Friday, March 25, 2016

Never Ever Getting Rid Of Me: Asians in non-Asian roles

Hello everyone! As I progress with my research, I have delved deeper into the world of casting and casting Asian actors in non-Asian roles. Of course after some pretty extensive and in depth research, I came up with very little. First of all, the only roles that Asians have been cast in are written specifically for Asians and stories they are telling don't reflect the Asian-American experience. Some key musicals are trying to break that mold and show that ethnicity shouldn't be a problem in casting. Let's start with the musical that is highlighting strong women of all ethnicities and backgrounds, Hamilton. 

Philippa Soo plays Elizabeth Hamilton nee Schuyler, Alexander Hamilton's wife. Of course Elizabeth Schuyler was a white woman of high standing in her community but she is portrayed on stage by Ms. Soo, who is of Asian descent. She bucks the trope of the Asian woman being shy and meek and instead plays a strong female character who has to go through so much loss in her life. Elizabeth's eldest son Phillip died in a duel when he was very young and soon after that Hamilton also dies in a duel. Many of her children also died before her and she outlived her sister, Angelica, as well. Seeing an Asian woman portray such a strong, complex, and dynamic woman on stage really shows that stereotypes do not define women of color and if we can continue on this trajectory in theatre, the results can be truly beautiful.

Next up we have Alice Lee who portrays Heather Duke in Heathers the Musical. What is unique about Ms. Lee's performance is that she portrays a mean girl. A truly horrendous and absolutely ruthless mean girl. That trope is another that is never explored or given to Asians. Alice Lee brings a lot of bravado and sass to her performance as Heather Duke and explodes on the stage from every move she makes to every note she sings. She is truly unapologetic and flaunts her Asianness on stage proudly.

A truly unique performance is Ann Sanders in The King and I. Ann Sanders is the understudy for Kelli O'Hara who plays Anna Leonowens and she made her Broadway debut back in February. She is the first ASIAN Anna in Broadway history and her performance means a lot to the Asian theatre community. This bold casting choice proves that casting can be ethnically non-specific and still convey an important and relevant story. By casting an Asian actress as Anna, the focus is taken off of the racial aspect of the story and is placed onto the cultural conflict, which is the true emotional center of the show. The conflict is not about Anna being white and her whiteness clashing with the Asians. The true conflict is between Western and Eastern values and how those values can be reconciled.

- Fun Fact: The King and I is based on the true story of an English governess named Anna who goes the court of the King of Siam to teach them English values. Interestingly, Anna was not completely white. She was born in India to a British father and an Indian mother. She actually took the job in Siam after her husband's death because she no longer had his status to protect from pariah status in British society because she was mixed-race.

P.S. This week's musical reference is the song "Never Ever Getting Rid Of Me" from the new musical Waitress 

Friday, March 11, 2016

I'm Willing to Wait For It: A Statistical Disadvantage

Hello all. This week was my week off from my internship because ASU was on spring break. So I delved into the research side of my project and came up with some fairly interesting results. First, I looked up the US census data from 1950-2010 to see what percentage of the population identified as Asian, Asian-American, or Pacific Islander. Now we must take census data from 1950 with a grain of salt because so many Asian-Americans had been displaced from their homes due to the Internment Act during World War II. The data is shows below.

  • 1950
    • Population of US- 152.3 million 
      • Asian population- 321,033
      • Percentage- 0.2%

  • 1960
    • Population of US- 180.7 million 
      • Asian population- 980,337
      • Percentage- 0.5%
  • 1970
    • Population of US- 205.1 million 
      • Asian population- 1,526,401
      • Percentage- 0.8%
  • 1980
    • Population of US- 226.5 million 
      • Asian population- 3,500,439
      • Percentage- 1.5%
  • 1990
    • Population of US- 249.6 million 
      • Asian population- 7,273,662
      • Percentage- 2.9%
  • 2000
    • Population of US- 282.2 million 
      • Asian population- 15,359,073
      • Percentage- 3.8%
  • 2010
    • Population of US- 309.3 million 
      • Asian population- 19,107,368
      • Percentage- 4.9%
In the 2010, 4.9% of the US population identified as Asian and the census bureau goes further to provide a racial breakdown of the Asian community in America. Of the 19,107,368 Asians in America, the largest reporting ethnic groups were Chinese (3.79 million), Filipino (3.41 million), Indian (3.18 million), Vietnamese (1.73 million), Korean (1.7 million), and Japanese (1.3 million).

If we look at the break down of musicals that tell Asian stories since 1950, the trend seems to be that every decade less new musicals about Asians are being made. In 1950, the five "Asian" musicals produced were The King and I, Flower Drum Song, Kismet, Shangri-la, and South Pacific. Of those musicals, only Kismet focused on a non East Asian story. Until 1980, not a single new musical was produced that focused on an Asian story. In 1980, Miss Saigon hit the Broadway stage and took the Great White Way by storm. It also earned the leading lady, Lea Salonga, her first Tony award and made her the first Asian woman to win a Tony Award for Best Actress in a Musical. 

So, what needs to change so that more Asian stories are produced and successful? And why can't the Asian story evolve into something modern and more relatable? More to explore and contemplate next week!

P.S. This week's musical reference is from the song "Wait For It" from Hamilton 

Monday, March 7, 2016

Wedding Bells Will Ring: Stepping into the Production side.

Hello all. This week has been so amazing and rewarding. I have started working with the wonderful people at ASU Lyric Opera on their production of The Drowsy Chaperone. The rehearsals just started and everything is already going swimmingly. Sitting in on the first music rehearsal made my heart fill with joy and I never wanted to leave. The cast comprised on undergraduate and graduate students from the theatre program and they can't be more than 24 years old. But the level of professionalism astounded me. Every single person came into that first rehearsal completely ready with their music, a smile on their face, and an open mind.

Over the next few weeks, I will be spending the majority of my time at Drowsy Chaperone rehearsals and learning more about the production process and learning about the rehearsal process through a backstage perspective as opposed to the actor's perspective. So far I have met the stage manager, set designer, costume designer, and musical director and they are all amazing people and incredible artists. ASU is going on spring break this week so I will not be working but I will continue my independent research and keep you all updated on that.

P.S. This post's title is a reference to the song Wedding Bells in The Drowsy Chaperone. 

Tuesday, March 1, 2016

Quick Update for the World

Today is the first day of my internship at Lyric Opera Theatre at ASU. I am the intern for Drowsy Chaperone, one of my favorite shows in the entire world, and I am so excited. Tonight is a music rehearsal and just being in this room right now with a bunch of professional actors and feeling their positive energy makes my little heart sing! This is going to be amazing and I've only been here for a hot second. More updates to come!