Archives for posts with tag: Theatre

The Fairy Princess has been looking at announced shows for the upcoming Fall, Winter, and Spring season, and in terms of AANHPI representation…things are looking a bit

Which is only to be expected, as it is very hard to top this year, with TONY Awards going to AANHPIs in record numbers. “Our” Award winners in the performance categories literally doubled from 3 to 6.

We had lead players in Broadway plays and musicals of AANHPI descent at a ratio that was shocking, and it is natural that those numbers we ‘readjust’ for this coming season. This is where folks think, ‘Ok, we fixed it’ in terms of diversity in casting.

Last time they ‘fixed it’ like this was, frankly, in 2016 when Hamilton won.

Yes, Hamilton won and just like that casting was ‘solved’.

In point of fact, Broadway did not have a lot of representation going on for the following two years because…everyone felt the issues were fixed.

Were they?

Well let’s see who won in 2017 – Ben Platt, Kevin Kline, Bette Midler, Laurie Metcalf, Gavin Creel, Rachel Bay Jones, Cynthia Nixon to name a few.

In 2018 there was The Band’s Visit, which diversified things a bit, lovely to see – so the names changed somewhat and the TONY winners were Tony Shaloub, Andrew Garfield, Katrina Lenk, Glenda Jackson, Nathan Lane, Ari’el Stachel, Lindsay Mendez and Laurie Metcalf

So…yes, you will see the occasional person as part of a cast, your friends who are in shows are not suddenly being released, you can still see them, TFP is talking new shows on the horizon…

There is not, at the moment, a slated AANHPI cast coming to Broadway in the 2025/26 season that has been announced. (yet)

There is a role in Queen of Versailles that has representation, but we shall have to wait till it opens.

TFP wants to warn folks who will again, be optimistic as to what this means going forward – that ‘inclusion in casting’ is never ‘solved’. Sometimes Broadway looks like it is an ‘all-play’ and sometimes it looks like a PWI.

Life is a pendulum, sometimes it swings towards and sometimes it swings away. Looking objectively at the casts that have been announced for Broadway, TFP is thinking you will find more of ‘your/our’ stories Off Broadway.

Do not forget to support theater companies like Pan Asian Rep, Ma-Yi, and others because right now, with the NEA Grants either being postponed or pemanently frozen, ‘we’ are going to have to support the theater we want to see.

You have to enjoy what you have when you have it, and hope to push the bar forward so that options are always available.

Like noodles.

However, as the Gray Lady, The New York Times has announced enormous change in their theater critics assignments, perhaps some shows with a more novel point of view will be embraced going forward, which will enable change to be consistent.

Meanwhile let’s check in with ‘our’ TONY winners, what is going on, and how long is everyone staying….

Past TONY Winner, Lea Salonga, has closed OLD FRIENDS on Broadway and is in the Philippines doing the Sondheim classic, INTO THE WOODS. She is also set to receive her own star on the Hollywood Walk of Fame – we do not have a date yet, but that is very exciting.

Marco Paguia is still at Buena Vista Social Club leading the orchestra. He won for Best Orchestrations. The show is selling out, and he is staying at the helm musically.

Nicole Scherzinger will be closing Sunset Blvd, the show she won Best Actress in a Musical for on July 20, 2025. It was always a limited run, we just do not have another Hawaiian, Ukranian, Filipina superstar to fill in with a show, and well, that’s life.

Darren Criss, who won Best Actor in a Musical for Maybe Happy Ending, for his role of Oliver – will be leaving his show on August 31, 2025.

Maybe Happy Ending won Best Direction of a Musical for Michael Arden, Best Book of a Musical for Hue Park & Will Aronson, Best Original Score of a Musical for Park & Aronson, Best Scenic Design for Dana Laffey & George Reeve, and it will stay open on Broadway.

The cast is largely AANHPI. However no clue as to how long the Original Broadway Company (Helen J. Shen, Marcus Choi, Dez Duron, Daniel May, Steve Huynh, Hannah Kevitt, Claire Kwon, Christopher James Tamayo) will stay, although we wish them SRO crowds in perpetuity.

Ms. Shen has been announced as part of the cast of the feature film, The Devil Wears Prada 2, also announced as part of that cast is TONY Nominee for 2025 in Oh! Mary, Conrad Ricamora.

Traci Thoms is returning as well, and if “Lily’ doesn’t walk in swinging that now vintage Marc Jacobs blue tote…well, heads will roll.

Congrats to them.

Francis Jue, who won for Best Supporting Actor in a Play for his role in Yellow Face written by David Henry Hwang, a show that is already closed, will next appear in TARTUFFE, as Cleante, which is a new version by playwright Lucas Hnath.

It will be at NYTW and that is Off-Broadway, his co-stars include Matthew Broderick, David Cross, Emily Davis, Bianca del Rio, Amber Gray, Ryan Haddad, Lisa Kron and Ufomadu. It will be directed by Obie winner, Sara Benson.

In fact, reflecting on Mr. Jue, who has now that gleaming TONY Award, that even in this moment ‘at the top’, his next announced project is placing him where he ‘lives’ – doing interesting work Off Broadway.

He has had a 35 year career as an actor. Mr. Jue is a ‘playwright’s actor’ – meaning an actor playwrights like to work with, one that brings to life new works in a way that defines them ever afterward. He has worked for playwrights like David Henry Hwang, Lauren Yee, Hansol Jung, Frances Ya-Chu Cowhig, Kevin So, William Shakespeare, and on and on.

He has ‘changed the stage’ for anyone who seen his work. He is Francis Jue, he was always working. He has a list of awards and nominations as long as your arm – in fact, there is no more honored modern day Actor of Asian heritage than Francis Jue.

The reason that the audience cheered so loudly at the Tonys were because Francis Jue embodies what it is to be an actor. He is a journeyman – ever moving forward, wandering new vistas, exploring new roles. He has done dramas, comedy, television, film, Broadway plays AND Broadway musicals.

He came to the profession in college, and has moved organically through the world – not relying on connections or who his parents were to build his career. He built his career on his body of work. He is a true gentleman of the theater, combining performing with service to Actors Equity Association on occasion – he lives, eats, and breathes theater, and it was lovely that theater recognized it.

That is why everyone cheered.

Now they need to give him another TONY Award worthy role on Broadway. It would be amazing if Cambodian Rock Band came to Broadway…just sayin….cough cough

Congratulations Mr. Jue!

TFP knows that Alvin Ing is cheering for you along with the rest of us.

(Knowing Alvin, he was probably annoyed it took this long, which is why TFP picked this cat meme.)

You can STILL seen AANHPI representation on the stages in New York!

TFP will list a few below:

This is not meant to be depressing, Folks – if you live in NYC, or even if you do not, you can see TWELFTH NIGHT with Sandra Oh – PBS is going to be making the production available to everyone on November 14th at 9 p.m.

If you live in New York, you can go to the newly renovated Delcourte Theater in Central Park from August 7 to September 14, 2025 and line up to see if you can get the free tickets to that evening’s performance.

The cast is as follows: Peter Dinklage, Jesse Tyler-Fergusan, Lupita Nyong’o, Sandra Oh, Daphne Rubin Vega, Junior Nyong’o, Khris Davis, John Ellison Conlee, Ariyan Kassam, Valentino Musumeci, Moses Sumney, Kapil Talkwalker, Joe Tapper, Dario Alvarez, Jaina Rose Jallow, Precious Omigie, Chinna Palmer, Nathan M. Ramsey, Jasmine Sharma, Julian Tushabe, Adrian Villegas, Ada Westfall, and Mia Wurgaft.

You can go to the immersive re-imagined Phantom of the Opera, called MASQUERADE at 218 W.57th Street and see Anna Zavelson, Telly Leung, Raymond J. Lee, Riley Noland, Francesca Mehrotra, and Satomi Hoffman. This cast includes former Phantoms and Christines from the Broadway production run, and is all enclosed in a 5 story renovated building – redone to resemble the Paris Opera House.

Cocktail dress and masquerade mask are required, while there will be complimentary mask available as well as available to purchase. It is a 21 and over ‘event’, but guests 16 and up will be allowed to attend during special performances during previews. They ask that high heels not be worn, as part of the experience is the Paris Catacombs under the Opera house.

You will be planted right into the plot of the show and Diane Paulus (Waitress, 1776, Porgy and Bess, Pippin, Jagged Little Pill) is directing. Ms. Paulus is of Japanese and American descent. She directed it! The whole thing!

Quite a lot of representation of all kinds in that cast – so, likely it is time for theater to give it up to the female directors, who have been KILLING it for the past twenty years with very little recognition.

TFP is talking Leigh Siverman, Marcia Milgrom Dodge, Whitney White, Lileana Blain-Cruz, Tina Landau, Rachel Chavkin, Lucy Moss, Sammi Cannold, May Andrales, Marianne Elliot and many more

You can see Keanu Reeves – on Broadway! In Waiting for Godot!

Opening September 28th at The Hudson Theater.

Previews begin Sept 13 and they have a hard out on January 4, 2026.

Currently he is ‘our’ only lead on the Bway, so …go and see him if you can afford the tickets.

TFP just checked and they go from about $480-$900.

All the representation- none of the discounts.

Welp, we shall see if AANHPIs buy those tix…but TFP is not optimistic.

You could ALSO go see Alec Mapa – who actually was in the Original Broadway Company with Francis Jue of M. Butterfly – perform his upcoming comedy special on Sunday July 27th at 7 pm. The show will be at The Cutting Room, 44 E32nd Street, NYC NY 10016 and tickets are available here.

You can also go see JOY! The musical Off Broadway and check out Jaygee Macapugay, last seen in the cast of SUFFS on Broadway – which will be running until August 17, 2025.

She plays Joy’s Father’s new Girlfriend, Lorraine – as Joy invents the Miracle Mop.

Finally, If you have some extra cash but no time to attend right now, you could also throw some money towards actor David Lee Huynh, who is workshopping a play – https://givebutter.com/2eWUM3

Ok that is it, and TFP is outta here, enjoy your summer and your last days of Democracy while we watch all our rights be taken away by a House and Congress and SCOTUS who delight in cruelty and enabling a sociopath.

Cheers!

The Fairy Princess wants to acknowledge that when she called the 2024-2025 season ‘the most’ AANHPI season on Broadway without a show being set in an Asian country…she was RIGHT! Let the gloating begin!

While she cannot take credit for ANY of it, and one shouldn’t, she admits to being overwhelmed when the nominations were announced. She did not even write about it. It was personally moving, and it was hard to put words to the feeling of, “I may be done here’, as representation on Broadway was all that TFP ever wanted.

She wanted it for herself, but overwhemingly, she wanted to for her son. She did not want her child to grow up and only see his three stages of life represented in The King and I, and think that was all he could do in life, should he choose performing. So she started writing, and now, as he turns 13 in a week, all she can think is that what she chose to do to change the conversation, it was worth it.

He will never have to worry, should he choose performance (although she is Asian enough to hope he does not, and everyone needs a lawyer or a dermatologist) he will have a wide range of things to choose from, and he has inspirations, and people moving mountains he will never know that existed.

Names of people she has known forever, who have doggedly pursued their dreams when most would have told them, “it will never happen’.

Those people were wrong.

To that, TFP says HA!

We must acknowledge that Daniel Dae Kim is the first in the Lead Male Category of Play to be nominated. THE. FIRST. EVER. MAN. OF. ASIAN. DESCENT. to be nominated as the LEAD in a Play. DDK has been, has HAD to be, an actor, a producer, and an advocate for representation – and that, is actually what this blog is about, but give the man his flowers…he deserves them.

It took 78 years of TONY Award ceremonies for this moment.

Allow TFP to list the AANHPI Nominees, for a moment please…

Best Musical: Maybe Happy Ending (Starring Helen J. Shen, Darren Criss)

Best Musical: Operation Mincemeat (starring Claire-Marie Hall)

Best Musical Revival: Sunset Blvd (starring Nicole Scherzinger)

Best Play Revival: Yellow Face by David Henry Hwang

Best Lead Actor in a Play: Daniel Dae Kim

Best Lead Actress in a Musical: Nicole Sherzinger

Best Lead Actor in a Musical: Darren Criss

Best Direction of a Musical: Saheem Ali

Best Featured Actor in a Play: Francis Jue, Yellow Face

Best Featured Actor in a Play: Conrad Ricamora, Oh, Mary!

Best Book of a Musical: Hue Park (& Will Aronson) Maybe Happy Ending

Best Scenic Design of a Musical: (Dane Laffrey) Maybe Happy Ending

Best Lighting Design of a Play: David Bengali (& Heather Gilbert) – Good Night and Good Luck

Best Costume Design of a Play: Brenda Abbandandolo – Good Night & Good Luck

Best Orchestrations: Marco Paguia – Buena Vista Social Club

Best Original Score: Hue Park (& Will Aronson) – Maybe Happy Ending

Best Costume Design of a Musical: Clint Ramos – Maybe Happy Ending

Best Lighting Design of a Musical: Ruey Horng Sun (& Scott Zielinski) – Floyd Collins

In addition, you are perfectly able to go and see Lea Salonga on Broadway now in OLD FRIENDS, which is a Sondheim revue, although it seems an injustice to call it that – TFP saw it in London, it is remarkable.

(If the work stars AANHPI performers, TFP has included it on that list. If the designer is working in conjunction with another person, she has put brackets around the partner who is not Asian. If the person nominated is of Asian descent, but the play/musical is not – TFP has included it on the list. If the nominee is mixed Asian descent, in all parts of that diaspora, she has included it on this list.)

Truly, it is the list of her dreams. Did it irk her that the men have 6 nominations in the leads of musicals and the women have 5? Yes. Is there room for ONE more for the women….absolutely there is.

Ahem.

That list would not be possible, even ten years ago because AANHPIs did not have access like they have now. TFP repeats, that list would not have been possible 10 years ago because we did not have interest from either the public or the producers ten years ago in ‘our’ stories. TFP has been writing this blog for 14 years, and when she started, a list like the above was unthinkable.

It just would not have happened – and you cannot impose the open-ness of now onto the closed-ness of then. That is a very weird thing to her, to constantly go back and act like people have not changed, Broadway has not changed, and audiences have not changed in 14 years. She understands that ‘the kids’ who are very vocal about speaking up and out NOW, insist it all would have been different sooner if ‘we’ (the ones who were around back then, and before) had railed against the dying of the light at the time – and we did, but that list is GENERATIONAL CHANGE.

People have to be ready for change – and as we can tell from this last election – where they could have propelled us forward by voting for the Bi-racial Lawyer who was a prosecutor and always the best questioner on ANY inquiry panel she was on, and who was selected to be ONE heartbeat away from the Presidency – who would have taken seriously revisions on health care, vaccinations, tax relief, housing, who had plans all day long – and they voted for the Sundowning Tarriff Bogeyman and his makeup loving “I can’t be racist because I am married to a woman of color’ clown car of a disaster side piece.

Because white America was not ready to admit the white guy was unqualified, and she was qualified.

Yes, they are ignorant and racist. Yes, they are. However they were not ready to admit that, and so here we are, America.

So when TFP tells you, a list like that has taken deliberate and repeated attacks on the ‘establishment’ of white theater over and over and over, just by EXISTING – you should believe her. It has been a GROUP project by people like Ralph B. Peña, Tisa Chang, Baayork Lee, Mia Katigbak, DHH, Jon Lawrence Rivera, Roger Tang, AAPAC, East West Players, Lodestone, SLANT, NAAP, Pan Asian, NAATCO, Ma-Yi, Silk Road Rising, CAATA, MAM, Artists at Play, Grateful Crane Ensemble, Kumu Kahua Theatre, Pangea World Theater, TeAda, Theater Mu, A Squared and whoever else has contributed to this – she means it.

It took EVERYONE to change that narrative that AANHPIs could not act, or sing, or dance unless they were doing Flower Drum Song or King & I or Miss Saigon or Bollywood Dreams.

It is OPPORTUNITY and ACCESS meeting ‘the moment’.

WHICH IS WHY when TFP read the article in the New Yorker, she had some thoughts on one very specific section (well, she had thoughts on the whole thing, but most of that was that someone needed a nap or a cocktail…)

Now, placing a two-hander play next to a musical was not a great producing decision, but perhaps the theater was the only one available. However, she should not have taken it upon herself to contact the Producers of Hell’s Kitchen directly. That is and will always be, a producer discussion. That is a conversation that actors can and should never be involved in, because it falls outside the parameters of what is your responsibility as an actor.

The theaters are close together and they are old, however there is much that can be done, and again – THAT IS A PRODUCER DISCUSSION, STAY IN YOUR LANE.

So the ‘clap-back’ by Ms. Lewis was warranted. That is why Audra McDonald liked it – because ‘get off my lawn’ is not the right energy for Broadway.

If you act up and act out then you take your licks – you open that door, be prepared for someone to close it for you.

It was this next part that TFP really did not like:

Comparing your 28 Broadway shows, as a person who attended Julliard, and who has, as a white actress (yes, yes, even when she started, she would have been seen as a white actress, though in the 1800’s that was not the case because her family hails from Sicily) been offered things on a scale that is almost unheard of ALL her life….that is not the look, M’am.

She is confusing access with talent level.

Which, TFP wants to remind you, that Kecia Lewis has TEN Broadway shows as an African American woman living her life in the Predominantly White Industry that is Broadway. There are very few people that can claim 10 Broadway shows to their credit, so it is not a flex to compare 28 to 10.

Ms. Lewis did not have the ACCESS that Patti LuPone had, ever. She never, ever had it. She DESERVED it – but it was not available to her because, and TFP is going to say this AGAIN for the folks in the back – BROADWAY IS A PREDOMINANTLY WHITE INDUSTRY!

In fact, they BOTH won Best Featured Actress in a Musical – Ms. LuPone in 2022, and Ms. Lewis in 2024. Two years apart. To be so dismissive of a colleague that is, by definition of that award alone, in the same category as you?

Ms. Lewis started performing on Broadway AT AGE 18!

18!

Ms. LuPone did not perform on Broadway at 18, she was in Julliard at 18.

Journeys are always different – some are harder than others.

Ms. LuPone had career ups and downs – however with as many fights as she has gotten in with cast members and producers – would she have been allowed to continue those ups and downs post the Andrew Lloyd Webber Sunset Blvd debacle if she was a Black woman?

Patti LuPone trashed a dressing room. She sued Andrew Lloyd Webber. Over a role. She has called former cast mates names in the press. She left the Union because she didn’t feel like paying and then abruptly came back with a new show. She moans about the folks who come and see Broadway shows and the space they take up.

TFP has no doubt she can be a wonderful colleague and super fun to get drinks with, but if she had that rep, as a woman of color – would she have been allowed to continue at the level she has?

It is just a question.

A question from a Mixed Asian Woman who watched all her classmates bounce to Broadway before she did because she did not fit a body type or a look that most thought of as Asian – so there were very few shows she could ‘fit’ into – even though she could see herself in all of them. Then she started writing and pointing out disparities and Broadway CDs said “no thanks’ for THREE years.

Just as an example.

Just food for thought.

Because TFP has seen what this industry does to POC who speak up.

TFP could say more. She could.

This is simply a woman who cannot see her privilege who continues to lash out, not realizing the damage she is doing to herself and her reputation. These are two colleagues she is lashing out at, in a ridiculous and unfair way. She doesn’t want to do Broadway again? TFP does not think that will be an issue, though she has enjoyed her performances for years.

As they say in COMPANY ‘I think there’s a time to come to New York and a time to leave”

Let’s discuss someone who is sticking around…Ms. Kecia Lewis!

However, as it turns out, TFP saw the luminescent Ms. Lewis SEVERAL times in her life on the stage INCLUDING just this past Saturday night on Broadway. She and her son were in the front row (they punk’d her at TKTS, y’all cuz the guy just said “i have two in the orchestra’ and didn’t say where) and Ms. Lewis was a revelation and a dream, she sang that stage up and down, and put us all in our places as we watched her perform in HELL’s KITCHEN.

The entire cast was FIRE, and you would think if sound was SUCH an issue, TFP would be deaf, being in the front row.

She is not deaf. The sound was particularly well managed from the front of house perspective.

She also got to see her son be totally captivated by Ms. Lewis and the cast’s performances, which, honestly is a win for a parent. He loved it. Particularly because he plays piano, and Ms. Lewis’s character teaches piano in the show.

Ms. Lewis and her ten Broadway shows and her TONY award in 2024 is a testament to her staying in the industry as it changed, and being the change she wanted to see. The two journeys are not comparable. That is all TFP wanted to say.

TFP is going to end by reminding people that access is not talent – and they should never be confused.

Some of the greatest performers the world does not know, have never been on Broadway because of access – very often there is little they can do to change it.

That is the way the world works, but to paraphrase Lorrell Robinson in Dreamgirls…from one Long Island gal to another….

You got the same job I got?

You got the same TONY I got?

Then shut up

TFP out

The Fairy Princess was going about her day here in the dystopian hellscape that is the American theater/country and as she does, she often wonders “What fresh hell will be unleashed today?” As always, the news pudits prove her right at some point during the day.

Though she is encouraged by the election of Pope Leo XIV, an American from the Southside of Chicago. A dual citizen of Peru and the USA, shethinks he has the cajones to take on the current administration – he has degrees in mathematics from Villanova and in canon law, bravi tutti– Go Pope Leo! (please don’t make her shake her head in rage at you at any point with warped views on LGBTQIA+ or women. Ahem, she means, Amen) She should also point out, he was elected by the most diverse conclave, ever – and apparently this is what the world wants, let America – poor old battered Lady Liberty – catch the lifeline the church is attempting to throw at them – because this ‘first hundred days’ feels like a thousand.

TFP joked with her friends that musicals would be re-written and she tossed around titles like, “Annie get your AK-47”, “Oklahomophbic”, “Kool-AidJuice”, “Toupeè”, “Underage Girls”, “Hands on a Trans Body” or “JD Vance, Tiny Red Dwarf Star” – you get her meaning. (Have fun with those).

We saw ‘theater people’ of all kinds – even in the military, ‘protest’ this administration and sing from Les Miserablés, and the world applauded and wondered when people were actually going to do something. Like, when – the world asks – are Americans going to re-claim democracy from kleptocracy? When are elected officials on both sides going to rise up (sing that Hamilton clip here please)? When do seated elected officials relinquish their ‘proximity to power’ in favor of common human decency?

When, oh when, do the members of Congress and the Senate universally acknowledge that letting a businessman known for his lack of concern for his employees, the safety of his customers, and his blatant amorality was a grift of the highest order?

The American public knew prior to the ‘salute’, but it seems like some still choose to stick their heads in the sand. They let it continue – so now the man who lets people burn to death in cars is out to steal Senior’s Social Security to pay for billionaire’s sending their friends to space.

When is the revolution?

We may have to wait a while.

Particularly when it comes to places that Artists have effectively ‘lost’, like, The Kennedy Center.

“Any performer who isn’t professional enough to perform for patrons of all backgrounds, regardless of political affiliation, won’t be welcomed. In fact, we think it would be important to ‘out’ those vapid and intolerant artists to ensure producers know who they shouldn’t hire – and that the public knows which shows have political litmus tests to sit in the audience. The Kennedy Center wants to be a place where people of all political stripes sit next to each other and never ask who someone voted for, but instead enjoys a performance together.”

Which, is a threat.

It is also important to note that threatening people who sing and dance for a living has to put one on the fast pass to the Hadestown that is NOT the musical, but TFP digresses. Please go ride your patriarchy pony elsewhere, Sir, we want none of that nonsense in the theater, thank you!

It is important to note that giving the option to not perform for that particular fundraiser would have been a decision made by the producers of that show.

Actors took the option. They did not release a statement, they did not infringe on the ability to sell tickets – they simply opted out. They took the offer presented – even though they do not then get paid for that show. They took a financial, personal ‘hit’, because they just could not – and it is completely within their rights to do so.

Given that the current administration is openly hostile to LGBTQIA+ and women, it is not a surprise to anyone that some artists would choose not to perform for those patrons who enable hate. Those patrons coming on ‘overpriced fundraiser day’ to demonstrate their fealty to the giant orange have actively tried to hurt people in this country. This very exclusive crowd with their votes and with their funding – they paid for all the things to be put in place that we see across this nation – defunding veterans benefits, taking history out of school, trying to close libraries and eliminating health care in rural areas, refusing to pay for feeding children at schools….this audience is made up of people who wanted that to happen.

How do you sing about revolution for over two hours for a smug crowd who laughs and delights at cruelty? Who revel in the news that American citizens have been deported and terrorized to foreign countries? That people who do not appear Caucasian are regularly attacked on the streets for no reason other than they are not Caucasian?

Look at the words of “Empty Chairs at Empty Tables” –

How could you bring yourself to sing to an audience about standing up to tyranny when they are extreme bigots with endless financial power who will pay for the active subjugation of the American public?

It is ONE performance for an audience full of Marjorie Taylor Greenes.

A regular audience is always a mixed bag – no performer goes out on stage and says “Well, I am only singing for Democrats and Independents” – That is not how ‘this’ works. Ever. NO performer does that.

But a fundraiser? Where ticket prices are $2 MILLION dollars and you get a photo with POTUS?

People who will pay $2 Million dollars to sit through a musical they do not understand just to get a photo with the Orange?

So the company members who were OFFERED a chance to skip the show, chose to take the option….

…and they are now being threatened with career termination.

Some Producers that are on and about ‘The Broadway’ are not liberal and left leaning.

This ‘threat’ could be quite crippling to those performers, and yes, there could be retaliation. As we have seen amplified in this Administration, if you have money, you can do anything to anyone without consequences. Singers who do do musicals set in 1815-1832 in France, kind of a nichè career, so yes, they could absolutely be in a tight bind when this tour ends.

In the name of Sondheim – if we are having a McCarthy era redux, TFP feels that we should have had more of a warning.

(Oh wait, we DID, they published their project, but no one thought it mattered. Now they are hauling off elected officials in New Jersey who are out and about performing their duties, literally hauling them off.)

As much as the current Administration bullies and attempts to bend the laws to benefit their pocketbooks, there will always be those whose moral compass will not allow them internal peace if they go along with what they have been ordered to do.

There are people who will say no.

It is the people who will say no, who will save this country.

Look at Harvard, they said no, and then sent it back with the errors circled in red ink!

Slay all day, Crimson!

They are singing every night for the French values of “Liberté, Égalité, Fraternité, – which mean, Liberty, Equality, and Fraternity – and you expect them to ‘shut up and sing’ for that fundraising audience? That particular one?

Performers are more than Broadway tune singing bots. They are individuals with agency. They get to choose who they sing for – their talent is not guaranteed for the price of a ticket. No one can ‘make’ anyone sing who chooses not to – and their Producers are smart to offer an alternative – not that TFP thinks anyone would sink the show on purpose – that is just not in performer DNA.

All that is guaranteed by a ticket is a show – and the show will go on regardless.

It is called “understudies’ and ‘covers’, and the show will go on.

The Administration wanted their ‘show ponies’ – they may not get them. That cast is chock full of amazing talent – a show will be performed nontheless. They bought a ticket to Les Miserablès – and that show will be seen.

As to the Individuals who will not be onstage that night – TFP salutes you.

To be publicly threatened and still stand up is a courage TFP wishes on members of Congress and the Senate, who KNOW that what is happening in our country is wrong, and who still sit, enabling it.

Never forget, that for as many conservative Producers who will take directives from a Government, there are just as many if not more, who will not. You will work again after this tour, TFP is sure that someone in Chicago knows how to get the new guy on speed dial.

It will be ok. For a while it might not be. However, the attention spans are short, something else will distract them, and all will go on, just like Cèline Dion sang.

We salute you!

“Vive la révolution” 

The Fairy Princess and The Broadway League are friends, in the way that the Cowboys and the Farmers are friends in the musical, OKLAHOMA.

Many of the issues that have come down through the years was because they hired someone whose background was in hospitality to run a creative venture – a body that speaks for the Producers – a Lorax of the money folks.

Charlotte St. Martin ran it for the past 18 years – notoriously fumbling her way through 18 years of horrible quotes and disdain that sent theater professionals reeling – devaluing understudies, covering for Scott Rudin, raising ticket prices to levels that are, frankly, unsustainable, and in general, making a this farmers v. cowmen situation come to reality in a way it had not been before. (TFP can think of several truly stellar Broadway producers, who do amazing work so this is not a crack on the producers individually, just the organization)

What is The Broadway League? It promotes Broadway, handles union negotiations with the many unions required to work on Broadway, whether out in front or in the house, or trucking in the sets – they collect data about Broadway’s economic health, the demographics of the audience, and produces The Tony Awards every year.

This year, Ms. St. Martin retired from the position on Feb. 16th, it is currently being run by Jason Laks, the League’s Exec VP and general counsel.

The Theater Community -and by that, TFP means the people who make theater – the Creatives and Craftspeople, the House Staff, the Crews – have been set reeling over several deaths that have taken a huge toll. The Broadway League has used the tradition of ‘dimming of the lights’ to show people respect, because those that do theater specialize and cherish ‘the moment’, and moments are with us fleetingly, but they were there and changed us nonetheless.

TFP is going to say their names here – James Earl Jones, Dame Maggie Smith, Gavin Creel, Hinton Battle, Adrian Bailey, Ken Page...

It is a list full of wonderful talent who gave so much – but TFP wonders why there is ‘partial dimming’ and a ‘full’ dimming. All the talent listed should have the lights dimmed in full.

Why do we even have partial dimming?

If TFP looks down a theater row street, and a few lights are out – she thinks, “Hey, maybe a switch broke’, not “Here is someone being honored’, unless she stops and takes it in and sees their head shot on the marquee. Partial dimming is for partial contribution – and all those honored with any dimming at all, have given of their full selves aka, total comittment.

Adrian Bailey‘s dimming was HISTORIC – and they dimmed one theater from each theater owner – which was, 9 theaters. This Gentleman of the theater performed in 15 Broadway productions and 2 National Tours. He was the first ensemble member ever so honored. The lights dimmed, and we love it – but if someone has literally given their entire life to the theater – why did not all the lights dim? They should have.

Broadway theaters are finite – there are 41.

Do you know what dimming entails?

Do you?

They turn the marquee off in front of the theater for one minute.

ONE MINUTE.

Legitimately the Stage Manager or the House Manager or whoever is ‘on the clock’ and already present, turns off the light, times it with a watch or an iphone for one minute, and then turns the lights back on, while people gather to say their collective goodbyes and thank you. They could be fans, they could be friends, they could be family – they just want to gather with others who are equally sad, and take a collective breath and say, “We remember you. We thank you for your service to the theater. You were beloved. We will miss you.”

For one, lousy minute.

And for that, the Broadway League – who made money off of these individuals – decides that collectively theater cannot mourn, because it might cost them money.

One minute does not cost money. Technically wouldn’t it save money, if only for a moment?

If an individual has exhibited such technique and prowess in their craft, that their passing deserves recognition – we should not parsimoniously eek out the number of theaters allowed to dim – we should dim them in recognition of their great contribution. What is even going on with the weighing of ‘worth’ to the theater community?

They were all worthy!

Let the lights dim, let the clocks stop.

If just for a moment.

Gavin Creel, who was 48 when he left us ‘half way through the woods’, who was a TONY Award winner, and activist, deserves more than ‘partial’ – that is the way TFP feels.

He suffered from a rare and aggressive cancer that took him in a short amount of time, and no one was prepared.

He was as ‘alive’ a performer as there was – and TFP saw him in all of his Broadway performances except HELLO DOLLY, (she just could not justify the Rudin ticket price), and the way he made people feel – not just who knew him personally, but who only knew him through his concerts for charity, or from his solo shows, or from the 8 Broadway shows he was in, or those he did in the West End, was remarkable.

His contribution to the theater community was remarkable, and in many ways – individuals like Gavin Creel are what make the Broadway Community feel LIKE a Community.

TFP is tired of these ongoing petitions to have to be made, like the one below, which she has signed, and asks you to do so as well, where the family and friends of actors who did the 8 show a week grind, have to fight for their loved one to be honored.

It’s not right.

Adam Feldman started this petition, TFP is just sharing it.

TFP had to write for Joan Rivers, and for Marin Mazzie, and so many more – and it is honestly upsetting to have to, again, write in support of recognition for someone’s career that impacted Broadway…but here we are again.

Please sign the petition, and Broadway League?

Do the right thing.

The Fairy Princess got the news yesterday that The Great Gatsby is going to Broadway from Papermill Playhouse, and they are taking the lead players – Eva Noblezada (Miss Saigon, Hadestown) and Jeremy Jordan, with them.

This means that Broadway, for the first time ever in a season – without musicals set in Asia – will have an unprecedented, NINE possibly TEN new Asian heritaged PRINCIPAL roles in shows that are not revolving around the performer’s background. Shows opening in the 2024 season, we love the shows that have been holding up the sky for a while now, so TFP will list a few, but she is talking this year, 2024, Year of the Dragon.

We currently have Michael Maliakel and Sonya Balsara holding it down in Aladdin, for the ‘long running shows’ as well as Ruthie Ann Miles in Sweeney Todd. Lola Tung coming in to Hadestown as Eurydice on Feb 9 opposite Lilias White as Hermes and Jordan Fisher as Orpheus for a limited run. Chicago recently added Lili Thomas as Mama Morton and Red Concepción as Amos – so even long running shows can be inclusive. And….revivals – with Vishal Vaidya holding it down in Merrily We Roll Along.

In Hamilton, Stephanie Jae Park is Eliza, Marc Delacruz is the standby for several of the lead male roles, which he most recently was lauded in various publications for switching roles mid show. Jen Sese is there as standby for all the Schuyler sisters, and Eddy Lee and Preston Mui, round out the Ensemble.

Yes, you can go to a Broadway show and see people that you can find parts of yourself in – not carbon copies, but parts of yourself.

Add to that the wins for BEEF – EMMYS for the leading players Ali Wong and Steven Yeun, the Golden Globe nomination for Greta Lee for her performance in the feature Past Lives, this year is shaping up to be the BEST EVER!! Shout out to Sandra Oh and Akwafina for the win for Quiz Lady from the Critic’s Choice Award for Best Movie Made for TV? The inclusion of the film, The Queen of my Dreams at the Toronto International Film Festival, starring Ayana Manji as the young version of Azra, one of the main characters?

What is happening world?

TFP is thinking that both Casting and Agents need to wrap their heads around who to call in, and who is on the roster, and if you do not have AAPIs on your rosters – CAA, WMA, AAA, and others – best get to stepping. We are stepping in it.

Let’s begin with the announcements as they have come down the pike:

Eva Noblezada The Great Gatsby as socialite Daisy Buchanan. With two Tony nominations under her belt for past performances in Hadestown and Miss Saigon, Eva has wasted no time in getting back on the boards, and this is a great thing.

(Shout out here to the musical film CHICAGO, which featured Lucy Liu also as a socialite in this era)

Ruthie Ann Miles – Currently in Sweeney Todd as the Beggar Woman, waiting for a theater to be confirmed – once it is, she will star alongside the remarkable Anna Zavelson as her daughter. TFP is including them in the tally, as there is more than a good chance the theater is on the verge of being announced.

Daniel Dae Kim – as DHH in Yellowface at The Roundabout – a play that deals with racial ambiguity and the need to attach to an idea, simply because one is seeking ‘representation’ so strongly. The rest of the cast has not been announced yet, however, TFP has seen this show done before, and usually the rest of the cast is within the AAPI spectrum with some exceptions.

Ramin Karimloo – this Persian ( aka Iranian aka Western Asian) Canadian has long been a Broadway and West End staple performer, (CHESS, Funny Girl, Anastasia, Les Miserables, This next one TFP is super excited for, as it is her FAVORITE Gilbert & Sullivan piece –The Pirates of Penzance, also at The Roundabout. David Hyde-Pierce is announced as Pirate King, so TFP is guessing Mr. Karimloo is the wandering Virgin apprenticed to a Pirate, Frederick.

(Update- Mr. K is the Pirate King and DHP is the Modern Major General- although the above is what the press announcement was.)

Jaygee Macapuguay – will play the role of Mollie Hay in the new musical by Shaina Taub, SUFFS, which also has in it Nadia Dandashi as Doris Stevens, Kim Blanck is playing Ruza Wenclawska and Christine Heesun Hwang in the ensemble.

Special note must be made because there are three principals of Asian heritage in a new show, and it would be unfair to highlight one over the other – but let TFP say, there are theater actors that time and time again have shown audiences what they are made of, and to see them make the leap to Principal contract is super special. She has known and admired them for years, so…

TFP is going to say a hearty congratulations to THE HEART OF ROCK AND ROLL, which just announced it’s opening and is kind of taking the mantle from Sweeney Todd & Hamilton has worn proudly of ‘most Asians in a show not about being Asian’, and here they are:

This last potential show – not confirmed yet, but COME FALL IN LOVE, the DDJ musical, which is directed by Aditya Chopra, book and lyrics by Nell Benjamin, and choreo by Rob Marshall, with Assoc Choreographer Shruti Merchant – would be a huge win for South Asian representation on Broadway, and Asians in general would be ‘slayed the house down’ if that came to pass in 2024.

IF that is true – no word on a theater yet – however TFP is still calling it

2024 will be THE MOST ASIAN YEAR ON BROADWAY – and coincidentally – YEAR OF THE DRAGON!

So breathe some fire, set off some fireworks and clean your house, Broadway – the AAPIs are coming, and coming in HOT!

TFP out.

She excited, but she out – for now, and only for now. (If you get it, you get it)

TFP already wrote today…however, this is big and it goes along with some great strides being made in theater by AAPI performers, however it is equally met in the behind the scenes representation.

Daniel Dae Kim, who was last seen on Broadway in The King & I in 2016, will lead the production of YELLOWFACE written by Broadway’s only Asian American Tony Award winning Playwright David Henry Hwang, who has returned from opera land and tv land to brave a post Covid Broadway. This was just announced for The Roundabout’s 2024-25 season.

Directed by DHH’s longtime collaborator, Leigh Silverman, this play, which is semi-autobiographical, deals with mounting a play and assuming that an actor is Mixed Race, and therefore is cast AS Asian American. TFP finds this fascinating because she remembers (everytime she says that to herself, she says it in a Game of Thrones “The North Remembers” kind of way) DHH’s play, Face Value. Anyway, being of mixed heritage herself and being told she ‘counted or did not count as Asian” depending on who was serving judgement, she has always been exhausted yet fascinated by this play.

DDK who has been heavily involved in producing for television over the last few years, began as an Actor – he holds an MFA from NYU, and TFP still recalls how powerful a presence he was in The Tempest at East West Players in Los Angeles. He is a very commanding stage actor, and she is really glad he is going to come back and trod the boards.

Likewise The Roundabout is also mounting TFP‘s FAVORITE GILBERT AND SULLIVAN PIECE, The Pirates of Penzance, starring the Canadian born, Tony Nominee, Ramin Karimloo, who is of Western Asian Heritage, as The Pirate King. Most recently Mr. Karimloo was seen in the Broadway revival of FUNNY GIRL, but he has played The Phantom in Phantom of the Opera all over the world, likewise all the weighty male roles in Les Miserables.

This is fantastic news, because both these men are leads in their respective shows and it seems that this in some way, far too late, is The Roundabout‘s round a bout acknowledgement of using Brownface makeup on actors during their production of THE MYSTERY OF EDWIN DROOD – which, was fairly egregious.

(Do not come at TFP for this, it was a giant ass mistake and yes, she knows it is a show within a show and so on – does not mean that browning up white performers to play people from Ceylon is acceptable. It was not then, it is not now.) (Also Ceylon is now Sri Lanka)

This was TONY winner Jessie Mueller and TONY Nominee Andy Karl at the Opening Night Party, here they are in the production:

Ahem.

To the point of ‘if they knew better, they would do better’, the NYGASP Production of THE MIKADO is once again up and running. Many years ago, one may remember that TFP’s coverage on the offensiveness of the production that they ran was the subject of a blog post after TFP had gone to see the production.

This led to all kinds of things – people were angry. Although they did a very interesting thing – they invited TFP to come speak on a panel about The Mikado to their subscribers. (If you saw the reaction to Jo Koy at The Golden Globes, it was a bit like that when TFP began speaking) At the end of the panel, it was announced that NYGASP was going to take a season and think about their production and try and amend it. TFP was invited to return when they ‘fixed’ it.

Honestly, TFP was shocked – but they DID fix it. They hired Broadway’s Kelvin Moon Loh to come in and help them imagine better. Kelvin is not just an insanely talented Broadway performer, he is a writer who has sold shows for development.

They added a scene that begins before the operetta, to explain how Gilbert imagined the production – and this was based on testimony from Gilbert himself as to how he imagined it. Then, they did outreach and expanded their company to include AAPI performers. AAPI performers who were not to be hired just for THE MIKADO, those who could join the rep company and add to what was happening there.

It is now, a very enjoyable MIKADO – which is almost impossible to say in the rest of the country – and therefore TFP presents you the ticket link, so that you may see for yourselves – it only runs till Jan 14th, but you have a whole three days to arrange your weekend, so get to stepping.

Also coming this week to Off Broadway, is the Jason Robert Brown piece, The Connector.

It’s new, and as far as TFP knows, is NOT about Jill Zarin.

It does however, have in it’s cast Sweeney Todd‘s Joanna Carpenter and Ann Sanders, most recently of Music Man and Dear Evan Hansen.

Which is exciting, and TFP has her tickets to a matinee, so she will get to see them and so many more folks that she knows and loves.

Just a reminder that it was stated by Ruthie Ann Miles that the reimagining of LIGHT IN THE PIAZZA directed by Chay Yew is looking for a theater. So we could wind up, New Yorkers, with a Broadway Season with multiple Asian heritaged men and women, as LEADS in Musicals AND PLAYS on Broadway.

TFP DOES NOT KNOW WHAT TO DO WITH HERSELF!

It is really, some days, a joy to write this blog.

TFP out.

Dear TODAY SHOW,

I am writing an Open Letter, not to confess anything, or reveal shocking details, or even to kvetch about the weather, which of course, every New Yorker holds Al Roker personally responsible for….

Al Roker from The Today Show

Al Roker from The Today Show

Just kidding Mr. Roker, we love you…after all, The Fairy Princess knows (from having met you during a prank Matt Lauer pulled on you) that you are a huge afficianado of the show tunes! And anyone who loves Broadway musicals enough to sing a few bars while working on what turned out to be a fake photo shoot, is good enough for me!

Sparkly Jacket? CHECK!

Sparkly Jacket? CHECK!

But that is what this open letter is about, oh Today Show dwellers…because I have a quick question –

why when Il Divo comes to perform they get to do it here:

Oh where are they? oh right - INDOORS!

Oh where are they? oh right – INDOORS!

But when Broadway’s new musical, BEAUTIFUL, the Carole King Story came to The Today Show, they performed here:

 

 

?

This was yesterday, February 27, 2014. That’s right, and what was the weather like yesterday?

It was around 39 degrees Fahrenheit, on average. Which, can be considered fairly cold. It’s a bit cold for performers who do 8 shows a week, and have to maintain their health in order to continue to work to be singing and dancing in their show clothes OUTSIDE with NO COATS!

The Anchors are outside in down coats, hats, and gloves – they know it’s cold. We all know it’s cold. Even if you did NOT know it was cold because..well, who knows why you would not know it was cold outside if you were in NYC but hypothetically…I suppose it is possible. So even IF you did not know what the weather is outside…

Let’s face it, you could have asked this guy who, you know, works for you…

Is this thing on? The jacket? Yes.

Is this thing on?  The jacket?  Yes.

 

You had the cast of AFTER MIDNIGHT out there in their scanties on January 21, 2014.

 

 

On January 21, 2014 it averaged 33 Degrees Fahrenheit!

 

But when Tony Bennett came to see you on October 9, 2013, he was here –

Legendary Tony Bennett on the TODAY Show

Legendary Tony Bennett on the TODAY Show

 

Inside.

When WICKED showed up on October 30, 2013 they were….

 

 

Now, it is obvious that Broadway and The Today Show go together like a time step and a glittery hat, but enough is enough! There is a polar vortex going on, and you have trained performers going out in this horrible weather almost nekkid for enough minutes that they could come down with some serious bronchitis – and that is not ok.

I know that lots of other performers sing outside – you have your Country stars, and your Rock stars, and so on – but they dress themselves, and in general, they seem to dress for the weather. (And if they don’t, that is their own damn fault because they have a choice).

Show People have no choice in what they wear because it is set – that is what it means when we say that the show is frozen – all costumes, lyrics, books, music is set into place for the run of the production. If they are promoting their show, which they ARE and THANK YOU, TODAY SHOW for that, it is really the best reason to tune in for me, when a Broadway show is going to be on – they have no choice in what they are wearing.

By the time they get to you, their show is frozen – now they are too. 

It ain’t right, Today Show – it ain’t right!

The Fairy Princess is requesting that you move all these highly trained, beautiful people INSIDE until Spring. (And not just, you know, beginning of Spring, like WAY into Spring – LATE SPRING)

Please?

There is a room that's full of heat, I want to go there when I sing....

There is a room that’s full of heat, I want to go there when I sing….

You have the studio space – you let other people use it…..

Look, everyone from Broadway who performs for your TV audience and for your live crowd wants them to come see them in their theaters, and they want to give the best performances they can. Broadway people do not want to call out for illness, they want to hit the stage in their high heels and give y’all a fabulous damn show!

But how can they do that with viral pneumonia?

 

Whaddaya mean NO COATS?

Whaddaya mean NO COATS?

 

The Fairy Princess finds it hard to concentrate on the performances being given when all she is thinking is ‘DAMN, they must be FREEZING!”.

You with me KINKY BOOTS? Say Yeah for moving The Broadway indoors in winter!

They were in June, look how happy they are!

 

 

Perhaps you will not listen to The Fairy Princess…(after all, I’m just a blogger with over 55,000 views) but you do have ONE person on staff who may advocate for showtunes and those who dwell there –

It's you and me, Kathie Lee...

From you to me, Kathie Lee

 

C’mon Kathie Lee! Would you want YOUR show out there with no coats on? I think not.

These are people I know, these are people I admire, and these are people who deserve a little respect…and, heat.

Finally, I thank you TODAY SHOW for shining the light on amazing performances all year around, you do a fantastic job that lends credit to your Staff and your show – it is seeing Broadway performances on your show that brings people to New York and puts their tushes in theaters!

Doing all you do it can not be easy, but it CAN be indoors….just till Spring.

Best Wishes,

The Fairy Princess

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The Fairy Princess was feeling pretty good…

DSC_0164

– after all, it has been a year since the British East Asians had their dust up with The Royal Shakespeare Company, an anniversary chronicled quite nicely by Anna Chen in her Madame Miaow blog.

It had been several months since her speech at LA Stage Day, chronicling why Yellowface in theater should meet its untimely end…here it is, in case you missed it.

There have been endless panels on diversity, on co-opting experiences and on whether or not empathy is key to bringing us all together (Which, btw, The Fairy Princess was j‘accused of having none of, but now, now….I do, it’s just reserved for dolphins in The Cove, LGBT people who live in places like Russia and Nigeria, and orcas trapped in captivity- that kind of thing ), so she kinda thought that we were done!

That she could toddle off to book signings…

Yes, that is Debra Monk signing my copy of NOTHING LIKE A DAME by Eddie Shapiro

Yes, that is Debra Monk signing my copy of NOTHING LIKE A DAME by Eddie Shapiro

And to see good friends in shows where she could meet Actors that she admires….

ALL THE WAY is one of the best plays I have seen in a long time, limited Bway run, you will KICK yourself if you miss it

ALL THE WAY is one of the best plays I have seen in a long time, limited B’way run, DO NOT MISS IT!

The Fairy Princess relaxed! She did! She thought that her message had been heard – after all, VARIETY even reiterated her points about Diversity = Dollars! VARIETY!

The best part was that they mostly deal with Movies and Television, therefore The Fairy Princess assumed the message had moved on from theater, to more lucrative hills alive with the sound of commerce. But you know what happens when you assume? Felix?

 

The Fairy Princess thought that American theater had gotten the message – that  Asian American Actors are plentiful, and even if there is not a large percentage in your own city,   if you require them because you are choosing to use their culture to set your play, you can put a casting call out in a city like New York or Los Angeles – where MOST ACTORS ARE (we do not just store API Actors on the Coasts, we store almost all of them regardless of ethnicity on the Coasts), and they could do this amazing thing that Actors do….travel.

 

Who doesn’t love a good, singing Howard Keel? The man was magic!

However, The Fairy Princess was WRONG – the Fairy Princess has been GOBSMACKED by the City of Brotherly Love’s Lantern Theater.

They are doing a production of The Tragedy of Julius Caesar by that guy, you know him….

quote-yon-cassius-has-a-lean-and-hungry-look-he-thinks-too-much-such-men-are-dangerous-william-shakespeare-351101

(No, I do not want to hear theories on who you thought wrote it, it’s My Boy Bill for the historical credit)

Which, The Fairy Princess enjoys – she does love a good rassel with morals and iambic pentameter as much as anyone who has attended a Conservatory training program. She does not even mind when you move the settings around, or place the play in ‘another world’ to shake things up a bit- after all, it’s not like we haven’t seen it, now is it? She even loves diversity in Casting, oh how she LOVES Diversity in Casting.

So why then is her tiara clamping down on her brain?

Not because they cast this guy – who would protest casting this guy in anything? He’s handsome, he’s talented, and he’s a TONY nominee….no, it’s not the casting of this guy or anyone else in this play – they are all likely, very talented….there’s a bit of a, hmmmm, element though that is bothering The Fairy Princess….

TONY Nominee Forrest McClendon will play Caesar

TONY Nominee Forrest McClendon as Caesar

Why, oh WHY could The Fairy Princess, who advocates for including Asian American Actors in shows where their own heritage is being used as a setting, WHY could she be upset about The Lantern’s Caesar?

Well, here is a quote from Playbill.com about the show Influenced by the aesthetic and philosophical similarities of feudal Japan to Shakespeare’s Rome, set, costume and sound design incorporates conceptual elements such as Shoji screen architecture, traditional Japanese warrior clothing and music performed by Philadelphia’s Taiko drum band ensemble, Kyo Daiko

Influenced.

Right.

They know that Japan is a real place, right? It’s not just a place to grab a robe and a california roll from and call it a day, right? Japan is a real place, with real people who look a certain way. Their DNA makes them look a certain way….

No, not everyone looks like actor, Ken Watanabe...but we can dream, can't we?

No, not everyone looks like actor, Ken Watanabe…but we can dream, can’t we?

Ummmm….perhaps I am slow, but perhaps we’ll just ask the Assistant Director to explain it to us:

(UPDATE: the above video DID exist and was prominently featured on both The Lantern Theater’s website and on their Facebook page. Since this blog first appeared a few days ago, and since it has been viewed by well over 1,000 people – largely theater people I am assuming, the AD’s at The Lantern Theater chose to take down the video after the resulting internet kerfuffle.

WHAT WAS IN IT: In the video they had the Asst Director of the Production in question talking about why they chose the setting they did. They looked and they thought that Feudal Japan had the most in common with Rome of Caesar’s time, and given that in Shakespeare’s time actors would probably have appeared in doublets etc, they wanted to change the costuming. They were not eager to have everyone in togas. It had been done before, so they needed a NEW Concept. Therefore they changed the setting from the Ancient Rome we have come to expect and they created a new one- this was/is now a Rome that had been invaded by Japan.

At the time of this play as now set at The Lantern Theater, the Japanese have LEFT Rome, but very thoughtfully left all their culture and trappings behind them, which opens up this show to include shoji screens, kimonos, armor, fighting styles, and taiko drums. )

As we CANNOT watch the Assistant Director explain it anymore, please click (HERE) for an interview with the Director from the Philadelphia Metro.

I see.

So…just so we are clear – the show is set in Rome, but a Rome that has been conquered by Japan.

However the Japanese have now left…

BUT THEY TOOK EVERY LAST PERSON OF ANY ASIAN HERITAGE WITH THEM AFTER THEY CONQUERED ROME?

Well yes, I guess they DID take every Asian person from Rome-pan! (Shot from Opening Night)

Well yes, I guess they DID take every Asian person!  Photo – Mark Garvin

They took every last Asian heritaged person that would have been there after what would have been a series of battles that would have extended over years? All the children that would have been created by the soldiers as they raped and plundered their way through Rome, they were all Russell Crowe about it?

 

They just…LEFT?

THEY LEFT?

THEY LEFT?

 

They left behind their clothes, customs, war tactics, weapons, shoji screens, and taiko drums, but left not even ONE person – not one courtesan, not one general, or lowly foot soldier, or peasant – they rounded them ALL up and put them on a giant boat back to Japan…well I guess that explains why they left all the clothes, they  did not have room on the boat!

 

Well of COURSE you couldn't get a Shoji screen in there!

Well of COURSE you couldn’t get a Shoji screen in there!

 

Does that seem somewhat RIDICULOUS to anyone else?

Has anyone at the Lantern Theater actually looked at, well, a history of Japanese invasions from, well…the beginning of time, and examined HOW they handled wars and invasions?

Julius Caesar was killed March 15, 44 B.C.

Ouch, that hurt

Ouch, that hurt

His Japanese Contemporary, was Emperor Sujin (in fact, here is a list of ALL his contemporaries). Now, there is not much known about Emperor Sujin, however….he and his sons were able to fend off the Mongols, led by Ghengis Khan. At the same time, he was invading Korea and establishing the Japanese regency.

A regency. Like, a royal thingy – not in their own country. They didn’t leave. They brought stuff with them and they left people there to watch it. People with swords and armor – because they were an invading nation.

They would not, you know, go into only THE MOST POWERFUL WESTERN NATION OF THE TIME AT THAT TIME AKA ROME and conquer it and then turn around and go “ok boys, pack it up, we just wanted to prove a point that we could, and now we are off to figure out how to torment Korea for the rest of time, so…yeah, put everyone in the boat, no, no, leave the screens…we’ll just make more

So what IS this then?  This is just one more production to add to the seeming ENDLESS list of productions where the Director chooses to purloin the culture of an Asian nation, and then, instead of doing the LOGICAL thing, like casting Asian Americans to be in this ‘mythical Rome-pan‘ to show that they had been invaded and conquered, he decides nope.

No Asians in Rome-pan.

Jered McLenigan as Anthony - Photo by Mark Garvin

Jered McLenigan as Anthony – Photo by Mark Garvin

Rome-pan only has the dress, the settings, the weapons and the drums of “Mythic Feudal Japan” but not the people. (Although, technically, the dress of Japan at that time, actually mirrors Chinese fashion, so probably mythical Rome-pan may have it’s own glitches in authenticity)

Meister_nach_Chang_Hsüan_001

Now, The Fairy Princess is of mixed heritages – one of them being Irish. As an Irish person, or rather, a person of Irish Heritage who has read books and so on, she knows that when a country, for instance in her particular case – Ireland, gets invaded, there are things that happen during that time period.

Like rape, and killing, and intermarriage, slaves taken, slaves left, fortresses built, languages shared, languages merged, and what does this mean? Well…it means that you know, we have different hair color that is unusual in an island nation. It means that red hair in Ireland comes from the invading Celts, and black hair possibly from ancient sea routes through Spain, and that kind of thing. Vikings, Gaels, Normans,  all have been to Ireland, which was a sea going nation.

It means, that if one is invaded and conquered, the mark of the conqueror is not just in the fact that they bring their ‘stuff’, it is in the DNA they left behind.

WHICH MEANS that in 44 BC ‘Rome-pan’, there should have been some Asians or Eurasians cast up in there!

At the VERY least. WHICH MEANS that the Director was probably not thinking, as the Asst Dir now pundits (and I am not quoting here, I am pundit-ing) that Rome was overtaken by Japan etc, etc, etc….

Paolo Montalban as the King in King & I

Paolo Montalban as the King

 

The Fairy Princess thinks that he was thinking more along these lines – I really, really want to shake it up and use Japanese stuff, because I think it will look fresh and I think people in Philadelphia will think it is exciting to have taiko drums in Ancient Rome.

Which is…kinda lazy, isn’t it?

I mean, if you are going through ALL THE TROUBLE of making up ‘Rome-pan’ and trying to sell it to audiences in a city that embraces tolerance and Quakers and well – brotherly love – wouldn’t you think that it would be nice to show some to those Asian American Actors who regularly do Shakespeare, and who would have enjoyed a fresh take on Julius Caesar?

Honestly though…it’s not really, hate to break it to you, Philly, a ‘fresh’ a take on Shakespeare…cuz there is a little play we Asian Americans like to do called…wait for it….SHOGUN MACBETH

"What? Can the devil speak true?"

“What? Can the devil speak true?”

 

(Obviously that is Lady MacBeth, and this is the wrong quote for that moment, but…)

Anyway, in blogging, as in Shakespeare….

 

"Fair is foul, and foul is fair"

“Fair is foul, and foul is fair”

 

I mean, you can buy SHOGUN MACBETH from Samuel French!

So…yeah, not such a fresh take then…huh?

While The Fairy Princess wishes the actors in this production well, again, they all seem quite talented, she cannot, cannot in good conscience stop her magic wand from applying several well placed whacks to the tushes of Director and Artistic Director, Charles McMahon, the Assistant Director and Education Director, Joshua L. Brown (who SHOULD HAVE figured this out and said something prior to Casting), and…The Lantern Theater of Philadelphia.

The production is up and running now – but this HAD to be said – particularly because there are EXCELLENT Asian American Shakespearean Actors and Actresses and yet AGAIN, they have been ‘white-washed’ from partaking of an expression of their own ‘mythical – which is a total cop out because Japan is a real place with real people’ history.

So it’s already up and running, it is…

Werd!

Werd!

 

Which means, they can KISS MY FAN TAN FANNIE!

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

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?

SHUT THE FRONT DOOR, GEORGE! THEY FORGOT!

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

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?

meryl-500x282

Or well, this guy….

TONY Winning Playwright, David Henry Hwang

TONY Winning Playwright, David Henry Hwang

He won a TONY Award for writing this play:

95833

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

Actor CS Lee - Dexter

Actor CS Lee – Dexter

Or THIS guy…..

Actor & 2x TONY Winning Producer, Pun Bandhu

Actor & 2x TONY Winning Producer, Pun Bandhu

And lest you think that Yale Drama is male dominated…

Actress & TED Speaker, Esther K. Chae

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

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

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

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?

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

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….

great-wall-of-china

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….

BritishEastAsians

Ummmmm…..

grinch

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!

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?

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

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!)

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!

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