Thursday, April 10, 2014
The REAL Why Every Straight Man Needs a Gay Best Friend.
My STRAIGHT Best Friend, Tommy McDowell, posted this link on my facebook:
Why Every Straight Man Needs a Gay Best Friend
First off, I feel like that implies you have a "Straight" best friend. And possibly a "Black" best friend or "Woman" best friend. I think we should all have a meeting like a League of Best Friends.
Alas, Tommy knows that this is real list as we know it.
TOP 10 Reasons Why This List is WRONG according to a GAY MAN-
1. Your gay best friend (GBF) can introduce you to tons of nice single ladies.
-More likely to introduce you to the Single Ladies choreography. All the single ladies in his life want to marry him more than his SBF.
2. Your gay best friend may become your wife's friend too.
-Or her worst enemy! She will be the target of eternal bitterness and jealously because she gets to have you in a way we never can just because she has boobs.
3. Your gay best friend can be a great listener and social support as many gay people lived through bullying in their youth and became sensitive, caring, and loving people as adults. Yes, you can cry and open up with your new gay best friend.
-Not everyone gay man was bullied in high school. Some lived like Queens and some grow up to be horrible hateful adults. But sure, you can cry on my shoulder- any opportunity to play Oprah is a win in my book.
4. Your gay best friend can help you outfit your wardrobe and you'll be out of the store on time and on budget.
-LIES LIES LIES. What the fuck does “on time” entail? Shopping with a “budget”?!?! You might as well stay home. But if you want me help you pick out the 100th flannel shirt and not-so-skinny jeans that make you look feel confident enough to not gay bash me- so be it.
5. Your gay best friend can make a great gym and fitness buddy.
-You as a SBF are being used in this situation. You are there to make all the other gay gym rats jealous by association. Tomorrow, I will return and they all will inquire where my “boyfriend” is and I will respond “what boyfriend?”. No one will be lying. No one will go home alone.
6. Your gay best friend will be there for you if you ever need a hug. Hugging is the universal gay greeting.
-The universal gay greeting is “hey gurl hey”. The hug is only implied. You stand corrected.
7. Your gay best friend would probably be a good ego boost to your self-esteem and self-confidence when you need emotional support. This can help you overcome any rejection you experience from the women in your life.
-We’re always there to pick up the pieces. So yes. But sometimes emotional support comes in the form of a back handed compliment, a bit of too honest shade, or a tall stiff martini. But where women will come and go, you GBF will sit pining from the sidelines….with more martinis.
8. Your gay best friend would probably be a great person to talk to about sex, sexuality, and relationships.
-Yes. A great person who will talk about THEIR sex, sexuality, and relationships. I think with my SBF we’re at a 10 to 1 ratio in sex stories.
9. You can crash at your gay best friend's place when the need arises.
-Addendum is likeliness that your GBF has many many many decorative pillows on his bed. Instant “no homo” sleep barrier. In gay man’s terms- Les Miz Pillow Barricade where no one is getting shot at tonight.
10. Last and most importantly, your gay best friend will be a loyal, committed, and trusted friend because for many gay people, their friends are their family.
-No argument here. Yes, many gay people find their family amongst their friends. They will be loyal until the very end. Your GBF will even spend 30 minutes writing their own list to (a) show how funny they think themselves and (b) to tell you how much they love you for being their SBF.
But I really think that the #10 reason every straight man should have a gay best friend- The BJ’s. So many BJ’s.
Tweet @kelvinmoonloh . Blog AsianAmericanIdiot.blogspot.com
Saturday, February 8, 2014
I GOT MUGGED AGAIN....of my SLEEP. Everyday for the last MONTH.
I must preface, that I have lived in NYC for 12 years and I
understand noise and apartment living; it is a fact of life with
box-attached-to-box urban dwelling and I happen to love it.
A few months ago, we received a new neighbor upstairs. I can only assume it’s one woman and her child
(of whom I immediately empathized with single motherhood) living in the same
square footage of our larger than average Harlem three-bedroom.
Several mornings passed, every other day in recent weeks
(probably a Christmas gift), where I’ve been kept up from noise starting at
5:45am until about 11am. So instead of
writing a passive aggressive letter or banging on the walls, I decided to do
what I believed an adult should- wait until a decent hour, knock on their door,
introduce myself, and have a sensible conversation about how we can help each
other co-habitate. No plan, no agenda,
no advice, no “shut the eff up”s- but a conversation.
Attempt #1: I rang the doorbell and I heard the child
clawing for the door and calling out “mama!”
No one opened the door after two attempts at ringing the door bell. Even though she spied through the peephole a
few time and pried her child from the door, I assumed she wasn’t ready to take
in a visitor. I, too, sometimes have
troubles finding my best dressing robe to take on early morning visitors. Still I was not leaving her a note- I’m no
longer in college. We are both of child
bearing age….oy.
Attempt #2: At a more
reasonable 6pm hour the next day- SHE
WAS NOT HAVING ME! As if the three
knocks on her door and a doorbell ring had eliminated dozens of hours of sleep
from HER life. I have never seen her
face, as she never opened the door, and chose to say, “it’s must be my 2 year
old. He’s playing.” I bit my tongue and
my “duh” and asked if we could talk about just that. She declined.
That’s where I left it. I decided
it was time to call the landlord and asked if carpeting would be an option or
at least a mediated conversation.
I thought to myself, “Kelvin, a mediated conversation? Facilitated by our landlord? I have a better
chance at winning the lottery.” I
promptly made that phone call and went to buy a scratch off ticket. I won that dollar back but I doubt the same
for the ten minutes on the phone with the landlord’s secretary.
Now, here’s HER letter she taped to OUR door the next
day:
.JPG)
A. Whose Colin, Ms. 2A? Did you hear my name wrong or are you the
one hoarding my roommate’s subscription of New York Magazine? That’s my job!
B. All of my issues?
I don’t think they want to know about my recent battle with gout and
minor seasonal depression. I don’t think
they want to hear about my lack of ability to finish anything due to adult ADHD
and fear of commitment and sobriety. I
don’t think they want to hear about my hot pink comfort item, a Hot Topic tutu. So, maybe I’ll just address the one issue-
this ONE sound that comes her apartment.
==================
Dear Management:
I would like to report an environmental complaint. I hesitate to call it a noise complaint
because I have not been sensitive to noise while living in this apartment for
the past four years. The reality is when
I accepted the lease to this apartment in Harlem, on the first floor, I agreed
to a social contract with the denizens of 10026. I can accept the midnight brawls and breakups
outside my window, siren and dumpster trucks, the usage of my air conditioner
as a convenient coaster for Four Loco and the teeniest bottles of Barcadi. I can accept watching the TV mounted to our
wall as you pass my window on the street and cheering along to American Idol
with me on the couch.
Prepared I was to deal with the first three years of my
upstairs neighbors having a French bull dog who used the hallway as his own
personal dog run. I welcome the idea
that my new neighbor has laid a similar track for her 2 year-old Olympic
sprinter in training. Go Team USA!!!
I have no complaints of parenting. I’m not going to complain about parenting a
two year old; not the crying, not the running, not the yelling after a child-
this is a fact of life and uncontrollable.
Again this is “noise” and I accept her child’s wails as they have
graciously accepted my wails a.k.a. my personal weekly Youtube Broadway Karaoke
Hour.
No, this complaint is environmental. No set of earplugs or sleep machine is a
solution for the physical vibration that happens repeatedly over a 4 by 7 patch
of space that exists 10 feet above the headboard of my bed. Pulling my bed away from the wall has not
dampened the early morning rolling thunder that has prevented my sleep.
I understand not coming to the door, as I am a stranger, but
we have connected before in the building as we have checked our mailboxes
located next to each other while exchanging pleasantries. I have reached out twice, with no avail, to
my neighbor to inquire what this new contraption is. She has asked me to contact you and I do so
with a certain amount of trepidation and suspicion as she refuses to speak with
me eye to eye. I speculate that she
either:
a. Installed a
Bowling Alley for Babies. As this issue
has only arisen for the past 56 days, I can assume it was an unwise Christmas
gift. There, I can fault a distant
relative who is a glutton for other people’s misery. I’ll gladly supply the $100 gift card to Toy
R’ Us for a replacement anything.
b. Has a case of OCD
and owns a Dyson’s Super Ultra Megatron Vacuum cleaner that she uses to
maintain this aforementioned four by seven foot of space. Three words: Replaceable Carpet Squares. I’ve seen them on Love it or List it!
c. Inherited Gutenberg’s
Printing Press. And hopefully she is
foiling local thieves and resolving the building’s ongoing Sunday Times
burglaries by making copies free for all one thousand tenants. Awesomesauce! You’re Printin’ Hood. Get it?!
d. Installed an
exercise rower for herself. But by the
frequency of this activity and the unchanging weight of her own footsteps, this
seems like the least probable answer. But if so, good on you, gurl! But I have an extra order of Pad Thai, Seamless on speed dial, and an extra spot on the couch to watch The Biggest Loser- let it go....enjoy some mommy, binge eating and vino with the new neighbor time. On me!
Thank you for your attention to this matter. I know this may not be anywhere near the top
of your priority list but I feel as if there have been enough suicide attempts
off the Brooklyn Bridge in 2014. I’m not
the splashy type. Hah!
I apologize for the drama.
You don’t know me, but alas, I would never go to Brooklyn. My next serious course of action is to file for
joint custody with Ms. 2A.
Sincerely,
Mme. 1A, Mr. 1A, & Miss 1A.
(Kelvin, Colin & Enrico respectively)
=================
PS- Since unspecified, I have forwarded this letter to both the
management of our building and the management of life in NYC, the NYPD (via
311, of course). I was confused to which
“management” she was talking about; or is it because- nope nope, it’s because I’m
a dick and I want my life back.
PSS- I have also attached a thank you note for imposing
hours and hours of catching up with my writing.
Even if it has been at the heinous hour of before-noon-o’clock.
PSSS- Seriously, we have filed a formal complaint to the
landlords and next will be the police.
Saturday, April 27, 2013
Yes, It's All About Talent-
Sincerely, it's ALL about being talented but not in the way you might think...
Talent is defined by google as both a group of useful aptitudes and an ancient Greek system of measurement for mass. Only one can be quantified; the latter. The other only qualified. Some will tell you, "talent is something you're born with". Some will argue, "talent is acquired!". Colleges and institutions will say, "talent doesn't exist. Only you do!" They are all right. They are all wrong. Major problem is that they have misidentified / improperly defined the one necessity it takes to book a job in the entertainment industry as "talented".
But as the business requires us to use this umbrella term- so be it. If you will please indulge me, I'll share with you my interpretation of this broad misnomer of "talent".
===
It takes a approximately four auditions to book anything. I highly recommend you all watch America's Got Talent. Because there is a key to success on this show. It's a very calculated step ladder to winning on this show over your series of auditions.
1. Make a strong first impression
2. Show them versatility/variety
3. Embellish on you first impression but show them your backstory
4. Pull out the showstopper
You can't skip any step. You can't change the order. If you pull out your showstopper first, you'll blow your wad too soon and nothing will amount after. If you show versatility first, they won't be able to figure you out to make a solid enough impression to put you in the consideration pile. If you embellish but forget to show them who you are as a person, they're not going to invite you to their lunch table in the green room.
The key is in the build up. This is vulgar but you can think of auditioning in terms of trying to have sex with someone. Fine. In terms of wanting to court someone? Here-
1. Be striking when you walk into the bar. Whether it be your charm and/or your beauty. But don't go home with him.
2. Meet him somewhere else. Take him rock climbing. Show him something he hasn't already seen. Still don't sleep with him.
3. Meet him for another drink, this time maybe with his friends. This time embellish the evening with a little more affection, kisses. Put him in a situation where he will remember why he liked you in the first place. But don't forget to give him more clues into who you are as a person. I dare you to even get to know him better.
4. Here's where you show him the goods. Vulgar or not- your choice.
If I were the guy, you would get a solid 6-month relationship out of me minimum. If you can translate this into terms of auditioning, for the right casting situation (bar=audition, him=director, his friends=the rest of the creative team, drink=song) maybe a 6-month contract.
===
"Stop preaching at me, Kelvin. I already know this. I already do this."
Right.... I apologize for the tangent. Only I believe the BUILD UP is incredibly important to this re-definition of talent. Here we go-
You may be the best singer in the room. You may be the best dancer, the best actor, the best anything. Congratulations. You have the SKILL of singing. The skill of dancing, skill of acting, skill of anything. You can even have the conglomeration of skills necessary to do musical theater.
These things we have misidentified as talent is actually skill.
"What the hell is it, Kelvin?! What is talent?!?!?! TELL ME NOW ASSHOLE!!!!"
I'm only demonstrating the power of build up. The one true talent you can possess is the talent to be memorable. Talent equals memorability. And your success through utilizing talent is truly limitless. You are born with some natural talents, you acquire others, talent as you've known it does not exist, only you. They were all wrong and all right.
I had this battle walking into a room knowing that I sang my audition song perfectly and not booking a job. More perfectly than I could imagine. Only problem was, the creative team wasn't looking for perfection (also, there were 100 other guys who just sang "perfectly"). And if perfection was desired, it was actually a desire for memorability.
Every writer/director wants someone who will cause a stir. Someone the critics can't ignore. Someone who the audiences won't stop buzzing about how perfect or imperfect they were in the show.
NATURAL TALENTS (MEMORABILITY) *congrats for doing nothing!*
-Ethnicity
-Height
-Sex appeal
ACQUIRED TALENTS (MEMORABILITY) *limitless*
-Ability to ride a unicycle
-Carefree banter
-Sex appeal (appears twice I see...)
***Assignment: What is your unique memorability factor? How can you make it appropriate to incorporate into your next audition? How will it grow and embellish?***
I share this with you because what has been prescribed to the aspiring musical theater artists is that the highest note is best. The girl who can spin the most is best. Sure- these things can be memorable. But if you're like me- a guy who actively tries not to sing above an F and hasn't taken a dance class beyond the emergency "oh fuck, they want me to tap tomorrow?" class at BDC- you have to decide what your TALENT/MEMORABILITY factor is.
You are enough. This is completely true. But are YOU being overshadowed by your presentation of skills alone?
===
Next Chapter: Memorability's Sex Life with Artistry and it's Affair with Gimmick.
Talent is defined by google as both a group of useful aptitudes and an ancient Greek system of measurement for mass. Only one can be quantified; the latter. The other only qualified. Some will tell you, "talent is something you're born with". Some will argue, "talent is acquired!". Colleges and institutions will say, "talent doesn't exist. Only you do!" They are all right. They are all wrong. Major problem is that they have misidentified / improperly defined the one necessity it takes to book a job in the entertainment industry as "talented".
But as the business requires us to use this umbrella term- so be it. If you will please indulge me, I'll share with you my interpretation of this broad misnomer of "talent".
===
It takes a approximately four auditions to book anything. I highly recommend you all watch America's Got Talent. Because there is a key to success on this show. It's a very calculated step ladder to winning on this show over your series of auditions.
1. Make a strong first impression
2. Show them versatility/variety
3. Embellish on you first impression but show them your backstory
4. Pull out the showstopper
You can't skip any step. You can't change the order. If you pull out your showstopper first, you'll blow your wad too soon and nothing will amount after. If you show versatility first, they won't be able to figure you out to make a solid enough impression to put you in the consideration pile. If you embellish but forget to show them who you are as a person, they're not going to invite you to their lunch table in the green room.
The key is in the build up. This is vulgar but you can think of auditioning in terms of trying to have sex with someone. Fine. In terms of wanting to court someone? Here-
1. Be striking when you walk into the bar. Whether it be your charm and/or your beauty. But don't go home with him.
2. Meet him somewhere else. Take him rock climbing. Show him something he hasn't already seen. Still don't sleep with him.
3. Meet him for another drink, this time maybe with his friends. This time embellish the evening with a little more affection, kisses. Put him in a situation where he will remember why he liked you in the first place. But don't forget to give him more clues into who you are as a person. I dare you to even get to know him better.
4. Here's where you show him the goods. Vulgar or not- your choice.
If I were the guy, you would get a solid 6-month relationship out of me minimum. If you can translate this into terms of auditioning, for the right casting situation (bar=audition, him=director, his friends=the rest of the creative team, drink=song) maybe a 6-month contract.
===
"Stop preaching at me, Kelvin. I already know this. I already do this."
Right.... I apologize for the tangent. Only I believe the BUILD UP is incredibly important to this re-definition of talent. Here we go-
You may be the best singer in the room. You may be the best dancer, the best actor, the best anything. Congratulations. You have the SKILL of singing. The skill of dancing, skill of acting, skill of anything. You can even have the conglomeration of skills necessary to do musical theater.
These things we have misidentified as talent is actually skill.
"What the hell is it, Kelvin?! What is talent?!?!?! TELL ME NOW ASSHOLE!!!!"
I'm only demonstrating the power of build up. The one true talent you can possess is the talent to be memorable. Talent equals memorability. And your success through utilizing talent is truly limitless. You are born with some natural talents, you acquire others, talent as you've known it does not exist, only you. They were all wrong and all right.
I had this battle walking into a room knowing that I sang my audition song perfectly and not booking a job. More perfectly than I could imagine. Only problem was, the creative team wasn't looking for perfection (also, there were 100 other guys who just sang "perfectly"). And if perfection was desired, it was actually a desire for memorability.
Every writer/director wants someone who will cause a stir. Someone the critics can't ignore. Someone who the audiences won't stop buzzing about how perfect or imperfect they were in the show.
NATURAL TALENTS (MEMORABILITY) *congrats for doing nothing!*
-Ethnicity
-Height
-Sex appeal
ACQUIRED TALENTS (MEMORABILITY) *limitless*
-Ability to ride a unicycle
-Carefree banter
-Sex appeal (appears twice I see...)
***Assignment: What is your unique memorability factor? How can you make it appropriate to incorporate into your next audition? How will it grow and embellish?***
I share this with you because what has been prescribed to the aspiring musical theater artists is that the highest note is best. The girl who can spin the most is best. Sure- these things can be memorable. But if you're like me- a guy who actively tries not to sing above an F and hasn't taken a dance class beyond the emergency "oh fuck, they want me to tap tomorrow?" class at BDC- you have to decide what your TALENT/MEMORABILITY factor is.
You are enough. This is completely true. But are YOU being overshadowed by your presentation of skills alone?
===
Next Chapter: Memorability's Sex Life with Artistry and it's Affair with Gimmick.
Thursday, April 4, 2013
How to Walk Downstage....
You see-
My path to the stage was neither long nor short
I was not plucked from obscurity
I never had that big break or found a lack of a small one
My path to the stage was neither celebrated nor forgotten
I consider myself a J-list celebrity amongst my peers
I never went to that fancy school or lacked training
My path to the stage was neither simple nor complicated
I was not breed to be any "business" type
I never trusted my gut or quieted my values
You see-
My path to the stage is always mine and mine alone
I am the only one who qualifies and justifies
I forever own that I know how to walk or when to charge
straight lines, linear, non- I got you.
My path to the stage was neither long nor short
I was not plucked from obscurity
I never had that big break or found a lack of a small one
My path to the stage was neither celebrated nor forgotten
I consider myself a J-list celebrity amongst my peers
I never went to that fancy school or lacked training
My path to the stage was neither simple nor complicated
I was not breed to be any "business" type
I never trusted my gut or quieted my values
You see-
My path to the stage is always mine and mine alone
I am the only one who qualifies and justifies
I forever own that I know how to walk or when to charge
straight lines, linear, non- I got you.
Thursday, November 29, 2012
Let's See Where This Goes-
It has been prescribed that for every breakup of a relationship, you need double that amount of time to heal.
Three months of sixteen and I keep telling people, "yea, I just got off of tour".
My heart aches not being onstage in a show I love everyday. Yes, I am working on other projects. Yes, I keep in contact with most all the Idiots. Yes, I like having DVR.
Thank goodness, I didn't take a day for granted while touring the country. Carpe fucking diem'ed.
===
This week. I'm working on three major projects for me. And if you couldn't already tell, I'm sleepless and trying to lull myself to sleep with Red Label.
I AM STRESSED BEYOND BELIEF.
And I'm smiling. Because, I love the theater. And I love the theater with theater professionals with an attitude of "can do". Because at the end of the day- well, what else is more rewarding?
I've been recently feeling as if I needed something else. Something that wasn't so volatile as being an artist for a living. I wanted more control. I wanted more money. I wanted more stability.
NEWS FLASH: Stability doesn't exist, y'all!!!
But love does. If you do what you love and treat others with respect while you're doing it- you only attract more of what you project.
Take what you want from this. It's full of generalizations. But generally what I'm saying is- everything is worth it. And when it drives you to tears, you can thank God that something still can.
Three months of sixteen and I keep telling people, "yea, I just got off of tour".
My heart aches not being onstage in a show I love everyday. Yes, I am working on other projects. Yes, I keep in contact with most all the Idiots. Yes, I like having DVR.
Thank goodness, I didn't take a day for granted while touring the country. Carpe fucking diem'ed.
===
This week. I'm working on three major projects for me. And if you couldn't already tell, I'm sleepless and trying to lull myself to sleep with Red Label.
I AM STRESSED BEYOND BELIEF.
And I'm smiling. Because, I love the theater. And I love the theater with theater professionals with an attitude of "can do". Because at the end of the day- well, what else is more rewarding?
I've been recently feeling as if I needed something else. Something that wasn't so volatile as being an artist for a living. I wanted more control. I wanted more money. I wanted more stability.
NEWS FLASH: Stability doesn't exist, y'all!!!
But love does. If you do what you love and treat others with respect while you're doing it- you only attract more of what you project.
Take what you want from this. It's full of generalizations. But generally what I'm saying is- everything is worth it. And when it drives you to tears, you can thank God that something still can.
Friday, August 3, 2012
Hashtag Nightingale (I Love Prison)
In regards recent Nightingale "controversy": The Asian American theatrical community has many feelings. The creatives have expressed they too have many feelings. It seems like the entirety of the Broadway community has arisen with their own commentary, opinions and feelings.
I have one. One instinctual feeling.
You may suspect it is a feeling of dismay; but it is not. Saddened? No. Disappointed, heartbroken, wronged? No, no, no.
Rather it is of pure ELATION.
For the theater to bring to host this conversation is incredible.
Let me clarify that I am not elated because someone finally "stuck it to the man". I am elated because for the first time in my professional career, I believe that the entirety of a community I was born into has raised one collective voice to say, "We are here."
For those of you who need to be filled in of the goings on of # nightingale:
Playbill Article : Facing Criticism for Lack of Asian
Video of Panel Discussion : LaJolla Nightingale
Some of our Asian American theater veterans may proclaim that this is history repeating itself. It seems like a twenty year cycle.
A little over twenty years ago, we experienced the infamous Jonathan Pryce scandal of Miss Saigon. David Henry Hwang brilliantly dramatized the events in his play Yellowface nearly a decade and a half later. Because of the open protestation of Pryce's casting, never again was the coveted role of the Engineer played by someone not of Asian descent on Broadway.
Miss Saigon was the first time Asian Americans have experienced yellowface in such a high caliber theater setting. Right?
Actually, twenty years prior to that in 1970, the Asian cast members of Broadway's Lovely Ladies, Kind Gentleman protested outside their own show because of denial of access for Asian performers to audition for the coveted role of Sakini in their own show. These pioneer Asian actors went as far as to distribute brochures with headshots and contacts of dozens of Asian performers to casting directors to say "we are here". The show closed on Broadway to eventually tour but the costumes of Sakini were never worn by an Asian man.
Will we look back in 2030 and be quick to forget the conversation that has been spurred by The Nightingale ?
Only time will tell but what we all can learn from history is "change is slow". No, this isn't the first time this conversation has been had and it certainly will not be the last. But this is the moment for this generation of Asian performers to make their mark for the betterment of the theatrical community; this American theatrical community that we are very much a part of.
Specifically, in addressing my thoughts about The Nightingale. I've heard both sides of the table. Even then, I lack the ability to see the content of the show for myself, I lack the ability to validate either side's arguments, and I lack the ability to sort out for myself what is right and wrong/hypocritical or not in terms of the implementation of a multi-ethnic cast.
I can't say that any Asian actor was denied Asian appropriate roles as I have no hand in the artistic creative process.
Through much meditation about the subject, I became keenly aware that my issue was not with this production at all. I began examining my existence as an Asian actor in the theater business of 2012 and I came up with the question: "Am I not American enough to be considered for your multi-ethnic project?" This notion stings.
Post the panel discussion, I felt satisfied that I had tweeted some thoughts (you can find by searching # nightingale) and I was prepping for the windfall of discussions I was sure to encounter in the coming weeks. This blogpost never wanted to be written.
Alas, my impetus for writing tonight: I saw an All-Asian production at this year's New York Musical Theater Festival called Prison Dancer (www.prisondancer.com). I've seen my share of NYMF productions in the past, but this afternoon's performance was truly inspiring.
I have worked with many of the faces on that stage. This was a story told by Filipinos about a prison in the Philippines. But, it did not matter to me that I was not Filipino, nor was a majority of the audience. I found myself in awe of what I was seeing, hearing....feeling. I forgot that those were my friends and colleagues on that stage. Instead, I was enamored by each one of them as artists who were all masters of their craft. The craft of conveying a human story that is a identifiable to all who sat opened-hearted in front of them.
What I saw today was a new unique American (or Western as it hails from Canada!) story that could be told by none other- a brilliant cast of Asian-Americans. *Might I also add, a ridiculously beautiful cast*
Because with the focus so strongly on The Nightingale, I hope that we do not forget to celebrate the triumphs that we are achieving together; Asian American performers and supporters alike. To name a few on this ever growing list :
-The entirety of the production team, creatives, supporters and the cast of Prison Dancer. Marcus Calderon, Marc DelaCruz, Andrew Eisenman, Albert Guerzon, Jose Llana, Jeigh Madjus, Nathan Ramos, Catherine Ricafort, Enrico Rodriguez, Moses Villarama, Liz Cassasola, Brian Jose and more!
-Baayork Lee, Steven Eng, Zoie Lam and their National Asian Artists Project's continued education program for school aged children and exploration of classic works with All-Asian professional performers.
-The continued success of organizations like East West Players, Pan Asian Rep, Ma-Yi Theater Co., NAATCO, and Leviathan Lab for dedicating it's existence to explore theatrical work to exemplify the Asian and Asian-American experience.
-Upcoming new musical productions of predominantly Asian casts Allegiance and Here Lies Love fully produced in major theatrical centers (Old Globe and Williamstown/The Public, respectively).
-Asian performers that consistently represent on the Broadway stage in non-ethnic specific roles including Paolo Montaloban, Aaron Albano, Ray Lee, Olivia Oguma, Telly Leung, and J Elaine Marcos amongst many others.
-Active diverse casting advocates for Asian Americans: Nikole Vallins and Michael Cassara.
I name these artists as my friends of whom we'll look back in twenty years and claim that it was not in vain. I name these artists as my colleagues of whom I constantly feel i am in a cast with regardless of whether we have ever even done a show together. I name these artists as my heroes as they will forge an even broader path for future Asian artists to emerge.
We must take a moment to think of how far we have come as ONE community. Even as fragmented as we may be under this large umbrella that is "Asian", we have formed such a strong brotherhood; this collective entity that can no longer be less visible than others.
I applaud La Jolla's artistic director and it's staff for initiating a public forum on the issue. As a huge fan of Moises Kaufman and his LGBTQ work, I wholeheartedly thank him in his participation and acknowledgement that this is a momentous discussion in American theatre.
And so I celebrate all of you, Asian or not, who have joined us in this conversation that continues to fuel the momentum of change (despite how dilatory it wants to be).
With a lack of Asian role models on television, in movies or on the stage, I spent much of my youth wondering, "what's wrong with me? Why did I have the misfortune of being born Asian?" This ideology has only recently shifted for me. My elation now comes with the idea that we are here at another crossroads. I feel my words and my continued loving dedication towards this craft is now important beyond getting that next hit Broadway show.
I am here so that Asian-American kids will look back in twenty years and say, "Everything's fine. What was all the fuss about?" So I can get mad at them for not knowing....
And until then, I lead with love. Love of this battle while standing with you.
===
I take it all back. My gut feeling is that this is only the beginning. I feel HOPEFUL.
I have one. One instinctual feeling.
You may suspect it is a feeling of dismay; but it is not. Saddened? No. Disappointed, heartbroken, wronged? No, no, no.
Rather it is of pure ELATION.
For the theater to bring to host this conversation is incredible.
Let me clarify that I am not elated because someone finally "stuck it to the man". I am elated because for the first time in my professional career, I believe that the entirety of a community I was born into has raised one collective voice to say, "We are here."
For those of you who need to be filled in of the goings on of # nightingale:
Playbill Article : Facing Criticism for Lack of Asian
Video of Panel Discussion : LaJolla Nightingale
Some of our Asian American theater veterans may proclaim that this is history repeating itself. It seems like a twenty year cycle.
A little over twenty years ago, we experienced the infamous Jonathan Pryce scandal of Miss Saigon. David Henry Hwang brilliantly dramatized the events in his play Yellowface nearly a decade and a half later. Because of the open protestation of Pryce's casting, never again was the coveted role of the Engineer played by someone not of Asian descent on Broadway.
Miss Saigon was the first time Asian Americans have experienced yellowface in such a high caliber theater setting. Right?
Actually, twenty years prior to that in 1970, the Asian cast members of Broadway's Lovely Ladies, Kind Gentleman protested outside their own show because of denial of access for Asian performers to audition for the coveted role of Sakini in their own show. These pioneer Asian actors went as far as to distribute brochures with headshots and contacts of dozens of Asian performers to casting directors to say "we are here". The show closed on Broadway to eventually tour but the costumes of Sakini were never worn by an Asian man.
Will we look back in 2030 and be quick to forget the conversation that has been spurred by The Nightingale ?
Only time will tell but what we all can learn from history is "change is slow". No, this isn't the first time this conversation has been had and it certainly will not be the last. But this is the moment for this generation of Asian performers to make their mark for the betterment of the theatrical community; this American theatrical community that we are very much a part of.
Specifically, in addressing my thoughts about The Nightingale. I've heard both sides of the table. Even then, I lack the ability to see the content of the show for myself, I lack the ability to validate either side's arguments, and I lack the ability to sort out for myself what is right and wrong/hypocritical or not in terms of the implementation of a multi-ethnic cast.
I can't say that any Asian actor was denied Asian appropriate roles as I have no hand in the artistic creative process.
Through much meditation about the subject, I became keenly aware that my issue was not with this production at all. I began examining my existence as an Asian actor in the theater business of 2012 and I came up with the question: "Am I not American enough to be considered for your multi-ethnic project?" This notion stings.
Post the panel discussion, I felt satisfied that I had tweeted some thoughts (you can find by searching # nightingale) and I was prepping for the windfall of discussions I was sure to encounter in the coming weeks. This blogpost never wanted to be written.
Alas, my impetus for writing tonight: I saw an All-Asian production at this year's New York Musical Theater Festival called Prison Dancer (www.prisondancer.com). I've seen my share of NYMF productions in the past, but this afternoon's performance was truly inspiring.
I have worked with many of the faces on that stage. This was a story told by Filipinos about a prison in the Philippines. But, it did not matter to me that I was not Filipino, nor was a majority of the audience. I found myself in awe of what I was seeing, hearing....feeling. I forgot that those were my friends and colleagues on that stage. Instead, I was enamored by each one of them as artists who were all masters of their craft. The craft of conveying a human story that is a identifiable to all who sat opened-hearted in front of them.
What I saw today was a new unique American (or Western as it hails from Canada!) story that could be told by none other- a brilliant cast of Asian-Americans. *Might I also add, a ridiculously beautiful cast*
Because with the focus so strongly on The Nightingale, I hope that we do not forget to celebrate the triumphs that we are achieving together; Asian American performers and supporters alike. To name a few on this ever growing list :
-The entirety of the production team, creatives, supporters and the cast of Prison Dancer. Marcus Calderon, Marc DelaCruz, Andrew Eisenman, Albert Guerzon, Jose Llana, Jeigh Madjus, Nathan Ramos, Catherine Ricafort, Enrico Rodriguez, Moses Villarama, Liz Cassasola, Brian Jose and more!
-Baayork Lee, Steven Eng, Zoie Lam and their National Asian Artists Project's continued education program for school aged children and exploration of classic works with All-Asian professional performers.
-The continued success of organizations like East West Players, Pan Asian Rep, Ma-Yi Theater Co., NAATCO, and Leviathan Lab for dedicating it's existence to explore theatrical work to exemplify the Asian and Asian-American experience.
-Upcoming new musical productions of predominantly Asian casts Allegiance and Here Lies Love fully produced in major theatrical centers (Old Globe and Williamstown/The Public, respectively).
-Asian performers that consistently represent on the Broadway stage in non-ethnic specific roles including Paolo Montaloban, Aaron Albano, Ray Lee, Olivia Oguma, Telly Leung, and J Elaine Marcos amongst many others.
-Active diverse casting advocates for Asian Americans: Nikole Vallins and Michael Cassara.
I name these artists as my friends of whom we'll look back in twenty years and claim that it was not in vain. I name these artists as my colleagues of whom I constantly feel i am in a cast with regardless of whether we have ever even done a show together. I name these artists as my heroes as they will forge an even broader path for future Asian artists to emerge.
We must take a moment to think of how far we have come as ONE community. Even as fragmented as we may be under this large umbrella that is "Asian", we have formed such a strong brotherhood; this collective entity that can no longer be less visible than others.
I applaud La Jolla's artistic director and it's staff for initiating a public forum on the issue. As a huge fan of Moises Kaufman and his LGBTQ work, I wholeheartedly thank him in his participation and acknowledgement that this is a momentous discussion in American theatre.
And so I celebrate all of you, Asian or not, who have joined us in this conversation that continues to fuel the momentum of change (despite how dilatory it wants to be).
With a lack of Asian role models on television, in movies or on the stage, I spent much of my youth wondering, "what's wrong with me? Why did I have the misfortune of being born Asian?" This ideology has only recently shifted for me. My elation now comes with the idea that we are here at another crossroads. I feel my words and my continued loving dedication towards this craft is now important beyond getting that next hit Broadway show.
I am here so that Asian-American kids will look back in twenty years and say, "Everything's fine. What was all the fuss about?" So I can get mad at them for not knowing....
And until then, I lead with love. Love of this battle while standing with you.
===
I take it all back. My gut feeling is that this is only the beginning. I feel HOPEFUL.
Saturday, July 21, 2012
Day Number WhoTheEffCare: 'Cause It's Over
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