The Fairy Princess wanted to take a brief moment and congratulate the British East Artists on their award of Nee Hao Magazine’s Man and Woman of the Year Award.
The fight for recognition in theater or for those in the UK, theatre, is so very complicated and exhausting, that it is truly, truly a wonderful thing to see their work recognized in a way that the US Asian Americans have yet to be, though AAPAC is doing great work under the leadership of Pun Bandhu.
Here is the article from Nee Hao and as part of the “international support’ team, I am absolutely thrilled.
After much deliberation from the judges in reviewing a pool of impressive candidates, a decision was made. On February 9, the winner of the first-ever Nee Hao’s Man and Woman of the Year Award is to be received by the British East Asian Artists (BEAA), a collation of amazing men and women from diverse professions involved in directing, acting, writing, broadcasting and filmmaking. Normally the award should go to an individual man and woman, but this year an exception is to be made because of the special achievement of this group. A full list of the other finalists will be in articles to follow.
The Judges’ Decision
BEAA was selected by a stellar line of judges comprising of:
Dr. Catherine Xiang In charge of Mandarin section at LSE; responsible for Asian Languages, liaison for Confucius Institute Business, London
Raymond Wong MBE, the Honorary Chairman of the Bristol Chinese Association
Dee Lo, presenter and co-producer of BBC Radio Chinatown in Manchester
GK Tang, the founder and entrepreneur behind OrientalUK.com based in the North East
Ben Donn, Entrepreneur and founder of V Town Events based in Manchester.
Editor of Nee Hao Magazine Steven Ip, who was not part of the judging panel, had this to say: “Their courage in breaking barriers to incorporate more East Asians into the arts and cultural sectors is truly inspirational. Fighting racism, prejudice and underrepresentation, the BEAA truly deserves universal recognition; I am proud that Nee Hao has played a small part in recognising their contributions”.
Gathering together in 2012, the BEAA campaigned against the Royal Shakespeare Company’s (RSC) adaptation of the Chinese play “Orphan of Zhao”. The RSC only cast three British East Asian actors in the play, reflecting a lack of the organisation’s dedication to equal opportunities-casting. The pressure exerted on the RSC through BEAA’s efforts in rallying up online support resulted in a written statement by the RSC to review their policies. Although it is impossible to recount all the individuals involved in the initiative, notable mentions have been made regarding Daniel York, Anna Chen, Dr. Broderick D.V. Chow, Kathryn Golding, Paul Hyu, Michelle Lee, Chowee Leow, Hi Ching, Jennifer Lim, Lucy Sheen, and Amanda Rogers.
Victor Wong, Executive Director of the Chinese Canadian National Council, who co-nominated the group stated:
“Through their efforts, the BEAA successfully challenged the racist assumptions and stereotyping of the theatre industry. Their efforts to break the glass ceiling of “invisibility” in the UK also benefits the British Chinese and East Asian communities in general, and especially for young people at the beginning of their careers. The BEAA were able to attract international support and also engaged with important allies including Equity representatives, media, funders and political representatives”.
Yinsey Wang, contributing editor of Nee Hao, who also supported the nomination of BEAA, stated of the Nee Hao’s Man and Woman of the Year project:
“We wanted this award to support what we feel is lacking in the British East Asian community: unity. The BEAA has shown dedication to a truly unified cause and enchanted the imagination of the British East Asian. As a British East Asian, I feel empowered to know that together we can make substantial differences in Britain, and can even engage the serious problems that affect the heart of the international community, such as racism, underrepresentation and misunderstanding”.
BEAA continues to create extensive ripples in the arts and culture of Britain, providing a forum for creatives to share and develop their work. Nee Hao is proud to celebrate this year’s men and women from the BEAA that have outlined 2012 as an important step forward for all British East Asians.
A statement by BEAA is to be made at the awards ceremony and shall be reported on after the festivities of Nee Hao Magazine’s Chinese New Year Show in London, which includes a fashion show, performances, a charity raffle in support of Chinese orphaned and abandoned children, and delightful culinary creations.
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The Fairy Princess also wanted to take a moment, and recognize the passing of a true Artist and Pioneer for API performers, particularly those of us who fall into the even smaller category of “Eurasian’ aka “Hapa” aka “Mixed Race” performers – Kevin Gray, known for his work in Miss Saigon, The King and I, Phantom of the Opera, The Lion King, and many more – died suddenly of a heart attack at the age of 55.
(If you click on the names of the shows, you will find articles from Playbill.com on his many successes)
Here is an interview of Kevin when he was doing The King and I at The MUNY
When I looked at my Facebook and Twitter feeds, I was staggered by how many of my friends had worked with him – friends of all different backgrounds and so many different kinds of shows – he touched them all through his work and his friendship. He was a pioneer simply because he was a wonderful performer and his talent was second to none.
This is not an obituary of Kevin, it is simply a thank you – I am not qualified to write one for him, but Theatermania and Playbill have done so, and if you click the words there, you will see them.
The Fairy Princess wanted to acknowledge that though we are all still fighting for recognition on our world stages, there was a brilliant warrior fighting that same fight, simply by being a standout in all he did.
Rest in Peace Kevin Gray – many thoughts and prayers to your Wife and Family.
The Fairy Princess has been lax – and I admit it. I have not been blogging because there has been a new addition to the family. My Niece arrived on December 28, adding to the fun of my having a now, 8 month old, and my first niece who is nearing her second annum. So…blogging came a very distant second, third, fifth to the holidays and the naming days and actually all other days that could possibly have a name. I apologize, my wings were trying to beat quickly, but there was just SO MUCH happening I could not get a clear thought in my head.
Until I saw this.
What is that? Ceylonese Arm Wrestling?
Was ist das?
You may ask – and you may ask it in German, as I have just done. German would be the way to address this issue because, this issue cannot be addressed properly in English. It should have been able to be addressed in Sinhala or Tamil, but that would assume one has familiarity with the languages of Sri Lanka, formerly Ceylon, and one cannot assume, as Felix Unger warned us so many years ago.
If you have not been flap ball changing around The Broadway, you may not know that there is currently a revival of The Mystery of Edwin Drood playing at The Roundabout Theater. The premise of Drood, which was a novel that was never finished by Charles Dickens, is that we are watching a ‘show within a show’. Meaning we have been transported back in time to Victorian England to watch a show done by a Thespian troupe, who are giving us a show about a book that was never finished.
The musical has no ‘definitive’ ending. All we really have is the setup, and then after poor old Edwin has been ‘whacked’ every which way but Sunday, the audience gets to vote on who ‘did it’. Much merriment ensues. Technically you have to see the show several times to see all the different ways in which Old Edwin bites the dust. Therefore not only is it a show within in a show, it’s a moneymaker within a moneymaker. If you love it, you will go back to see it over and over until you are satisfied that you have exhausted every possible motive everyone could have possibly have had, and you will bask in the knowledge that you, good Sir, are a bona fide fan.
It is all very good to want to place things in Victorian England, I wouldn’t mind a place there myself – next to the Dowager Countess of Grantham if possible – but this is impossible because we live in 2013.
Yes, hard as it is to believe it, The Fairy Princess is beating her wings after the Mayan Calendar told us that life as we knew would end. (They did not predict the end of the world, the History Channel has been very clear on that matter, don’t get it twisted). And the Fairy Princess knew that two of the characters in the musical, The Mystery of Edwin Drood, are supposed to be from Ceylon. Which is now the country of Sri Lanka. But in 1870- something was Ceylon.
So when there was an announcement that Drood was coming back to Broadway, I was eager to see who would be cast as Helena and Neville Landless. All I knew was that they were both to have been from Ceylon. I have never been to Ceylon now Sri Lanka, guess where it is?
Oh. Sri Lanka borders Asia, The Middle East, and the Indian Ocean. If one were to own property in Sri Lanka, one could probably even see parts of Africa from their backyard. (Which would make Sarah Palin happy – she likes land masses viewable from backyards). The Fairy Princess loves research though, so she thought since she now knows WHERE Sri Lanka is, she would take a look at the people of Sri Lanka.
What do people of Sri Lanka look like? I thought I would take a look – Sri Lankan people in 1870…go!
Ceylonese Man Circa 1870
If I were casting the character of Neville Landless in Drood, I imagine that I would look to people who have appeared in musicals, on Broadway or National Tour, who may have South Asian heritage. (Actually you could go a lot of different ways with this, given where Sri Lanka is, but let’s go with the supremely easy choice of South Asian).
It would be refreshing to have that Diversity in the Cast of a Broadway show. It would also fit with the storyline – in fact, it is WRITTEN IN the storyline, and…there are lots of people to bring in and sing for it. After all, since the Original Drood hit Broadway, we have had a whole crop of South Asian Broadway performers setting new standards. It is awesome! So…who would I call?
I might go with Aasif Mandvi, who played Ali Hakim in the last Broadway Revival of OKLAHOMA! (And yes, I had to sing it to spell it)
Dev Janki – Recipient of the Lucille Lortel Award for Best Choreography
Or certainly, without a doubt I would call the star of the only South Asian Broadway show, BOMBAY DREAMS, the one and only Manu Narayan Here’s a clip of him (pay no attention to Mike Meyers or Jessica Alba, you can DO it!)
Yep, any of the aforementioned Dudes would have done a great job of representing a Native of Ceylon, and they have the chops to sing it, dance it, and have been on Broadway stages previously. Easy peasy. I was able to cast that part in two minutes.
But let’s see who Director, Scott Ellis went with:
Andy Karl, Native of Ceylon (Now Sri Lanka)
Now, Wikipedia tells us that it is not actually clear to what extent Helena and Neville Landless are Ceylonese, or Sri Lankan. Perhaps the choice was that Neville Landless is NOT a Native of Ceylon, perhaps he is a British Ex-Pat, who just lived there and got some sun….
I could have gone with that, till the NY Times pointed out, “silly imitation exoticism‘ and “...absurd burnt umber makeup‘. Which seems to imply that the Director, Scott Ellis, is actually meaning to have a Caucasian Man put on “Brownface’ and dance around in an imitation of what is South Asian traditional dance.
No!
Who would DO that?
THE MYSTERY! OF! BROADWAY BROWN!
Ok, perhaps the part of Neville has been cast with what the NY Times calls ‘absurd burnt umber’ leanings, but let’s turn to the part of Helena. After all, brothers and sisters don’t always look alike.
I mean, in my Family, which is Eurasian, we all look completely different. I decided I would try again – given that Neville has been painted in shades of Umber, I guess that the Director was going for a “Native” look – so I took a Google walk, and here is what a Native Girl from Ceylon (Now Sri Lanka) looked like in the 1870’s.
A Native Girl of Ceylon circa 1870
And here is how Director, Scott Ellis saw the role:
Jessie Mueller, Native of Ceylon circa 1870
Well.
How awkward.
This is as bad as a white guy playing the King of Siam…oh wait…yeah, see – that rarely happens anymore. This is as bad as the Engineer being played by Jonathan Pryce!
Yeah, ummm, Broadway doesn’t DO this anymore, right?
The issue is not whether or not Helena and Neville are technically Ex-Pats of England brought up in Ceylon, or that this is a show within a show and they are portraying actors from Victorian England who would have portrayed natives of Ceylon in burnt umber makeup – the issue is – why?
Why would you, in the year 2013, find it a strong directorial choice to have two Caucasian actors put on makeup and ‘exoticism’?
If they are English ex-Pats, wouldn’t they be as Caucasian as they both are, but just wear the Native dress and perhaps have an accent? OR…here is a thought – if you are to make the determination that the characters are Native Ceylonese, maybe cast some Actors who look like they could be from that area?
I mean, why Cast this way in the year 2013?
This just does not make any sense!
This is like telling me that Julie Taymor and Bono hang out and go for long walks together! This is like saying that Porgy & Bess should have had an All Asian American Cast! This is like saying that The M*therf*cker with the Hat should be cast with all White Peo…oh wait, didn’t they do that in Connecticut? Nevermind. It’s Connecticut. The point is – all those thing are ridiculous!
I mean, if Neville and Helena were from Africa – which, as you can tell on the map, is just right across the sea from Sri Lanka, and NOT implausible, would you allow Caucasian actors to put on Blackface? They damn well wouldn’t. And THAT is actually Equality – if you would not do it to one Minority, you do not to it to the Others. Even Steven in this case, works just fine.
But wait, they will probably say that they looked, but could not find any South Asian Actors. Yes, yes, we hear this all the time – no Asian actors to be found, thus we were FORCED to use Caucasians in the role.
Really? Couldn’t find any South Asian Actors and Actresses….I see….what? They were all off working for the Wachowskis on their next Sci Fi movie because Tom Hanks is now going to do Broadway and there was an Opening? Right. Nice try.
I mean, is the whole cast of the Bombay Dreams busy?
The Fairy Princess is astounded. Here is a show which is written to include South Asian characters, and they were erased in favor of a what? In favor of a Mikado-esque depiction of the Natives of Ceylon now Sri Lanka!
(Before we get too crazy, please note: Actors are hired, directed, and give the performances that the Creative Team wishes them to give. So no hating on Andy Karl and Jessie Mueller– they are both very talented Broadway performers. All my Caucasian friends who have seen the show have raved about it. As for the rest, the Fairy Princess is reasonably assured you would understand their feelings.)
Most would ask why, Fairy Princess? Why does this tilt your tiara? It is a limited run, and who is this really going to hurt? I mean really?
What effect can one show have on an under represented group?
Well, l received a Casting Breakdown from a new show that the Acorn Theater is presenting, it’s called BUNTY BERMAN PRESENTS -It is a show about Bollywood. It is written for an entire Indian Cast by a writer from England named Ayub Khan Din.
Here is the first line of the Breakdown:
NOTE: We are open to seeing Actors who are Non Indian, but who can believably play Indian Characters.
I mean, if South Asian people don’t get to play South Asian on Broadway – why should they get to play themselves Regionally? Why, when it is so FUN for Caucasians to put on thick makeup and accents and have a rip roaring, R and L dropping, Sari wearing heck of a time?
The Fairy Princess has no answer for this. The Fairy Princess finds this very sad.
So five smacks of the wand to The Roundabout Theater and Director Scott Ellis – you had a chance to be a leader, and embrace Diversity in a show where it is part of the plot, and you chose not to. And if you still do not see what effect the casting of a Broadway show can have, what the trickle down is, then please go and re-read that line from the Bunty Berman Presents Breakdown.
AAPAC Opposes Brownface in Roundabout Broadway Production
After seeing The Roundabout Theatre Company’s Broadway production of “The Mystery of Edwin Drood” and receiving numerous complaints about the use of brownface in the production, AAPAC feels it is necessary to release the following public statement:
We were deeply disappointed to see white actors impersonating characters of South Asian descent complete with brown grease paint, appropriation of costumes and dance movements and relying on stereotypes in place of characterization. The obvious talents of the actors notwithstanding, the use of brownface had the effect of being extremely surreal and alienating, as if a joke was being told that was not intended for the Asian American community to hear.
We understand that the racism inherent in this musical is a reflection of the social mores within 19th century British panto and Music Hall traditions. Director Scott Ellis was being true to tradition, historical precedent, and to the story itself.
However, we would assert that if these characters came from the British colonies of Jamaica or Cameroon, and not the British colony of Ceylon (now present day Sri Lanka), blackface would never have been utilized in the same casual way. Today, you would never see a white actor in blackface playing the title role in “Othello” with the excuse of, “oh, well, that’s what was done in Shakespeare’s day.” We wonder why minstrelsy is acceptable when it comes to Asians?
The Roundabout production seems to show little awareness of the long history of Asian impersonation we are trying to put behind us or how racial politics and demographics have changed even in the 28 years since this show first premiered. There were a myriad of ways Mr. Ellis could have handled this issue with more sensitivity. For one, he could have hired actors of actual South Asian descent. Or, if he wanted to preserve white actors in these roles, the use of brownface would have been more ironic or satirical had the entire ensemble been cast multi-culturally. This would have been particularly effective since Hispanic-American star Chita Rivera was already in the cast. However, we have heard from quite a few members of the Asian acting community, including those with major Broadway credits, that requests from their representatives to secure an audition were denied.
The Roundabout Theatre Company does not have a good record when it comes to inclusive casting. Last year, we released a report looking at the percentages of actors of color hired at 16 of the top not-for-profit theatre companies in New York City over a five year span. The Roundabout made our list of the five theatre companies least likely to hire actors of color. In fact, they ranked second to lowest.
We are reaching out to the Roundabout to engage in closed-door discussions about these issues and are hopeful that they will accept our invitation. We are certain that their record does not reflect a conscious policy of exclusion and we hope that by bringing these issues to a more conscious level, the Roundabout can become an ally in an industry-wide commitment to more inclusive casting.
In the meantime, if you feel as strongly as we do, it would be very helpful if you take two minutes to send Artistic Director Todd Haimes a short missive via their FB page:
Until there is conscious attention given to these issues throughout the industry, opportunities for American actors of Asian descent–and all actors of color– will never be truly equal.
Yours in Solidarity,
The AAPAC Steering Committee
Pun Bandhu, Cindy Cheung, Kimiye Corwin, Angel Desai, Siho Ellsmore, Christine Toy Johnson, Peter Kim, Julienne Hanzelka Kim, Nancy Kim Parsons, Kenneth Lee, Allan Mangaser, Eileen Rivera
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UPDATE FROM THE ROUNDABOUT THEATER COMPANY PAGE:
Thank you for your post. Listening to our audiences is at the core of Roundabout’s values, so we appreciate all feedback and take it very seriously.
Roundabout’s leadership team is planning to meet with Asian American Performers Action Coalition to discuss their concerns. In the meantime, we will refrain from further comment here on Facebook, and look forward to a constructive meeting.
Here I sit in the Colonies, and I have just read The National Arts Council’s letter to Mr. Victor Wong, who is the Executive Director of the Chinese Canadian National Council. Mr. Wong quite obviously wrote to the RSC in light of Artistic Director Gregory Doran casting China with a coat of white paint. And good for him! Bravo! I toast Mr. Wong with a cup full of maple syrup whilst wearing a Mountie hat! Thank you Mr. Wong.
(My Canadian Chinese Cousins will be duly impressed by this. I don’t really know them, we are apparently related through a Great Grandfather with multiple wives and concubines, but what are you going to do? That’s China for you. A First Cousin married a Canadian actually, with my same name, awkward, but she has a fabulous company for Ex-Pat Canadians in Oz called Oh Canada !)
The letter is from Nigel Hugill, I will pull a bit of the text.
Selection of letter posted previously on FB Group site
What has occurred to the Fairy Princess, sitting here twiddling my toes in the lovely, balmy LA weather, and having just been to The Ovation Awards (LA’s Theater Awards) last evening is, that the Royal Shakespeare Company is very uncomfortable with language.
What’s that you say? But what is theatre if not language? The theatre is language and costumes and sets all designed to tell a story to make you think. There are plays that make you think about a variety of subjects – about love, or sex, or money – plays are designed to make you think. On occasion, there are plays that make you think about issues that you are uncomfortable with.
The Orphan of Zhao is one such play for The Royal Shakespeare Company.
It’s all very “words, words, words, I’m so sick of words” And it is not, actually the words AsianorEast AsianorCastingorDiversityorMulti-Cultural – those words they are willing to fling about like ramen in a food fight.
What is getting their goat is one other word, and it is not supercalifragilisticexpealidocious.
The word is….wait for it…apology.
I mean, yes, to apologize is to throw yourself on a sword a bit, Mr. Doran, but it’s not necessarily fatal. AND…I happen to have one right here, as a matter of fact:
In Chinese, a sword is called a “Dao” – I am going to call this one…Zhao
Just kidding, just kidding – don’t throw yourself on a Chinese sword Mr. Doran, you would be vastly uncomfortable and definitely need a tetanus shot.
What is odd to me about this whole situation, is that the Brits are known world wide for some very particular traits – Beautiful Princesses
Princess Diana, just stunning
Princess Sophia of Hanover, (she was smokin’ in the 1650’s)
Learned Scholars,
William Shakespeare well, I suppose he’d prefer no women a’tall in these shows – isn’t it funny to look back on all these theatrical prejudices and laugh….
Sweeney Todd (the legend, not the musical)
NO EAST ASIANS IN CHINA – FETCH MY KNIFE!
and..what is that other one…don’t tell me, don’t tell me….oh yes, ETTIQUETTE!
Isn’t the British standard held up for the rest of us because of their love of protocol? Doesn’t everyone have to have a card to leave on a silver plate with the butler while we wait to gain entrance? Isn’t everyone on baited breath to see if they will be received by the Host should they be having an ‘at home’?
It does not take a village, nor a an upbringing by a starchy, staunch Nanny to know that when you own a dog and it takes a big poo on the street, your obligation is to pick up the poo. (Preferably in a small plastic, recyclable bag which you then deposit forthwith into a receptacle of the trashy variety)
I like to think he is saying “No East Asians in China? That’s LUDICROUS!” Because in my fantasy this lovely English Bulldog ‘gets it’.
But THAT is not what Mr. Nigel Hugill is deciding to do. He has decided that all this kerfuffl-ing is not something he need immediately be concerned with. He is taking it under advisement. He is now off to don a smoking jacket, after checking his stocks on the “Change, and toddle off to his Club to enjoy brandy, cigars, and the company of his Peers. Poo on the streets? Didn’t bother Mr. Nigel, he just stepped right over it.
Mr. Hugill – the Fairy Princess is not on the British Arts Council, nor has she fluttered her wings across a West End Stage (and this whole thing has really stuck a pin in that one, wouldn’t you say?). However, you need a few smacks with the wand if you think that the British ‘love affair’ with East Asians has, in any way, given you any leeway in this situation. You don’t have a heck of a lot of credit with us, you are in foreclosure for the following reasons:
Exhibit A: The Mikado – yes, originally written to protest British mores, but that’s not the way it’s usually done is it? Nope, usually done in “Yellow Face”
Exhibit B: Jonathan Pryce in MISS SAIGON
Mr. Pryce explaining how he changes his eyes to play Asian. The Fairy Princess loves to hate this photo
Yes he did Miss Saigon in Yellow Face, till the Yanks yelled about it – so off went the prosthetic eyes, and off almost came the ENTIRE US Production as Cam Mac jumped up and down and raged about the right of his team to cast someone who was not Asian, as a Eurasian.
Well. Well. I am actually Eurasian so….you all were half right, or rather half wrong in that case.
But now we are on to Exhibit C – The Orphan of Zhao
I have a lovely friend who is a Broadway Veteran, who happens to be multi-racial, who said to me: “I don’t believe in people saying they don’t see color. How do they drive? What they should say is that they do not react to color, that they choose not to acknowledge it.”
There’s been all this back and forth about who is right and who is wrong and who is responsible for Artistry and so on, and it is time to call it a day. I would rather play with a Corgi and drink Earl Grey and forget this tiff with those of the British Arts Council and it’s minions.
Thus, The Fairy Princess is going to be magnanimous. She is going to ‘break it down’ for Artistic Director Doran and all the Members of the British Arts Council who are happily looking down upon the East Asians from their Ivory Tower of Pomposity. Ready? Here you go:
YOU. NEED. TO. APOLOGIZE.
Take a page from the book of La Jolla Playhouse, they apologized. Seriously, Moises Kaufman apologized.
See, once you do that, everyone can move on.
Digging in your heels and sulking that you were right, does not make it so, it makes you look like Veruca Salt in Charlie and the Chocolate Factory.
Here’s what you say:
Dear (Insert a respectful address, if you can bring yourselves to, won’t you?)
We at the British Arts Council and The Royal Shakespeare Company have heard your complaints. Given the vast amounts of attention that our Casting of The Orphan of Zhao has warranted, we have had time to look at the issue from all sides. While we believe fully in the talent of our current Cast, we do think that we made a mistake.
Casting a play set in feudal China with a majority of Caucasians, was, in fact, the wrong thing to do. While it was not done with malice, and cannot be undone, you can rest assured that the RSC and the British Arts Council will do everything in their power to make sure that this is never done again.
We value our UK Citizens who have East Asian heritage, both those that are in the Performing Arts and those who are valued Audience members of the RSC. We hope in the future, to go forward, working together, both to expand our knowledge of world plays and to respect the heritage from which the play came.
Our deepest regrets for any hurt feelings, we never intended that this be the result of what we hope will be a long collaboration with China, bringing their stories to our stages.
Yours truly,
Vastly Superior Public School Attendee blah, blah, blah, multiple letters from her Majesty blah blah
Seriously, just do that. No, go ahead right now and DO THAT.
Why? Because you are a Leader, and Leaders are not afraid to admit mistakes – they are only afraid to repeat them.
I would like to quote Terrence McFarland’s Ovation Award Speech, from the event I attended last night. Terence is an exceptionally thoughtful and erudite man.
Terence McFarland, Exec. Director LA Stage Alliance
“I am reminded that we, too, as theater makers, are in service.
Twenty years ago on the Taper stage a group of artists came together and served. They were a bellwether in the perception shift of a plague and redefined what was possible to accomplish in a single, epic play.
Margaret Mead’s quote seems apt: ‘Never doubt that a small group of thoughtful committed citizens can change the world; indeed, it’s the only thing that ever has. ‘
I challenge you, citizens, to embrace the sentiment inherent in Kushner’s infamous line from Angels in America:
“The Great Work Begins.”
And thus, The Fairy Princess challenges The British Arts Council and the RSC to allow the Great Work that they currently DO, to embrace what has been mentioned previously, and allow their future Great Work to include more East Asians.
It is possible to do Great Work when dealing with those whose heritage includes The Great Wall.
The Great Wall of China. WHERE? CHINA! YEP, THAT China.
ESPECIALLY if the show is set in CHINA, FEUDAL CHINA!!!!!!!!!
Yes, it seems odd, given that this blog tends to be about Women who love Gay Men who love them back just as much, but one must have outside interests, and I didstate at the beginning, that I would perhaps sound off on this issue.
To give a brief background on my particular tiara and wings, my heritage is Chinese, Irish, and Welsh and I am a dual citizen of the United States and Australia. I am married to a (straight) man who was born in Korea and came to the USA when he was 8 years old. I have traveled to countries that include Turkey, Greece, Australia, Ireland, Canada, China, Japan and I plan to add Europe in general when my son is a bit older.
My point is, I’m well aware of what the world looks like – would that Musical Theater looked the same. Broadway is not where one goes to find much diversity in casting. For example, I, (see me, I’m posting a photo of me as well as a little performance done for the 50th Anniversary of Flower Drum Song )
What? It is going to be directed by acclaimed New York director, Moises Kaufman, who helped create The Laramie Project. Awesome! It is called The Nightingale, and it is based on a Hans Christian Anderson fable about AN EMPEROR IN CHINA WHO IS CONFINED WITHIN THE WALLS OF THE FORBIDDEN CITY AND THE BIRD THAT CHANGES HIS LIFE.
CHINA!!!!
Well, TFP happens to be CHINESE! Which would mean, in a perfect world, that she should get a call…or other Asian American Musical Theater friends should get a call – because it’s set in China.
Please read that last sentence again – China. In Feudal China. The play is set in Feudal China. Guess who is playing The Emperor? Not living legend Chinese American Actor Extraordinaire, Alvin Ing, the man who holds the record for the MOST Flower Drum Song appearances, EVER. Nope.
Now, this story has a Young Emperor, he’s the one who falls in thrall with the Nightingale, and let’s face it, I’m Eurasian, my Daddy is white, so let’s give them a second shot at correctly representing those who might actually rule Feudal China….it is…Bobby Steggart…sorry, what?
Oh…my…ok, WELL…let’s take a look at thecasting notice from Tara Rubin’s office. Aha! There is an EMPRESS DOWAGER! Which means that is the ruling Emperor of China’s Mom. What do they look like? Let’s find one – oh HERE’s one…Imperial Empress Dowager, aka Dowager Empress Cixi…
If I were to think of who might be fabulous as the Empress Dowager, TFP might call in Jodi Long who was on Broadway as Madame Liang in Flower Drum Song
…….but here’s who they went with for the Empress Dowager of China:
Charlayne Woodard, Dowager Empress of China.
You are probably sensing my frustration…and if you are not, your name is probably Moises Kaufman. Now, I have read that La Jolla Playhouse is calling the casting of this show “A Rainbow”. Here’s the funny thing about rainbows – the color yellow is rarely in that rainbow when it falls on other shows. Also, diversity has a time and a place – it’s usually an unnamed place in the future, in a multi-racial world, or set in modern times – it’s not in Feudal China. Let’s get one thing straight about Feudal China – diversity was never an issue.
But here – take a look at the article from Broadwayworld. It’s a little perturbing to see that onlyKimiko Glenn has been cast in a show set in China, Feudal China – and for those who may not have picked up on it, Kimiko is a Japanese name – don’t care, happy she is working, I’m just using it to point out – there are NO CHINESE PEOPLE IN A SHOW SET IN CHINA.
This is not, Folks, like the time a Texas Children’s theater did an All Caucasian Production of HAIRSPRAYand you can claim, as they did, that they had no African Americans around to cast – this is a professional theater with a budget and access to any and every Asian American Actor in the country. It also boasts a Director of International Fame (a New York City based Director) and a Writing Team that have won TONY Awards – all they had to do was say, “Hey, this show is set in China, let’s cast some Asians up in here .”
OR, if you are simply going to use the concept of the fairy tale, just do not set it in China, Feudal China!
Let me be clear – TFP does not have any thoughts on the talents of the Actors hired, she has worked with some of them and they are ALL great – ALL! Actors have no power in terms of Casting, they are brought in, they sing, and they wait. This Diversity Debacle I lay directly at the door of the Creative Team – at ANY point, someone in the process could have stated the obvious, that if no Asian Americans were to be Cast, perhaps the setting should change from China, Feudal China!
So five spanks with the wand to Moises Kaufman, he is the Director, the buck stops with him and…looking at his past castings, doesn’t look like he would ever hire me anyway, as I AM MY OWN ASIAN AMERICAN!
UPDATE: I posted this in comments, but there are a lot of comments, and so I will post it here as well, as not everyone wants to scroll all the way through:
Hi All,
As you know, the initial objection that I had and wrote about on this blog – this post – stirred a lot of people and as the objections grew and were written about, La Jolla Playhouse decided to have a talk back to discuss the casting. Over 19,000 people have read this post, for which I thank them.
There were many articles written on what started as my own annoyance, and I am going to post the links here, in case you want to read them.
I would hope that the people who wrote anonymously and bitterly of the notion that Asian Americans would and should speak up, would pay particular attention to the fact that both the Artistic Director of La Jolla Playhouse and the Director of the play itself, Moises Kaufman, apologized. Also in the audience but not on the panel was the writer, Steven Sater, and the Composer, Duncan Sheik.
I also ask you to consider this – just because you may be a member of your own minority group, it does not give you a co-op experience and permission to use your own minority status to devalue or denigrate this issue. Your experiences are yours, and mine are mine. It does no good and a great deal of harm to decide that because you are a particular ‘kind’ of man/woman that you have the right to decide when and where Asian Americans belong. I take issue with that. Many of the more objectionable comments were prefaced with “Well, as a ____ man, I think…”
It is not cool to use your status to keep ours where it is now, which is barely visible. We are only doing what scores of people have done before us. When my Grandparents, my IRISH Grandparents came here, they were faced with signs that said “Irish Need Not Apply” – this is much the same thing. And Bravo to Moises Kaufman for his comments in Part 2.
Here are 2 small videos from You Tube – it is supposed to be 1-7, but I have only found 1 and 2. In 2, we have ‘our’ apologies:
It was with great interest that I read your article about the controversy at La Jolla.It was because I am the person who wrote the original blog that started all this hubbub
It struck enough of a nerve that as of this writing, my blog has has over 19,000 views and it is only 2.5 weeks old.My name is Erin Quill, I was an Original Bway Cast Member of Avenue Q and I have been reviewed in the LA Times for my work in the play, The Mikado Project http://articles.latimes.com/2007/apr/27/entertainment/et-stage27
, also for my work in the musical, Closer Than Ever,
I only mention this because I am trying to show that I am a legitimate stage Actress whose work has been covered BY the Times and yet, when it was time to cast a show that could have API performers, my phone did not ring.
And, should you watch the video of the talk back, you will see that the CD will say that this show did not have a proper audition process, they made calls and offers. My friends who are API performers did not have their phones ring either.
While I would never deign to tell a Director or Creative Team who to hire, I will (and did) point out the ridiculousness of their casting choices. Not because the Actors were not fabulous – I fully believe in the talent of the Cast, but because they set the show in China.
China is not a mythical place. China is a real place with a real people. Our history looks a specific way. The titles Emperor and Dowager Empress mean something when said in China.
It is not for other minority groups (I only say that because you brought up your own status) to decide for other groups what is their ‘place’, what they are allowed to comment on. Moises Kaufman himself pointed out that usually in debates of this kind dealing with underrepresentation, that he is the one clamoring, and during the controversy he realized that he was doing the same thing that had been done to the GLBT community to Asian American Performers. He said we were right to protest, and he apologized.
The debate for us was not multi-racial casting. It was not to infringe on a Creative Team’s right to choose the cast they want, but the costumes, the sets, and the names of the characters were all Chinese. That we were asked, that all the audience was asked to please accept 2 Caucasian Emperors of China. Not a ‘mythic land’, it was CHINA.
If this was Porgy and Bess, and the leads were Caucasian, you would not think to write “underserved communities need to recognize the right of artists to establish their own conventions of representation”
You would be scared to, even with your own minority status that you established.
You would know that using your own status and including the above quoted sentence to African American Artists would be looked upon with dismay, distrust, and anger.Yet you have used them to the Asian American Acting Community.I ask you why. It is met with just as much dismay, distrust and anger as if you said it to someone African American or Latino.
Asian Americans are angry. We are angry with the co-opting of our heritage and then being told that while our heritage is useful, our talents are not wanted.We have a right to be heard, and we have a right to not receive a ‘scolding’ from a Critic who is held in high regard.We do not need someone to tell us how to listen to the excuses of why we are not asked to be a part of a world set in OUR world.
In that audience, there was Drama Desk Winner, Deborah S. Craig, there was API Theater Luminary and the man who holds the record for most Flower Drum Songs ever, Alvin Ing. There was Tim Dang, Artistic Director of East West Players – a theater that always ‘somehow’ manages to cast with Asian Americans. Cindy Cheung who was on the panel has been in several Feature Films and Christine Toy Johnson is a staple NY Theater Actress.
There were many more with just as nice a resume and yet a Caucasian lady stood and asked if there was an Asian American Acting Talent Pool. There are API Drama Grads from Yale, CMU, Julliard, NYU, Northwestern – some of the top programs in the country, and yet here is this Caucasian Lady telling us that she ‘doesn’t see color’ and asking why we are complaining that the Emperor of China is Caucasian.
It is because when there IS debate, there is always someone, such as yourself – held in high regard, that expresses the opinion that we should ‘listen‘ or ‘stop making hubbub’. And by doing that, you are ensuring that people who are uncomfortable with APIs protesting have an excuse to dismiss WHAT we are saying – that we want to look onstage, at a production where the setting IS CHINA, and see Asian American faces.
The Nightingale is a fable, and thus, children are being taken to see it – what does it say to Asian American Children when they see that it is acceptable to make the Emperor of China a white man? It tells them they do not count.
I am a long time supporter of the GLBT Community, with fundraising efforts for The Matthew Shepard Foundation, BC/EFA, Desert AIDS Project, the LA Gay and Lesbian Center, The Trevor Project, I sing regularly at Musical Mondays in WeHo…I live and work in the GLBT Community, and yet I would never say “well, I know what it’s like to be a Gay Man”. Because I cannot. Do I know TONS of Gay men? Yes. They are my closest and dearest friends. And Always Will Be– but I cannot know what it IS to be a Gay Man. Just as you cannotknow what it is to be an Asian American Performer.I thank you for your coverage of this issue, but I was dismayed by the end of your article. Truly. And, do I think that there will be more API’s when this show continues? No, I do not. I think they will just move the setting from China and then still cast exactly the way they want.Which is totally fine. Because in a mythic land of Far, Far Away, it can be as multi- cultural as they want it to be – but they cannot have China without Chinese people. They cannot portray China without Asian Americans.
fairyprincessdiaries 