#api mt

[onewordshy]

API MT Month Day 31: The End

Well, it’s been a great month, but alas, June is not Asian Pacific American Heritage month. (It is, however, Black Music Month and LGBT Pride month if any of you are interested in taking up the flag.) It’s been a ton of fun and I know I discovered a lot of new materials and I hope that you did too.

If you’re wondering why this month has been important, well, it really is about diversity. As a Vietnamese actor, it’s a little odd to me that I’m considered “diverse” (even though I’m half-white) but it’s very much a part of my life. Shows about API people are important because for people like me, they finally make us into the norm. It’s refreshing to every now and then look at a show and see people like you in it. And it’s almost affirming to a story about someone who’s like you, in at least one way. The shows I’ve presented over the course of this month hopefully spread awareness of a group of people typically glossed over in the theatre world, and if we didn’t learn anything new, at least we had fun.

In celebration of the month’s completion, I’ve queued up a variety of performances from wonderful API actors to post throughout the day. Trust me, they’re all fantastic and I hope you enjoy them. Here’s to these and many more.

[onewordshy]

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API MT Month Day 29: And the Earth Moved

Background:

And the Earth Moved premiered in 2004 and is written entirely by Timothy Huang. The show was inspired by the devastating earthquake that struck Taiwan in 1999, and concerns a young Asian-American man with a struggling career writing jingles, who after an unpleasant conversation with his parents in Taiwan, learns that the earthquake has cut off all communication to the country. He leaves his apartment and finds himself lost in a fantasy version of New York where he must confront his identity issues. The show has several sporadic runs, but was never a commercial hit.

Analysis:

Personally, I like this show, but it’s definitely not for everyone because it’s got a lot of fire. The show was written when the author was pretty young, and it really shows because it’s.. rough. The bulk of the show is an elaborate phantasmagoria where the main character wanders around through such locales as “Korean grocery store that gets robbed by Barney the dinosaur” and “Chinese restaurant where all of the waiters are racist stereotypes as well as literal clowns.” The dreamscape New York that he gets lost in is a heavy caricature of the city heavily implied to be his subconscious, so there are plenty of lines and scenes that will send the politically correct crowds clutching at their pearls, but it’s the kind of racism so absurd and over the top that you know it’s intentional and trying to make a point. For example, when the main character hears his parents literally singing “ching chong” to him, it tells you a lot about what he thinks of them. And that’s because it’s a show about an Asian guy who doesn’t really feel Asian and grows to hate that part of himself. Through such odd conventions as “Chinese Freud” and “a trial held by a Chinese gospel choir” he eventually arrives at the conclusion that Asian is just something you are, not something that you need to work at or prove. At least, I think that’s what the moral is. It’s not a perfect show, but if you’re a fan of William Finn’s A New Brain, this is probably worth a listen. You can find out more information about the show and listen to its score on its hilariously outdated website.

[onewordshy]

API MT Month Day 28: The Mikado

Background:

The Mikado is an operetta that premiered in 1885, with a libretto by W.S. Gilbert and a score by Arthur Sullivan. The show, set in a fictionalized Japan, was intended as a critique of British culture of the time by presenting an elaborate story of romantically confused courtesans in a country where flirting is illegal. The show was hugely successful and is a frequently produced show for professional and amateur theaters.

Analysis:

While not strictly a musical, it’s one of the most influential Asian shows ever written, and it’s firmly a part of the canon. This show was decidedly progressive when it came out. Gilbert actually researched the setting (he didn’t go to Japan but he consulted Japanese officials) and the characters actually have character, and aren’t just racist caricatures. Famously, the production was put on hiatus when Prince of Japan was visiting because officials were scared they would offend him, and he complained because he had hoped to see it, and after seeing it complained that he wasn’t offended as he thought he’d be. This was by early 20th century standards, but still, the show has aged well content wise.

The problem is yellow face. In the original production all of the characters were played by white actors, as was the norm for the time, and nobody was really offended by it. Today? Not so much. Some people argue that having white actors portray the characters is integral to the theme of the show (as it is a critique of British society), but that excuse feels like a thin justification for appropriation. Regardless, when white people do this show (and it’s always white people), they feel comfortable putting on the kimono and doing the accent, and that’s wrong. And despite the quality of the content of the show, watching it just feels... dirty.

There’s another version of the show, The Hot Mikado, which removes the show from Japan and sets it in a nightclub.

Also of interest is The Mikado Project, a 2010 film about a small struggling Asian-American theatre company that decides to put on the show in an attempt to attract grant money. In an attempt to reclaim the show they update it with rap and hip hop music. It’s an interesting exploration of Asian-Americans attempting to reclaim stereotypes and the line between this and fulfilling them. It’s not a perfect movie (you can tell there’s a small budget, the editing can be shaky and The Mikado’s score is the best part so removing it isn’t really an improvement) but it’s a nice piece if you’re interested in the topic. More information can be found here.

[onewordshy]

API MT Month Day 26: Flower Drum Song (Revival)

Background:

Flower Drum Song was revived on Broadway in 2002, featuring the original Rodgers and Hammerstein score, but a new book by playwright David Henry Hwang. Hwang was allowed by the Rodgers and Hammerstein estate to rewrite the dated show, though none of the lyrics could be altered, but several numbers were dropped and a song cut from the original production was re-added. The new plot centered around a young Chinese woman who flees communist China only to end up in San Francisco working in a failing Chinese opera that becomes a flashy night club once a week. The revisal (starring Lea Salonga and Jose Llana) received raves in its Los Angeles run, but closed at a loss on Broadway.

Analysis:

Really the only way this show resembles its original version is that some of the characters have the same names and the lyrics and tunes are the same. Other than that, it’s a very bold reimagining. The story is completely original, and all of the numbers are re-skinned for new contexts, most of them as schmaltzy club acts. Is it an effective rewrite? No. The new story is muddled and loses most of the themes of the original version that worked, and even if it’s more politically correct it’s nowhere near as charming. For that matter there’s also an extremely questionably written gay character who feels offensive and out of place. This isn't to say it’s a total loss though. The nightclub angle worked to turn many of the less interesting numbers into showstopping club acts with elaborate props and choreography, most which featured ironically overblown Chinese stereotypes (like, takeout boxes or fans). It also ironed out the questionably anti-feminist bent of the original show and some of the more questionably racist plot points. It was David Henry Hwang’s first (and I believe only) attempt at writing a musical, so cut him a little slack. Overall it was an admirable, if misguided, effort to reclaim an outdated show.

[onewordshy]

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API MT Month Day 25: The Orphan of Zhao

Background:

The Orphan of Zhao features a book by David Greenspan, music and lyrics by Stephin Merritt. The show is based off of the famous 13th century Chinese play of the same name by Ji Junxiang, which originally had music, but was “updated” by the writers listed. The long and complicated plot centers around the last remaining member of the Zhao family who must be hidden from a rival family who is trying to kill him. The updated version of the show had a brief run at Lincoln Center.

Analysis:

This is kind of a weird show to talk about because it’s an updating of a classic Chinese play which was infamously called “the Chinese Hamlet.” So really, any way you slice it white authors are on shaky ground even touching this. This version of the show premiered at the 2003 Lincoln Center Festival, and the idea was that the show was being produced twice in two different styles: a “traditional” version performed in Mandarin with classic Chinese opera pieces and a cast of renowned Chinese opera actors, and a “contemporary” version, which was perfumed in English and featured songs by contemporary rock composer Stephin Merritt and a company of “Western” actors. The “contemporary” version was cast colorblind, which is unfortunately a big no-no when we’re talking about a show set in 13th century China. Putting all of that aside, the score is interesting enough (certainly unusual) but not quite good enough for the show to ever reemerge. There is a cast recording available through Nonesuch records if you’re interested, but be warned that all of the signers on it are white (though all of the musicians are Chinese).

Incidentally, the team also collaborated on another musical adaptation of an old Chinese play (this one labeled “China’s greatest historical drama”) entitled Peach Blossom Fan, which turned out similar to The Orphan of Zhao. Merritt’s later musical My Life as a Fairy Tale also drew heavily on Chinese themes, and also featured mostly white actors, though renowned Chinese opera actress Qian Yi had a role.

[onewordshy]

API MT Month Day 22: Prayer Erukosu (エルコスの祈り)

Background:

Prayer Erukosu (エルコスの祈り) (Originally titled 239 Hours of Elric Cosmos [エルリックコスモスの239時間]) premiered in 1984, and features a score by Suzuki Kunihiko (作曲) and a script by Sculpin Chizuko (梶賀千鶴子). The show is set in the future where children are raised in a military style boarding school with a cruel headmistress. A scientist creates an android (Erukosu) with god-like powers and sends it to the school to inspire the children to rediscover their dreams, but the robot only has enough fuel to last 10 days. It’s ostensibly a children’s show, but it’s a very popular one that’s been revived numerous times. (Note: All of the information surrounding this show is in Japanese, so I could be mistaken, but I’m pretty sure everything here is accurate.)

Analysis:

I don’t know any Japanese so this was a confusing show to watch at first, but it’s pretty easy to catch on to what’s happening in the show. It’s obviously some kind of dystopian future, and then some scientist creates a robot that runs around acting as some sort of manic pixie dream girl on crack. Then she stops a bank heist and then she runs out of fuel or something. Again, I speak no Japanese. It’s still a very entertaining show to watch though, and it is a little tearful to watch at the end when the robot (spoilers) vaporizes even if you don’t know anyone’s name. If you’re a musical theatre fan with some time to kill, the original (I believe) production of the show can be watched here.

[onewordshy]

API MT Month Day 20: Prison Dancer

Background:

Prison Dancer features a score by Romeo Candido and a book by Romeo Candido and Carmen De Jesus. Prison Dancer ran as a musical web series in 2011-2012, and became a full fledged stage musical in 2012. The show was inspired by a popular CPDRC Dancing Inmates, a collective of prison inmates in the Philippines who became Internet celebrities when the dance routines they did as physical exercises were filmed and went viral online. The show itself is framed as an expose on the prison that tells the stories of who the program formed, as well as the stories of various prisoners. The web series and stage production were both well received.

Analysis:

The origins of this show are odd. For one, it’s based on a viral web video. Also, it started as a web series, which is actually a pretty smart idea because it allowed the show to build up a fan base before it premiered. I can’t speak the quality of the stage show, but the video series is very well put together. The cast is great, and the songs are catchy. The characters are invented (writing a musical about actual random inmates in the Philippines would be... odd) but still interesting to watch and emotionally engaging. It’s also notable because one of the characters is heavily implied to be gender fluid. Overall, it’s a very unique experiment that I think worked out very well.

[onewordshy]

API MT Month Day 17: Costs of Living

Background:

Costs of Living premiered in 2012, and is written entirely by Timothy Huang. The show is based off of the true story of Debindra Chhantyal and Pema Sherpa, two Nepalese immigrants who took shifts driving a cab, but lived drastically different lives which ended when Chhantyal attacked Sherpa with a cleaver before killing himself. The show makes the two Chinese, and tells the story primarily in flashbacks. It was a finalist for the 2012 American Harmony Prize, as well as the 2012 Fred Ebb Award. When told about the musical, Pema Sherpa said “I’d go see that.”

Analysis:

This is dark show. There’s not a ton of action (other than the climatic attack) so it’s told primarily as a series of flashbacks that provide more information about the men and the lives they live. One of them has a wife, child, and a happy life. The other man is alone and suspects that his wife back home is cheating on him. Coincidentally, the happy one drives the 12 hour shift during the day, and the sad one drives the 12 hour shift during the night. And that’s not even just written in for dramatic effect, that was actually how it was in real life. Despite the seemingly obvious dramatic flair, it’s really a show about the immigrant experience, and there’s not much more to say about it. More information about the show can be found here.