project does do good work. They are active in the community, they promote Asian American composers, performers, and education, and community outreach to children. They are known for doing All Asian American versions of shows, musicals, specifically, and those do need to be done.

Here is why – the dearth of Asian Americans on stage in the New York Theater community and elsewhere does limit the amount of stage time necessary to work on ones craft, and if Asian American performers are to maintain their skills at the highest level, it is necessary to perform in all kinds of shows, and “All API” productions do give performers that stage time that they may not get elsewhere.

Actor/Producer Pun Bandhu at the RepresentAsian Conference

One should not be always limited to performing roles in the few shows that are ‘designated’ Asian American (aka: King and I, Flower Drum Song, Miss Saigon, Pacific Overtures). Of course APIs should sing Sondheim and Kern, and Jason Robert Brown, and Tom Kitt, and any other composer in the Musical Theater canon.

TFP understands that this mission of access and showcasing Asian American performers that NAAP and other organizations do is necessary, and is a huge ‘lift’ to the community. In the past they have chosen all sorts of shows that can be done as “All Asian American’ where race is, truly, not a factor – Oliver!, Hello Dolly! Carousel…. the list goes on.

However, this time, TFP thinks that they have not chosen wisely and it made her…

The Scream by Edvard Munch

and she would ask them, nay, beg them, to change their (Tommy) tune, and pick another show for a few reasons.

1. This show is a show about the great racial divides within the Deep South – divides that are, without question, Black and White.

It does not matter that Asian Americans were in the United States at this time, we were not ‘toting that barge‘ or ‘lifting that bale‘. Asian Americans were not recovering from being ripped from their homeland and bound in chains due to the color of their skin.

It is not ‘our’ story to tell. Ever. Nor is Ragtime, or Hairspray, or Memphis, or The Color Purple and so forth and so on.

Why?

BECAUSE IT IS NOT!

SHOW BOAT has historical context. It was written that way as a novel, and it was written that way as a musical.

2. AAPAC, and TFP and individuals, have spent the last several years, arguing to the greater theatrical community, that when they are casting stories that have historical context where APIs would be intrinsically necessary, to please cast Asian American Performers.

This show will undo all the work that everyone has put forward in raising the ability of people to see that yes, Asians should play Asian. Because, they will say, “Well, if APIs think they can play Black – why can’t we play Asian? Why can’t anyone play Asian?“

Which will be the correct response.

And then away will go Asians playing Asians….it will take us years and years to rebuild our platform, if it is ever able to be rebuilt.

3. This is co-option of the Black Experience.

We freak out when there is a Caucasian playing The King – what do you think African Americans are going to think when every role that is designated as a person of Black ancestry is eliminated from a show that is written about their struggle?

4. Non- Traditional Casting is not to take Minority Actors and have them play other minority experiences. Non-Traditional Casting is supposed to open the door to talent that has previously not been heard from and give them a chance to play roles where race does not matter.

RACE MATTERS IN SHOW BOAT.

SHOW BOAT IS A SHOW THAT IS DEFINED BY RACE.

SHOW BOAT IS A SHOW WHERE RACE IS THE REASON THE ACTION MOVES FORWARD.

TFP did not want to write this piece.

She respects the work of NAAP and all that they have been working for. She respects Ms. Baayork Lee, Steven Eng, and Zoie Lam, and yes, Tommy Tune – but she believes this show will do a grave injustice to Asian American performers.

She had to write this piece because….she has held other theater companies accountable for doing the exact same thing.

She thought long and hard about not writing this piece, but she felt to do that, simply because she is a member of the group who is making a mistake, would be wrong. It would be unjust.

There should be equality in blogging about Diversity.

No one is ‘off limits’.

She has worked diligently to raise the profile of Asian Americans in theater and give people a sense of the absurd, so that they too, would question why The King in King and I would be Caucasian, when it could so easily and beautifully look like this:

Christiane Noll and Paul Nakauchi as Anna & The King

But she must equally question an “All Asian American Show Boat’, when, so beautifully, NAAP could do another show that would perhaps, utilize the talents of Tommy Tune to greater advantage.

Why not an API Grand Hotel?

Why not an API My One And Only?

Why not:

Closer Than Ever, Last Five Years, Lady In the Dark, Wicked, Guys and Dolls, Anyone Can Whistle, Barnum, Grease, Bells Are Ringing, Bye Bye Birdie, Call Me Madam, Children of Eden, Company, Crazy for You, Follies, The Full Monty, Godspell, Grey Gardens, Gypsy, High Society, Kiss Me Kate, La Cage Aux Folles, A Light In The Piazza, Next To Normal, RENT, Man of La Mancha, Into The Woods, Nice Work If You Can Get It, The Producers, Rock Of Ages, The Secret Garden, Sweet Charity, Tick Tick Boom!, Threepenny Opera, Urinetown, You’re A Good Man Charlie Brown, Best Little Whorehouse in Texas, Funny Thing Happened on the Way to the Forum, Pajama Game…

TFP could go on…and on…and on….oh hey – why not BABY?

Why not ANYTHING but SHOW BOAT?

What do you think, RuPaul, about no African Americans in a show that is about African Americans and their experiences in this country to be announced during BLACK HISTORY MONTH?

Look, TFP is writing this and it could be heard like this by NAAP –

But she hopes it’s not.

What she hopes is, upon the reading of this, you will take the time to send NAAP an email at: info@NAAProject.org and let them know what YOU think of Asian Americans playing roles that represent a journey of African Americans which has historical context.

She wants you, if you are reading this – and not only if you are Asian American, but if you are concerned about Co-opting African American history and erasing African Americans from it, to SAY SOMETHING.

She thinks that if we all SAY SOMETHING, that things will change.

PLEASE go to their Facebook page https://www.facebook.com/NAAProject.org

Or write them a letter expressing your feelings at:

National Asian Artists Project

10 West 66th street, 23C

New York, NY 10023

TFP’s hope is that greater minds than hers will come together, realize that this is a mistake, and choose another show which will not divide our Theatrical Community, and announce that they have decided to make a change.

She also realizes that she is taking a step here that may not be forgiven, it is ok.

Stuff happens.

We do not all have to like one another.

But we do have to listen to one another and build together.

For choosing to do a show which co-opts the African American experience in a grossly misguided way, ignoring historic racial divides which was included in both the original novel and the musical as written, The Fairy Princess sentences NAAP to 50 whacks with the wand.

Come on, Folks –

CHANGE. THE. SHOW.

Because…

Tags AAPAC, All Asian American Show Boat, Baayork Lee, Blackface, Co-opting, Michael Casara, musicals, National Asian Artists Project, Nina Zoie Lam, Show Boat, Steven Eng, Tommy Tune

Categories Diversity

Mary, Mary (Cheney), Why You Buggin’?

February 1, 2015 //

The Fairy Princess was sitting around this morning, a weekend morning, kind of relaxing, and then she read about an email that was sent by Mary Cheney.

Mary Cheney

Mary is of the Richard (insanely evil Vice President of the United States who got us into a War over WMDs that did not exist and then sold the war to Halliburton, authorized torture and rich people not paying taxes and left us in billions of debt) aka “Dick” Cheney clan, and in that email, she compared “Blackface”

TFP hates this photo with a passion, but it is Al Jolson, who was famous for his Blackface performances, apologies

To Drag:

What say you my Queens?

Mary Cheney posted her queries on her private Facebook page, a page which, of course, is meant to be just that – private. The first order of business, Ms. Cheney, would be, in TFP‘s opinion, is shut down your Facebook page – cuz you do NOT have a private Facebook page, or indeed any ‘safe’ place to write this:

“Why is it socially acceptable – as a form of entertainment – for men to put on dresses, makeup and high heels and act out every offensive stereotype of women (bitchy, catty, dumb, slutty, etc) – but it is not socially acceptable – as a form of entertainment – for a white person to put on blackface and act out offensive stereotypes of African Americans” – Mary Cheney

Usually, TFP stays out of politics, per se. She blogs about representation and visibility – however, she also blogs about LGBT issues as a huge supporter of the LGBT community, and she, in point of fact, was ‘raised’ as an adult by the LGBT community and so she is going to respond to this, and hope that Ms. Cheney, (who lives a life of exceeding white privilege while also being an “Out” Lesbian who has given birth to two children), was perhaps, just perhaps, was really asking.

It is totally possible.

Yes, really.

She could ‘really’ not know, because perhaps, in the circle she runs with, there is a decided lack of empathy and knowledge about what Drag Queens mean to the LGBT community, and about the LGBT community in general – take a look:

Mary Cheney is a Republican, after all.

Ms. Cheney could have equally less knowledge about what constitutes “Blackface’ because, as a practice, it was generally ended in this country two decades ago, and to TFP’s knowledge, has only been used again once in a main stage, Broadway production, and that was The Scottsboro Boys.

A show, Ms. Cheney, which was about racism. In 1931. A show about racism towards black teenagers who are unjustly accused of a crime and most of them wound up dead.

Image by Banksy

But anyway, that show takes place in 1931. Ms. Cheney probably did not go see it.

So now, Ms. Cheney, TFP is going to ‘school’ you in what makes “Blackface” different from “Drag” and in one sentence it is this:

Blackface was used to denigrate, and Drag is used to celebrate.

Blackface, Ms. Cheney, was a socio-political tool wrapped in popular songs and comedy sketches that was used to justify white supremacy – it implied that Black Americans were slow, dull witted, unable in some sketches to read, and all in all, they were ‘creatures’ (not humans) to be laughed at.

If you never see someone as an actual person, it is much easier to dismiss their contributions, their humanity, and their worth as people, and as an Entertainer, TFP is horrified that performers had anything to do with it, let alone made money off of it, but they did.

And it was wrong.

Because those sketches and songs, and pseudo-co-ooption of Black American songs and imitations of Black Americans justified Jim Crow laws and people putting up signs like this:

It began in the early 1800’s in this country and it lasted, in popular performance until – wait for it – 1981. Yes, people, Blackface was ON TELEVISION in the UK until 1978 in The Black and White Minstrel Show.

Eventually it (mostly) died away in America with the Civil Rights Movement, as white performers began refusing to do it, both as a means to survive as a performer and because of personal ethics. Better late than never.

So that, Ms. Cheney, is “Blackface” – a degrading mockery of a proud people, whose long history with this Country has certainly had much sorrow and violence, in part because “blackface‘ performers allowed African Americans to be viewed as ‘less than’.

Let’s go on to Drag….

Drag is not just what you see on RuPaul’s Drag Race, there are varying forms.

What TFP likes about Drag and Drag Queens, is that Drag celebrates the many amazing facets about being a woman – the vulnerability to express feelings in public, the use of makeup to enhance nice features or hide self-perceived flaws, the art of sequins, the glamor of good fake hair, and of course, the fabulousness of a curvy body.

Drag says ‘be proud of who you are, no matter who you are’.

And of course:

The TFP has learned many things from Drag Queens over the years, and she is grateful for those lessons.

In general, Drag pays tribute to the women most women would like to be – beautiful and outrageous with an ability to charm and enthrall a crowd while delivering a message.

Not every Queen is ‘traditionally’ beautiful,

but they deliver ‘realness’,

Jackie Beat – sometimes her ‘realness’ is intimidating and TURN OFF YOUR PHONE OR SHE WILL HURT YOU

the vulnerability of being a woman,

The Lady Bunny, the filthiest Lady around

even if their drag is not “Pageant”.

Not every Drag happens on the stage in a nightclub, or on your television set, America has lived with Drag as a tradition for as long as Entertainment has been around.

There have been some amazing Actors who have given performances in Drag.

Take a look:

Have those performances compelled you, Ms. Cheney, to take to your Social Media page in outrage?

No.

So, it’s not really Drag that upsets you, is it?

TFP thinks what you are ‘suffering’ from is something else entirely, she thinks it is “Sissyphobia”.

TFP believes that when you see Drag Queens ‘camp it up” on television, and call one another “Bitch” or “Girl”, you are not really seeing them ‘degrade women’ – there are no women there to degrade, in point of fact.

(Let’s be honest, if you have never used the terms ‘bitch, dumb, catty, and slutty‘ to describe ANYONE, you are better person than TFP.)

(TFP can also ‘vouch’ for that intense eye makeup appearing on ‘real’ women, she grew up, in part, on Lawn Guyland, also, she watches MOB WIVES)

What you seem to be having a reaction to is men who are acting effeminate both in and out of Drag, and you have a problem with it.

Or at least that is how TFP sees it. You do not seem to be a woman with a lot of humor.

Ms. Cheney, though our Society uses the label ‘sissy’ as a weakness, in the Drag Community it is a sought after illusion.

As someone who is a ‘Proud, Out, Lesbian with a married spouse and two children’, who enjoys remarkable privilege given by birthright, skin color, and education, as well as limitless capitol, you may feel that you do not want anyone to ‘confuse’ your kind of LGBT with a Drag Queen persona. You do not want to be seen as a ‘sissy’, aka ‘weak’ and so you are wary of effeminate performers. You think RuPaul’s Drag Race is ‘holding you down’ as a woman.

You think Drag Queens are weak. Drag Queens are the strongest there are.

IF IT WERE NOT FOR DRAG QUEENS THERE WOULD BE NO LGBT “MOVEMENT” WHICH EVENTUALLY LED TO MARRIAGE EQUALITY, AND IN POINT OF FACT YOU HAVE BENEFITED FROM THAT, AS YOU ARE LEGALLY MARRIED TO A WOMAN.

Or maybe you should just do an Internet search on the word, STONEWALL

Image from Stonewall

Some people, even LGBT people, even Cis-gendered people, would prefer that LGBT people act ONE way only – and that is ‘straight’.

But, Ms. Cheney, there is no such thing as ‘straight acting’.

There is only ‘being’.

There are ‘only’ humans.

People of all shapes, colors, sizes, (as long as they do not hurt children or animals) have the right to live as out and as proud as possible – even if they are not Republicans.

Does TFP think that Drag is degrading to women?

NO!

(Though she does wish they would stop using the word “Fish” – which means, for those non Drag afficianados, aka “My Drag is so much like a woman that I smell like female parts” – shudder)

TFP thinks that Drag lifts you up, makes you laugh, makes you think, makes you feel ‘all the feelings‘, and allows people to be human, with all the flaws and missteps that we have. You can be any shape, any color, any ethnicity, any religion…

…and you would be welcome at a Drag Show.

Look, Ms. Cheney, we know your world is a bit…

But you should know the difference between Blackface and Drag – because NOT to know the difference is ignorant.

However, ignorance can be fixed – so now…..YOU ARE HEALED!

Mary Cheney – for confusing debilitating racism aka “Blackface” – which btw helped bestow upon you the privilege that your family continues to live with,

with men in glittery dresses who lip synch show tunes and embrace everyone,

TFP fines you 10 smacks of the wand and a month long education session with your local LGBT center, and honestly, volunteering at a Homeless Gay Youth Center would not hurt you either.

Audra McDonald….drop that mic and take us home…

Tags Audra McDonald, Bianca Del Rio, Blackface, Coco Peru, Detox, Drag Queens, Dustin Hoffman, Hedwig and the Angry Inch, Jackie Beat, Lena Hall, Mary Cheney, Neil Patrick Harris, Priscilla Queen of the Desert, Ru Pauls Drag Race, Scottosboro Boys, Storytime with Coco, The Lady Bunny, To Wong Foo With Love, TONYS, Tootsie, Treyvon Martin, Willam

Categories Diversity

Dear #ThatAsianKid from #Playbill ‘s #AskJohnny

December 1, 2014 //

The Fairy Princess has not been blogging much, she’s been paying attention to world events that are too sad to reiterate here, though she has, of course, written at length, sadly, in the past.

Image by Banksy

She hopes she never has to write about the slaughtering of young men again, she is hoping America will figure out how to come together and end senseless violence towards one another.

She hopes. Always, there is hope.

She also noted that two television shows starring Asian Americans were cancelled in the last weeks – SELFIE, starring, of course, the fantastic John Cho…

And TBS cancelled Sullivan and Son, with the always hilarious Jodi Long….

However….in every cloud there is a silver lining, so the saying goes, and here is one – HULU is going to be broadcasting the rest of the season of SELFIE, which means if you fell in love with John Cho as Henry, you are going to get some manner of resolution. And who knows? If the numbers are fantastic, maybe they will pick it up again – stranger things have happened.

Oh COME ON Rex Lee, The Entourage Movie happened!

Also, with Pilot season approaching in January, and perhaps sooner, it is likely that those Actors will book another show, The Fairy Princess is hoping the odds will be ever in their favor.

However, as TFP went about her day, she found a letter addressed to Playbill.com ‘s advice column, aka “Hey Johnny”. Every week “Hey Johnny’ is answered by a different person, so TFP is going to retype the letter here in case you have missed it.

Hey Johnny,

I go to a high school with a really great arts program (we do three shows a year) but I’ve noticed a problem. Our (white) director keeps making slightly racist comments towards the Asian students (during Avenue Q he referred to our Christmas Eve as “that Asian girl”). Even though a good number of Asian students auditioned for our next show, he didn’t even let most of them into the ensemble. We’re planning to do Miss Saigon in the spring and he’s been heavily implying that he’s going to cast white student in the leads, because that’s what they did last time they did it. It’s been like this all four years, and it’s really been making me and the other Asian students feel awful, and we’ve been doubting if we have a future in the theatre. I’ve tried to keep positive for us, but even I’ve fallen into a gloom. Please, what should we do?

Signed,

That Asian Kid

Now, whoever answered that letter, that week, did a wonderful job responding to That Asian Kid, but did not seem to be Asian American. Who cares? Totally fine! The response was thoughtful and caring, and one does not need to share a skin tone to have empathy or give encouragement or wisdom.

However, The Fairy Princess thought that That Asian Kid and his classmates could use some words from someone who has ALSO been, ahem, That Asian Kid.

Dear That Asian Kid,

That Director is out of line. The Fairy Princess could use many other words, but if she was in the room with him, this would be the mildest thing she could come up with:

Here is what you are going to do, and you have to be brave. You have to be ok with whatever happens, because you are challenging the status quo and that is always, always difficult. Sometimes it works, sometimes it does not.

Either way, it is ok, the Asian Americans of “The Broadway” have got your back.

The House of Xmas Eves…these are but of a few of us

1. Gather a brief written (typed and signed) statement from any student, but particularly of course, the Asian American students, who have been addressed by only their race, or who have been recipients of racial toned remarks from this Director. I would imagine if he has said things to the Asian students, he has likely said things to the African American and Latino students as well, so ask around.

2. After you have these statements, you are to ask those who wrote them if they are willing to go to the Principal and present them with you. Some will, some won’t. I agree with “Hey Johnny”, that a multicultural group is best, do what you can. I would encourage you to take someone on the Student Council, and if you can, a member of the PTA to present these circumstances to your Principal. This is too big just for the ‘kids’, you need a Parent with some clout to back you up.

3. When you present to the Principal, tell he or she that should this issue not be dealt with in some manner, you are going to present the same statements at a local town government meeting, where minutes are recorded – so that it is on record that your school is choosing to ignore issues of microagression towards Asian Americans and racial bias.

That is what you are dealing with – microagressions from this Director.

You should outline your issues in one ‘master letter’, and you should also present in that letter, your concerns about the casting of the upcoming MISS SAIGON.

That should get the ball rolling…to say the least.

Now, in terms of Casting, what you are dealing with, with this Director is called “White Washing”.

White Washing is very prevalent in our Society, and you are not the first to have suffered from it, and you will not be the last. It sucks. What it means is they take characters or stories that are linked to an ethnic group, and when they Cast the musical or the film or the television show – they cast Caucasian Actors.

Jonathan Pryce, The Engineer from the Original Bway Cast of MISS SAIGON

Actor Lambert Wilson as The King of Siam in a French Production of King & I

However, casting a Caucasian Actress as Kim in MISS SAIGON would be a serious breach of theatrical ethics, as well as horribly bad historical rewriting. The part of Kim is, as everyone knows, a young woman coming of age in Vietnam.

Even though Cameron MacIntosh did allow Mr. Pryce to play the Engineer (a character that is written as a Eurasian man), he drew the line at casting a Caucasian woman to play the part of Kim. Which gave us our only female Asian TONY Winner, in point of fact. Casting a non-Asian Kim is not acceptable – ever. And over time, casting a Non-Asian Performer as The Engineer has become a theatrical no-no, which is wonderful progress.

Which brings us to “Yellowface“, which is what will happen in your school if Kim is cast as a Caucasian.

Yellowface is not acceptable in our mainstream and certainly not in a high school production. If your Principal does not understand this, explain to her/him that to Asian Americans, it is the same as blackface.

Yeah, this is totally offensive and I hate posting it, but if you have never seen it, you need a visual. An awful and offensive visual. Apologies.

This is totally offensive but if you have never seen it, you need a visual. An awful and offensive visual. Apologies.

(The Fairy Princess is choosing not to comment on why a high school would be doing MISS SAIGON, but…

she has some thoughts about the appropriateness of it.)

The simple truth is that this Director should not even have suggested MISS SAIGON if he felt that he would be unable to cast Kim or The Engineer with Asian American students. Not in this day and age, and if that has been his intention, then he should be released from his duties as an Educator.

Would he cast DREAMGIRLS with a non-African American cast? No. He likely would not dare, and it would be the same thing.

Meaning that even if you truly love a show, you cannot take an ethnic based story and erase the ethnic faces from that story. It is illogical and ignorant. A point which, btw, you should make both to your Principal and that Director.

Whatever happens with that, TFP wishes you much luck with it, and hopes you have success. You may not, because it is high school, and because no one likes to rock the boat, and they will call you ‘oversensitive’ or accuse you of ‘making it up’ – those things can happen.

But….TFP thinks you may prevail if you all come at it with purpose. (Which is that little thing that lights a fire under your ass)

Finally, That Asian Kid, TFP wants to let you know that you are not the only Asian Kid that has ever had a dream of being on the stage and perhaps eventually, Broadway.

For example, this guy:

BD Wong, TONY Winner

And this guy:

R.I.P. Kevin Gray

And not only did they make it to Broadway, some sang in Six Languages….

Drama Desk Winner, Deborah S. Graig

Or became renown solo entertainers and do copious amounts of television roles….

America’s Gaysian Sweetheart, Alec Mapa

Or work, work, work in every medium….

OBIE Winner and Drama Desk Nominee, Francis Jue

Some go from one show to the next…..

Mr & Mrs. Ferdinand Marcos as played by Jose Llana & Ruthie Ann Miles – Ruthie Ann is the new Lady Thiang in the King and I revival starring Ken Watanabe

Some were the headliners in their show and went West to try out Hollywoodland

Manu Narayan, star of Bombay Dreams, pictured in award winning production of Glengarry Glenn Ross

Some have not been to Broadway yet, but are on their way…

Actress Vanessa Hudgens is currently starring in GIGI, the musical, which has announced it’s intention to go to Broadway

Or working on new musicals they hope will head to Broadway

The Cast of Allegiance from The Old Globe – they had hella nominations, y’all

Or got started in musicals and made it to Portland….

Reggie Lee from NBC’s GRIMM, who has also been in a ton of feature films

Or started on Broadway and then got eaten by Hannibal

Hettienne Park was ‘discovered’ by Creator of Hannibal, Bryan Fuller, in a play on Broadway

Some are singing their tushes off in the Broadway show IF/Then

IF/Then Cast Members Marc DelaCruz, Pearl Sun, and Charles Hagerty

Some have had long, extensive Broadway careers like Joseph Anthony Foronda….

Joseph Anthony Foronda as The Engineer , Ken Shim as Tam, and Jacqueline Nguyen in MISS SAIGON at La Mirada

And Alvin Ing…

Like Lainie Sakakura, who also choreographs….

And of course, you would know this guy from GLEE…

Some are in new Broadway Shows like Raymond J. Lee….

The Flying Elvises from HONEYMOON IN VEGAS

Or cool shows that have ‘buzz’

That is Orville Mendoza with the cast of FOUND

The Fairy Princess’s point is, oh dear That Asian Kid, is that we have all felt, at one point or another, just as you are feeling now, frustrated, indignant, and powerless because someone somewhere has referred to us only by ethnicity, or categorized us only by ethnicity, or tried to limit what we could do because of our ethnicity – and, That Asian Kid….they failed.

We are ok.

Yes, there could and should be more of us working, particularly in television which is supposed to ‘reflect the American scene’, but there has been progress, and we are OK.

Asian Americans are not being silent about casting and representation.

We protest when things are wrong –

Yes, that is Tamlyn Tomita rallying at East West Players

We are voices of change.

Cindy Cheung & Christine Toy Johnson
at La Jolla’s talkback…

We give speeches…

Those of us who are ‘coming before you’ are working on a lot of stuff.

Actor/Producer Pun Bandhu at the RepresentAsian Conference

So you worry about school.

We got this.

Do NOT give up because of this Director, That Asian Kid, he is ONE guy and eventually, high school ends, and you graduate. You get to leave. And when you go to college, you can study whatever you want.

Happy Dance!

Finally, as someone who was in AVENUE Q, to clarify – the point of “Everyone’s A Little Bit Racist” is not to identify everyone by their ethnicity, it’s really to show that whatever prejudices we have, we are all the same underneath.

SM Beverly Jenkins, our Original Mistress of the Puppets – Singer/Songwriter Phoebe Kreutz, John Tartaglia, Erin Quill, and Carmen Ruby Floyd – all part of the Original Broadway Company

The point of the show is ‘when you help others, you are really helping yourself”, whether it is opening a school for Monsters, or speaking up when something is as far out of line as this situation seems to be from your letter.

The Fairy Princess wishes you and your fellow students much luck in surviving the rest of high school, she was not particularly fond of high school when she went through it herself, but as we say at the Q…

Break a leg, That Asian Kid – and if he still gives you a problem, tell him to

KISS YOUR FAN TAN FANNIE…

Tags 25th Annual Putnam County Spelling Bee, Alec Mapa, Alvin Ing, AskJohnny, Avenue Q, BD Wong, Blackface, Deborah S. Craig, Entourage, Hettienne Park, High School, high school drama teacher, Honeymoon in Vegas, Jacqueline Nguyen, Jennifer Aedo, Jodie Long, John Cho, Joseph Anthony Foronda, Lanie Sakakura, marc oka, Microagressions, Orville Mendoza, Playbill, Racism, Raymond J. Lee, Reggie Lee, Rex Lee, Selfie, Telly Leung, ThatAsianKid, Yellowface

Categories Diversity

Screw your #BeijingCake and Eat It TOO – #EdinburghFringe #Egad

August 20, 2013 //

The Fairy Princess has been trying quite hard to remain positive these last few posts…because the ‘real’ news has been fairly hideous – whether you are concerned about riots in Egypt, or Child Trafficking, or Russia hating LGBT people….(Which is ludicrous, because of course, Russia is like…the Gayest Country on Earth…if you are famous for BALLET….that’s pretty Gay, Russia…pretty Gay), so she has not been posting about theater, because, well…she thought everyone learned their lesson.

The Fairy Princess lecturing Joseph Anthony Foronda in Flower Drum Song at AMTSJ

I mean, she gave a speech at LA Stage Day about the death of Yellowface, and she was totally encouraged by the fact that the audience at LA Stage Day was receptive. Not only were they receptive, the wider, Internet audience that technology makes possible was ALSO accepting of the fact that it’s not cool to put on makeup and bad accents and make fun of Asian people simply because you are too lazy or stupid to do an actual and thoughtful portrayal of Asian culture WITH Asian actors in those roles.

I mean, weren’t we all clear on this? GEORGE? What do you think?

I mean, any educated person would have to take note that demeaning a heritage you know nothing about would be…well… stupid. Any educated person would know that. Educated people, for example, who have just received an Ivy League education at an institution that is known for having high artistic standards….a place like, well…let’s just say it….YALE.

Wow…that is gorgeous…yep, that’s Yale

Yale is a pretty fancy place – it’s graduates include Presidents, Physicians, Performers, Playwrights, in fact, the Fairy Princess’s own cousin holds a PhD from Yale….so she’s been there, and yeah…pretty fancy.

(In case you are reading this post in say….Scotland…or more specifically Edinburgh, it may be worth sharing that Yale Drama School – which is a Masters Program of Study, has some pretty famous Alumni to boast of….much like my own alma mater, Carnegie Mellon….which was founded by a Scot – Andrew Carnegie. GO SCOTS! )

Now, when you think “Yale Drama”, who comes to mind?

Or well, this guy….

TONY Winning Playwright, David Henry Hwang

He won a TONY Award for writing this play:

And DHH is not the only Asian American to have attended Yale Drama….how about this guy?

Actor CS Lee – Dexter

Or THIS guy…..

Actor & 2x TONY Winning Producer, Pun Bandhu

And lest you think that Yale Drama is male dominated…

Actress & TED Speaker, Esther K. Chae

So…as you can see, Yale School of Drama has some fairly distinguished Asian American alumni who are gracing our stages and screens, large & small, today. And Yale School of Drama is NOT what this post is about – because obviously they are forward thinking and embrace diversity in it’s students and alumni. And Bravo to that!

However, there are a LOT of people who attend Yale and they are entitled to pursue Acting, Writing, and Directing just the same as anyone else. Their resumes still say….Yale. The word entitled is a very big one here, and it explains the reason for this post.

Though these bright minded individuals do hold degrees from Yale University, they do NOT hold Degrees from Yale School of Drama.

They do not have the training, they do not have the sensitivity, and they do not have, perhaps, their pulse on the beat of the cultural landscape of American Theater to know that there is a…and well…given the subject matter, The Fairy Princess hesitates to use the word, but it is applicable…a REVOLUTION in American Theater in regards to portrayals of Asian peoples.

Nobody binds our feet and leaves us in a corner ANY more….

The definitive answer, in many respects, to cultural misunderstandings

Which is why it was all the more shocking to hear about THIS

A play currently playing at Edinburgh Fringe Festival written & Performed by YALE Alum

You see…this is the Cast of BEIJING CAKE currently playing at Edinburgh Fringe, and….it’s a play about China….do they look Chinese to you? I see….

Cassie DaCosta, Nathaniel Moore, Sara Rosen, Gabriel Christian the cast of BEIJING CAKE

And HERE is a map of CHINA…real, actual, China….it’s not made up, it does not exist only in pure imagination…it’s right THERE…you see?

Wait! Wait a MINUTE you say that CHINA is a REAL and ACTUAL place?

And here is a…well…a Chinese person…one who is actually, supposedly portrayed IN this play:

The Chairman…and no, not a fan as he put my Great Aunt into a concentration camp…but he was a real and actual person of which there are MANY images

Though none of the Cast appears to BE of Asian descent, appearances CAN be deceiving so let’s see their Kickstarter video, because perhaps that would show them to be a sensitive, thoughtful bunch, who can cheerfully bring us all up to speed on the Chinese experience…http://www.kickstarter.com/projects/2114703258/bring-beijing-cake-to-the-edinburgh-fringe-festiva

Yeah…not so much. Although the repeated GONGS throughout the kickstarter video are a nice touch….

The Fairy Princess has hit a wall….

She has hit a wall because this is a project that is coming from young people! In their twenties! And Whitney Houston always told us that Children were the future!

Whitney lied. These children are as whack as crack.

The Fairy Princess is FRUSTRATED.

Remember what happened the FIRST time she got this frustrated? (MR KAUFMAN? REMEMBER?)

OK here is the deal….this show at The Fringe is billed as a comedy, it’s billed as hilarious…and apparently, those who have done the billing are the playwright, director and Cast themselves, because when core members of the British East Asians attended the show this is what they saw….

Ummmmm…..

You know who should be upset about this? More than The Fairy Princess, more than the British East Asian Artists?

Man if I went there, I would be SO pissed!

And here is why...they make Yale Alumni look like culturally insensitive a**holes.

Cuz ya wanna see how they bill themselves….?

Wow…yeah, YALE is all over those bios….huh?

Yale, Yale, Yale…and you know what – Yale is actually a very sophisticated school with quite an international reputation. And now this bunch is going around the world to spread Yellowface makeup, made up Chinese and…well…racism. I mean, they do not even seem to be aware that Chinese can be broken down into various dialects like Mandarin and Cantonese!

REALLY? Because even ELMO knows what Mandarin is!

THIS is what they came out of YALE with? An entitled sense of being able to make fun of Asian people…an entitled opinion that they are able to portray us, to speak on our issues, to mock a language that is thousands of years old?

OMG Yale – you failed. You were supposed to educate them to take their place in the world and hold forth the tradition of excellence that you are known for. They ran off waving their sheepskin and decided it was a great idea to mock the Country that holds America’s dollar by the proverbial balls.

What a great endorsement for a Yale Education! I’m sure their Parents will be thrilled that they PAID for their kids to learn that you can step all over Chinese people at tens of thousands of dollars per semester! The one who will be absolutely the MOST proud?

The Director’s FATHER….

Because EVERYONE knows that Oscar Winning Screenwriters really want to be known for having Daughters who perpetuate stereotype utilizing Yellowface and made up Chinese adjacent languages! What a shame, when you, yourself, are so meticulous in your brilliant work. But perhaps, she is a late bloomer. You have faith in her.

The Fairy Princess….not so much.

Let’s break it down people, these Actors and this Playwright and this Director are from groups that have ‘Minority’ written all over their names and faces and gender…possibly even their sexual preferences, who knows or who cares, but it’s possible. So if you are, yourself, a member of a Minority group, how DARE you mock another one? Forget what you obviously did NOT learn at YALE about cultural sensitivity, what the heck were you learning at home that makes this in ANY way ok?

Well now, they are probably upset….they are saying HOW DARE I call them on this racist play that they love doing. Who am I to expect them to strive for excellence and artistic bravery? Ok Kids…fine, but let’s turn this around….because turnabout is fair play, yes?

Foghorn Leghorn says Yes, Turnabout is fair play

Now…if Asian American actors were to go over to Edinburgh, slap on some Blackface make up and talk like Amos & Andy – would that be ok?

Yeah, remember when people thought THIS was ok? (TOTALLY NOT OK!)

No.

If Asian American Directors and Writers got together a made up a mockery of the Hebrew language which they THEN set it to the tune of “Yiddishe Mama” would that be ok?

No.

Cuz The Bottle Dance from Fiddler On The Roof is just Jerome Robbin’s choreo…we could learn it

Tradition my ASS!

(BTW, The Fairy Princess knows every damn word to Fiddler On The Roof and made her Mom take her to see it 5 times in a row when she was six years old and then she memorized the Cast recording…but she ALWAYS knew that it was a show she would NEVER do)

But we are not going to. Because we have standards.

I would have thought that you would have them too…being that you know….you went to Yale and all….so many whacks with the wand…you need to grab a mirror and take a good look at yourselves and HONESTLY wonder how you EVER thought that this was in ANY way ok….. OH….and BY THE WAY….

KISS MY FAN TAN FANNIE

Tags Arrogance, Asian American, Beijing Cake, Bigotry, Blackface, British East Asians, Cassie Da Costa, Chinglish, CS Lee, David Henry Hwang, EdFringe, Edinburgh Fringe Festival, Esther K. Chae, Fringe Festival, Gabriel Christian, GLBT, Hubris, Jerome Robbins, M.Butterfly, Maya Seidler, Meryl Streep, musicals, Nathaniel Moore, Plays, Pun Bandhu, Rachel Kauder Nalebuff, Racism, Racists, Sarah Rosen, Theater, Theatre, Yale, Yellowface, Yiddishe Mama

Categories Diversity

The Road to Show Boat is Paved with…Intentions….

How about “NO BOAT!” #NAAP should pick another show

Mary, Mary (Cheney), Why You Buggin’?

Dear #ThatAsianKid from #Playbill ‘s #AskJohnny

Screw your #BeijingCake and Eat It TOO – #EdinburghFringe #Egad

Recent Posts

Archives

Categories

Meta