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University of California, Santa Barbara
GUIDE TO THE ASIAN AMERICAN THEATER 1971-2001
APPENDIX A ORGANIZATIONAL HISTORY | | SCOPE NOTES | | SERIES DESCRIPTIONS INTRODUCTION This is a separate catalog to the productions and scripts found in the Asian American Theater Company Archives (CEMA 9) in the California Ethnic and Multicultural Archives. As an annotated list of productions and scripts, the catalog provides information about Asian American Theater Company (AATC) productions. These productions span the period from its founding in the early 1970s to the early 1990s. For each production there is a brief synopsis of the play or performance based on AATC's production files. There also is available a folder-level Guide to the Asian American Theater Company Archives in the Special Collections Department. Productions are listed in alphabetical order. The producers listed are mostly affiliated with AATC and do not solely own the rights to the production. AATC serves as the "Producer" for the production(s) unless otherwise indicated in the "Notes" field. Script files contain scripts that may not have been produced by AATC. The "Notes" field contains information based on the AATC archives through each production's program(s), publicity, critiques, announcements, etc. When applicable, the numbers listed in each column correspond with each other for that production. The symbol "*" means that the "Year Written" is the date on the copy of the script, and "(c)" is the copyright year of the script by the playwright(s). The contents of this listing are identified as Series 1 in the Guide to the Asian American Theater Company Archives. The Guide is available in print form and is on the World Wide Web (http://cemaweb.library.ucsb.edu/aatc_toc.html). Production and Script Files
Title: The Age of Wonders Title: AIIIEEEEE! Title: All I Asking for Is My Body Cast: (In order of appearance) Sharon Iwai, David Kim, William Ellis Hammond, Lane Nishikawa, Van Bagnol, Richard Haratani, Louise Fong, Michael Kenneth Perez, Kevin Yee Script Available?:YesNotes: Preview: September 16, 1989-September 19, 1989; Premiere: September 20, 1989. All I Asking for Is My Body was adapted from Milton Murayama's critically acclaimed novel of the same title which was published in 1975 and reprinted by the University of Hawaii Press in 1988. Synopsis: All I Asking for Is My Body is a dramatic family tale. The Oyama family has been plagued with bad luck for several generations and now the two Oyama brothers, Tosh and Kiyo, face a life of "indentured servitude" as laborers on the nearly feudal style plantations where sugarcane and the owners are king. Faced with an enormous family debt, the two boys turn to boxing as a way to combat their own frustrations and possibly fight their way to independence. The tension builds with the mounting pressures on Tosh, the "number one son," to abide with traditional concepts of filial piety. This pressure spills over onto the younger brother Kiyo who is also grappling with his emerging manhood as well as a neighbor's daughter. The attack on Pearl Harbor further complicates the lives of this strong-willed family, but it may also offer some a chance to escape. (From AATC press release) Title: Ambidexterity Notes: Preview: May 28, 1991-May 29, 1991; Premiere: May 30, 1991. Ambidexterity was presented by Asian American Theater Company in association with Delightful Deceptions. Synopsis:Ambidexterity is a one man Vaudeville show that makes the unreal, real, through a high speed comedic style of magic and deception. (From AATC press release) Title: An American Story Cast:
(In order of appearance) Kathy Gerard, Ron Muriera, Van Bagnol, Michael T.
Kelly, Jim Hirabayashi, Dorothy Anton, Teresa R. Roberts, June Mesina Script Available?: Yes Notes: Premiere: March 28, 1984. An American Story was first produced in 1980 in New York by the Pan Asian Repertory, Tisa Chang, Artistic Director. Synopsis: An American Story is a powerful drama about unfulfilled hopes and dreams as seen through the lives of a group of habitués in a rundown San Diego bar. It deals with the seamier segments of society--those who have somehow wandered off the accepted path of the American dream. The Filipino immigrant experience and its heavy religious overtones are used to tell the story, but the conflicts are common to all people. Spanning two days-- Christmas eve and day- An American Story encapsulates the intense human drama and turmoil that unfold as the characters wrestle with their unmet dreams. They are forced to confront their own disillusionments by the protagonist's struggle to be freed from her tortured life and to realize her own quest for self-respect and happiness. It is one of the few available plays with a Filipino American theme and offers a realistic and sometimes painful look at the kinds of conflicts which many immigrants face in this society. But despite the somewhat downbeat nature of the story, the play does, in a sense, celebrate the resilience of the human spirit and its ability to withstand fate's unkind blows. (From AATC press release) Title: Anatomy of a Springroll Notes: Premiere: May 20, 1992. Anatomy of a Springroll was a co-production of The Asian American Theater Company's Exponential Arts Program, San Francisco Exploratorium's "Artists-in-Resident's Program" and Persona Grata Productions, Inc. Synopsis: Anatomy of a Springroll was created as a metaphor for a personal journey, a rediscovery of cultural identity through an oral tradition. According to Kwan, one of the writers, "for traditional people, food is not a thing but a way. In its preparation is the essence of a language and a connection to a culture. Food is a necessity and much, much more. It is a celebration of the spirit, a means by which one can taste and consume the moment and be connected to an ongoing tradition. Anatomy of a Springroll was created as a bridge for understanding between people that transcends their differences through the universal and common ground of food. It is easy to forget your own culture while living in that of another." Using large, colorful puppets, elaborately masked and costumed performers and cinematic and photographic elements, Anatomy of a Springroll, conveys a sense of the history and traditions of Vietnam from its ancient past to the present. (Hokubei Mainichi, May 16, 1992) Title: And All Through the House Cast: (In order of appearance) Ken Narasaki, Sharon Omi, Bill Hammond, Ron Muriea, Claire Nomura, Terry Chow, Linda Kanegawa Script Available?: No Synopsis: And All Through the House is a fantasy- comedy considered the "Asian Christmas Carol." It is a Christmas play about Peter and Bunny, a quintessential yuppie couple trying to recapture the magic of Christmas with the help of three irascible and adorable Christmas Spirits who invade their home on Christmas eve. In the play, Peter is an Asian Scrooge who, because of pressures at work is incapable of enjoying Christmas, while Bunny is a tranquilized, Stepford Wife. The result is, like in Dickens' "A Christmas Carol, " Peter is visited by ghosts or, in this case, an old friend from the past who tries to help him get into the holiday spirit. (From AATC press release and Warren S. Kubota, Hokubei Mainichi, December 10, 1985) Title: And the Soul Shall Dance Cast: (In order of appearance) Sachiko Nakamura, Jim Hirabayashi, Emily Woo Yamasaki, Emilya Cachapero, Jill Griggs, (understudy for Oka) Kent Hori Script Available?: Yes Synopsis: And the Soul Shall Dance is a forceful drama about the struggles of two Japanese immigrant farming families in the Imperial Valley in 1935 and how they deal with their hopes and dreams versus the reality of their existence. The two families struggle not only with the problems of success and acceptance in the new culture surrounding them, but also with burdens from and responsibilities in Japan and the ever-present desire on the part of the older generation to return to their homeland. (From AATC press release and City Arts Theater Review, April 1980) Title: Archy and Mehitabel Title: The Avocado Kid/Zen in the Art of Guacamole Cast: Ken Narasaki, Mitzi Abe, Jay Chee, Brenda Aoki, Art M. Lai, Amy Hill, Dennis Dun, Bernadette Cha, Bill Hammond, Marc Hayashi, Lane Nishikawa, Emilya Cachapero, Randall Akira Nakano, Kent Hori Script Available?: Yes Synopsis: The Avocado Kid/Zen in the Art of Guacamole is an up-dated version of a traditional Japanese children's story. (See script for more details) Title: Aw Shucks! (Shikata Ga Nai) Title: Beam Me Up, Anton Cast: Willard Chin, Jim Hirabayashi, Montgomery Hom, Michael Chih Ming Hornbuckle, Michael Patterson, Diana Weng Script Available?: No Notes: Preview: June 25, 1992. Asian American Theater Company presents Morning Sun Productions' of Beam Me Up, Anton. Synopsis: Beam Me Up, Anton consists of three one-act plays: The Evils of Tobacco, The Bear, and Swan Song. Title: Behind the Mask Title: Bowl of Beings Synopsis: Bowl of Beings pokes fun at the American view of Latinos (and vice versa). (From AATC press release Title: Boy in the Air Notes:
Writer-actor, Don Bajema's novel Boy in the Air was first published in
1990 by Henry Rollins' 2-13-61 Publications. It quickly became an underground
classic. This performance of Boy in the Air was adapted from the novel
by Don Bajema by Eric Hayashi. Boy in the Air was presented by Eric
Hayashi of Sansei Productions and AATC's Exponential Arts Program. These
performances were presented in conjunction with the citywide Solo/Mio; Festival
of Solo Performance. Title: Bullet Headed Birds Cast: Marc Hayashi, Kent S. Hori, Bernadette Hak Eun Cha, Dennis Dun, June Mesina, Ken Narasaki, (voices for understudies: June Mesina, Ron Muriera, and Ken Narasaki). Musicians: Dan Lotto, Mark Blum, Takiyoshi Sakai, Lane Ryo Hirabayashi Script Available?: Yes Title: Bunnyhop Title: The Case of the Missing Messiah Cast: Ernesto Ravetto, Renee Hoyos, Dena Martinez, Herbert Siguenza, Leslie McCauley, John Balma, Michael Racela, Carlos Gonzalez, Richard Ruyle Script Available?: No Notes: Preview: December 6, 1989-December 7, 1989; Premiere: December 8, 1989. The Case of the Missing Messiah is a co-production of the Adelante/Teatro Nuestro. Synopsis: The Case of the Missing Messiah is a Christmas story that "happened" in the 1930s as opposed to a stereotypical 33 A.D. It is about an insurance company which has refused to pay up on a life insurance policy on Jesus Christ's life because no one can find his body. A controversial prophet has been crucified by the Roman Empire for fighting the system, but his body is missing from the tomb. May Magdalene claims that she is the sole beneficiary of Jesus' life insurance policy. She hires Arnie Hecht, a Mike Hammer/Sam Spade private eye, to find the body. His job is to find Jesus and free the Christians from the slammer--or else there won't be any Christmas shopping for anyone. (By Don Lau, J.D., Asian Week, December 15, 1989) Title: The Chickencoop Chinaman Date(s) Produced: 1) March 24, 1975-March 29, 1975; 2) April 8, 1975; 3) May 2, 1975; 4) May 3, 1975; 5) May 14, 1975; 6) May 24, 1975; 7) June 13, 1975-June 14, 1975; 8) June 15, 1975 Production Location(s): 1) Oakland Museum, Oakland, CA; 2) Mills College, Oakland, CA; 3) Zellerbach Playhouse, U.C. Berkeley, Berkeley, CA; 4) Morris Daley Auditorium, San Jose State University, San Jose, CA; 5) Lowell High School Auditorium, San Francisco, CA; 6) Palo Alto Community Theatre, Palo Alto, CA; 7) Main Theatre, Lone Mountain College, San Francisco, CA; 8) Chabot College Auditorium. Hayward, CA Director(s): 1) Shawn H. Wong; 2-8) Kathleen Chin Cast: 1) Christopher Wong, Lauren Tom, Chris Salcedo, Marlon Jones, Esther Yuen, John Ng, Mel Escueta, Ron Denny; (In order of appearance) (second cast/understudies): Ben Tong, Esther Yuen, Mike Chan, Janis Chan, Leah Preston, Christopher Wong, Ahbib Shabazz, Frank Chin; 2-8) Christopher Wong, Deirdre Woo, Chris Salcedo, Marlon Brown, Esther Yuen, Rodney Kageyama, Mel Escueta, Ron Denny Script Available?: Yes Notes: 1) A Production of CARP, Combined Asian American Resources Project, Inc., in cooperation with the Asian American Theatre Workshop and The Oakland Museum, Department of Special Exhibits and Education, Ben Hazard, Curator. The Chickencoop Chinaman was first presented by the American Place Theater in New York and directed by Jack Gelber on May 27, 1972. Synopsis: The Chickencoop Chinaman tries to break down stereotypes of Asian Americans as being temperamentally passive and vocationally either launders or restaurant owners. The play portrays Asian Americans as ashamed of their heritage on the one hand and unable to integrate into the mainstream of society on the other. (By Lowell Cohn, Palo Alto Times, May 27, 1975) Title: Cleveland Raining Notes: Cleveland Raining was a co-production of the Asian American Theater Company and Thick Description with Pamela Wu for the Asian American Theater Company, Karen Amano and Tony Kelly for Thick Description. Cleveland Raining received its world premiere in March 1995 at East West Players in Los Angeles with artistic director Tim Dang and directed by Shishir Kurup. Synopsis: N/A Title: Coda/Aw Shucks Synopsis: Coda is about a Japanese American gay man and his Filipino American woman friend who are lead by their sexual attraction to a very ordinary white stud to betray the deeper values they hold and which are necessary for their self-respect. As the situation tenses, they turn their anger onto each other, and then bleakly realize that the stud's sole attraction is white. The viewers are left pondering the effect of social and political power on their own sexual lives. (From AATC press release) Title: Coda/Points of Departure; Cast: Anna Duhay, Dennis Dun, William Ellis Hammond/William Ellis Hammond, Dennis Dun, Rebecca Sanchez, Amy Hill Script Available?: Yes (for Coda) Synopsis: Coda/Points of Departure are two one-act plays dealing with gay themes. Coda is about a Japanese American gay man and his Filipino American woman friend who are lead by their sexual attraction to a very ordinary white stud to betray the deeper values they hold and which are necessary for their self-respect. As the situation tenses, they turn their anger onto each other, and then bleakly realize that the stud's sole attraction is white. The viewers are left pondering the effect of social and political power on their own sexual lives. Points of Departure portrays a gay situation between an American publisher and Filipino poet, and is concerned with the generation of Filipinos raised under MacArthur and steeped in the second-hand fantasy American culture taught them in school in imbruing their political and social institutions. It is about an artist who is trying to survive in a society that is not really interested in the arts. (From AATC press release) Title: Colored Differently Title: Company Party/Charlie Chin in Concert Title: The Dance and the Railroad Production Location(s): 1) People's Theater Coalition, Bldg. B, Fort Mason Center, San Francisco, CA 2) Asian American Theater Center, San Francisco, CA Director(s): 1) Judith Nihei and Tsi Ma 2) Rebecca Patterson Notes: The Dance and the Railroad was first produced by the Henry Street Settlement's New Federal Theatre, produced by Woodie King, Jr. and Steve Tennen. 1) This is the fifth production of The Dance and the Railroad which won a 1982 Drama Desk Nomination and was named one of the best ten plays of 1981 by both the New York Times and the New York Daily News. This is also the first production of the two character play not to feature Tsi Ma and Obie-award winning actor Jone Lone in roles named after the two actors; 2) The Dance and the Railroad was a co-production of Asian American Theater Company and Rainbow Theater presented by Asian American Theater Company's Community Stage Program. Synopsis: The Dance and the Railroad combines in its title the antithetical elements of the lives of two Chinese working men in 1867 America. The Railroad? Long days of heavy labor, in an isolated country, and far from a normal society of homes and families. The Dance? The classical movement of Chinese opera, by which to preserve self-discipline, a sense of value, and a connection with old, rich tradition. (By Margo Skinner, Asian Week, February 10, 1984) Title: Day Standing On Its Head Cast: Bonnie Akimoto, Juliette Chen, David Furumoto, William Ellis Hammond, Michael Hornbuckle, Michael Edo Keane, Ken Narasaki, Diana C. Weng, Jennie S. Yee Script Available?: Yes Notes: This was the first collaborative effort between the Asian American Theater Co. and the Berkeley Repertory Theater. Synopsis: (see script) Title: Dog Lady, Regression 500 Cast: Jaime Maldonado, Ronnie J. Obregon, Sara De la Riva, Carlos Baron, Francine Torres, Steven Ortiz, Theresa A. Morris, Greta Betteo/Guadalupe Garcia Script Available?: No Notes: Dog Lady and Regression 500 was a co- production by Asian American Theater Company and Rainbow Theater presented by Asian American Theater Company's Community Stage Program. Synopsis: N/A Title: Don James Notes: Preview: March 4, 1993; Premiere: March 5, 1993. Don James was a co-production of Asian American Theater Company and Theatre Au Naturel. Synopsis: Don James, the famous Italian lover, and his servant, Andrew, have littered the continent of Europe with the satisfied bodies of thousands of women. When Don James returns home to Padua and tries to seduce the beautiful Dona Eve, he is confronted by two obstacles: the woman accusing him of rape and the statue of her father. By allowing their own good sense a temporary leave of absence, the trio tackle a quite serious matter by scoffing at it. (From Theatre Au Naturel press release) Title: Dragon Dream Notes: Premiere: August 18, 1992. Dragon Dream was a co-production of Asian American Theater Company and Dragon Dream Productions and was first presented as a work-in-progress in the 1991 Solo Mio Festival. Synopsis: Dragon Dream recounts the journey of Dennis Dun, one of the playwrights, to China to act in Bernardo Bertolucci's film The Last Emperor. The plot line is simple: boy meets dragon, boy loses dragon and boy finds dragon. Dun was born in the Year of the Dragon, started acting in the Year of the Dragon, and the film The Last Emperor won its Academy Awards in the Year of the Dragon. This is the adventure of a dragon with a Hollywood dream in the land of the Imperial Dragon. (From AATC press release) Title: The Dream of Kitamura Date(s) Produced: 1) June 19, 1982-July 25, 1982; 2) June 1, 1987; 3) August 28, 1992-August 30, 1992, September 4, 1992-September 6, 1992; 4) January 14, 1993-January 31, 1993 Production Location(s): 1) Asian American Theater Workshop, San Francisco, CA; ) Theatre On The Square, San Francisco, CA; 3) Asian American Theater Center, San Francisco, CA; 4) Asian American Theater Center, San Francisco, CA Director(s): 1) David Henry Hwang; 2) Jean Erdman and Philip Kan Gotanda; 3) Lane Nishikawa; 4) Lane Nishikawa Producer(s): 1) Pamela Wu and Wilbur Obata; 2) N/A 3) N/A; 4) N/A Cast: 1) Marc Hayashi, Victor Wong, William Ellis Hammond, Diana Tanaka, Amy Hill, Emilya Cachapero, June Mesina; 2) (In order of appearance) Chris Odo, Maureen Fleming, Stanford Egi, Glenn Kubota, William Akamine Ha'o, Jodi Long, June Angela, Yukio Tsuiji, Masayoshi Imamura; 3) Taka Aizawa, Rose A. David, Victor Koga, Michael Lee, Simon Lee, Todd Nakagawa, Naomi Noda, Susie Takeda, Nancy Wong, Peter Wong, Shan Shan Wu; 4) (In order of appearance) Pete Wong, Simon Lee, Michael Lee, Victor Koga, Susie Takeda, Nancy Wong Script Available?: No Notes: 1) Preview: June 13, 1982-June 17, 1982; 2) N/A; 3) N/A; 4) Premiere: June 19, 1982; 5) Premiere: January 14, 1993. Asian American Theater Company opened the first professional production of The Dream of Kitamura on June 19, 1982, directed by David Henry Hwang. The Dream of Kitamura produced on June 1, 1987 premiered and revived on the East Coast by Theatre of the Open Eye in New York City. The New York production toured nationally and stopped in San Francisco for one performance only. The Dream of Kitamura produced on August 28, 1992-August 30, 1992 and September 4, 1992-September 6, 1992 was presented by Asian American Theater Company's Summer Student Production. The Dream of Kitamura produced on January 14, 1993-January 31, 1993 was a co-production of Asian American Theater Company and Rice Cracker Student Productions. Synopsis: The Dream of Kitamura is a dream play in both content and form. Its story centers around an old man's recurring nightmare, and the elements of its style--the eerie music, the liquid movement, the non-linear narrative, the ambiguity of images that seem apt but defy interpretation--all evoke the mood of a vivid dream. The play unfolds in a series of dream scenes, flashbacks, silent images, dances, and narrative interludes. (By John W. White, Honolulu Star Bulletin, May 23, 1987) Title: Eat a Bowl of Tea Title: An Evening with Charlie Chin Synopsis: Charlie Chin, a veteran musician and community activist looks back at 20 years of Asian American history during an evening of songs, stories, and observations. With wit and humor, he inspects Asian American survival and identity with topics such as the Vietnam years, women's rights, the political left, the arrival of new Asian groups, the recognition of the People's Republic of China, Japan bashing, inter-racial relationships, and the popular media images of Asians in America. (From AATC press release) Title: Eye of the Coconut Cast: (In order of appearance) Ron Cacas, Fe Bongolan, Claire Umeda, Lourdes Bali, Arlene Murray, Earlene Somera, Van Bagnol, Matthew Flint, Paul Roder Script Available?: Yes Synopsis: Eye of the Coconut cleverly tells of how a Filipino father's understanding and patience are sorely tested by his three high-spirited Americanized daughters. His best laid plans for their futures and his peace of mind are overturned as his eldest daughter, Suzie, trades in his choice of suitors for an "outsider"; the middle daughter's search for identity takes her in the wrong direction; and the youngest, most impressionable daughter answers the calling of a hapless, young street minister to evangelize in Dallas. Eye of the Coconut is every father's dilemma of loving those most dear and then learning to let go. (From AATC press release) Title: Family Devotions Production Location(s): 1) San Francisco State University Little Theater, San Francisco, CA; 2) Oakland Ensemble Theater, Oakland, CA Director(s): Lane Nishikawa Cast: Melodie Soe, Ron Muriera, Elaine Tse, Dewi Yee, Sharon Iwai, Mari Kobara, Ken Narasaki, John Shin, Michael Ordona, Jo Yang, Noel Benoza Script Available?: Yes Synopsis: Family Devotions centers around a wealthy, devoutly Christian Chinese American family, dominated by two Bible-thumping zealous aunts. Into their Bel Air estate pops their brother from the old country, one Da-Gou, who, when questioned last on the matter 38 years ago, said he was an atheist. They think he has come to escape his Chinese Communist "torturers, " or at least to convert to Christianity. In reality, Da-Gou (a medical student at Columbia University decades before, who speaks English) has come on a mission. There is a guilty secret in the family's past which has led to agitated spirits seeking surcease. Perhaps he can find the ghosts a peaceful home with his Southern California relatives before he returns to China. His kin are successful, but they don't appear to be all that happy. Indeed, they constantly bicker, and find themselves victims of their own wealth. The only hopeful signs in this eight-member extended family are the two grandchildren; Jenny, 17, a plain-speaking, would-be dancer, and Chester, in his early 20s, a violinist on his way to join the Boston symphony. This family is rich, in money, love, God-in all their beliefs. Despite the power of money, the power of religion, and the power of politics, it shows how the traditional and contemporary family structure can be affected. (By Bernard Weiner, San Francisco Chronicle, February 8,1987) Title: Fish Head Soup Notes: Preview: March 11, 1993-March 13, 1993, March 15, 1993; Premiere: March 16, 1993. This production of Fish Head Soup was extended until April 25, 1993. Fish Head Soup was developed at Sundance Institute, Mark Taper Forum, Bay Areas Playwright's Festival, and Berkeley Repertory Theater. It had its world premiere at the Berkeley Repertory Theater, directed by Oskar Eustis. Synopsis: Fish Head Soup is a wild ride into the heart of Japanese America. Fantasy, reality and memories are mingled to a stirring effect. With parallels to "Death Of A Salesman, " Fish Head Soup presents a family in the throes of tumult; a father who confuses past and present, a prodigal son who seems to do no wrong and his neglected brother, who labors to please. This drama has much to do with the great American tragedy, but its central theme is the Japanese American experience. The characters struggle with racism and their own internalized racism, yet this play, like Arthur Miller's classic is about pursuing the American dream. (By Erika Milvy, The Oakland Tribune, March 18, 1993) Title: F.O.B. Date(s) Produced: 1) 1972; 2) July 15, 1981-August 30, 1981; 3) August 5, 1983-September 18, 1983; 4) September 15, 1992-October 11, 1992; 5) October 23, 1992-October 25, 1992; 6) November 5, 1992-November 7, 1992, November 12, 1992-November 14, 1992 Production Location(s): 1) Public Theater, Martinson Hall, New York City, NY 2) Asian American Theater Workshop, San Francisco, CA 3) Asian American Theater Workshop, San Francisco, CA 4) Asian American Theater Center, San Francisco, CA 5) University Theatre, San Jose State University, San Jose, CA; 6) Julia Morgan Theatre, Berkeley, CA Director(s): 1) Mako; 2) Judith Nihei; 3) Judith Nihei; 4) Rick
Shiomi; 5) N/A; 6) Rick Shiomi Cast: 1) Calvin Jung, Ginny Yang/John Lone; 2) Dennis Dun, Smokey Leung, Kelvin Han Yee; 3) N/A; 4) Kelvin Han Yee, Karen Lee, Lane Nishikawa; 5) N/A; 6) (In order of appearance) Lane Nishikawa, Karen Lee, Kelvin Han Yee, (understudy): Victor Koga, Frances Lee Hall, Michael Chih Ming Hornbuckle Script Available?: Yes Notes: 1) F.O.B.'s New York premiere was produced by the American Place Theatre; 2) Preview: July 15, 1981-July 16, 1981; Premiere: July 17, 1981; 3) The Asian American Theater Company presents a revival of F.O.B., which won Obie's 1980 Best American Play; 4) Premiere: September 15, 1992. F.O.B. extended its performances at the Asian American Theater Center from October 14, 1992-November 1, 1992. F.O.B. was first produced in March 1979 by Nancy Takahashi for the Stanford Asian American Theater Project. It was performed at the Okada House on March 2, 1979. F.O.B. was also shown that summer at the O'Neill National Playwrights Conference in Waterford, Connecticut. Its New York premiere was directed by Mako at Joseph Papp's New York Shakespearean Festival and won the Obie award for best play of 1980-1981. It has also been seen at Los Angeles' East West Players, where it won a Dramalogue Award for playwriting. Synopsis: F.O.B., which stands for "Fresh off the Boat, " takes place in Torrance, California, where Grace, an immigrant teenager, meets Steve, F.O.B., in her father's Chinese restaurant. Grace's cousin, Dale, also Asian, wanders in and joins the two for dinner. As the play progresses we witness tension between acculturated Asian Americans and "green" F.O.B.s who are just learning to adapt to the newness and disappointments of "the pot of gold, " America. The central drama takes place between Grace, Steve, and Dale, with interrupting speeches and scenes from the past introducing other aspects of Asian myth and history. (By Tim Mikesell, The Oberlin Review, April 23, 1982) Title: Followers of the Season Cast: Cif Mortel, William Ellis Hammond, Melvin Escueta, Lane Nishikawa, Randy Nakano, Chris Salcedo, Marilyn Alquizola, Ron Muriera, Dennis Dun, Diana Moore, Bernadette Cha, June Messina, Emilya Cachapero Script Available?: Yes Title: Fool for Love Synopsis: Fool for Love transfers audiences into a bleak motel room on the edge of the Mojave desert. The audience will enter into a day of the relentless lives of May and Eddie, witness a passionate, intimate, and tragic love story full of Sam Shepard's masterful comedic touches. (From Incognita Repertory press release) Title: Foxtrot on Jizo's Skin: Four Butoh Exercises Notes: Premiere: May 6, 1993. Foxtrot on Jizo's Skin: Four Butoh Exercises was a co-production of Asian American Theater Company and Rainbow Theater. Synopsis: Foxtrot on Jizo's Skin: Four Butoh Exercises is a celebration of the perennial departure of the last of the romantics among us all--a tragicomedy working at the level of ritual and myth to rediscover the power of verbal games and the poetic imagination in the art of resurrection. "If Death were like an absolute forgetting, forgetting that one was ever born; that one has ever lived at all; that one was happy once; that one pricked one's fingers by accident and bled a little and got a rush and went screaming for more..., then to remember/be remembered would be to conquer this black reaper and live on forever. Helen and Dad are foxtrotting and somersaulting--on memory's landscape, mapping with a steadfast passion, the eternal drama of Eros and Dust in four flashbacks against one common foe: Erosive Time." (From Rainbow Theater press release) Title: Fred Eng's Chinatown Tour Date(s) Produced: 1) March 22, 1974; 2) April 19, 1974; 3) April 27, 1974; 4) May 4, 1974; 5) May 17, 1974; 6) June 1, 1974-June 2, 1974 Production Location(s): 1) Luther Burbank High School Auditorium, Sacramento, CA; 2) Calvary Presbyterian Church; 3) Forum I, De Anza College; 4) University of California, Santa Cruz, Santa Cruz, CA; 5) Pine Methodist Church; 6)American Conservatory Theater (A.C.T.) Playroom Director(s): Frank Chin and Janis Chan Cast: 1) N/A; 2) N/A; 3) (In order of appearance) Don Tanaka, Eric Hayashi, Gil Chooey, Kathleen Chin, Cindy Goo, Joe Yoshino, Jr., Marc Hayashi, Marilyn Wong, Michael Chan, Woody Moy, Kathleen Frank Chinlin Abe; 4) (In order of appearance) Don Tanaka, Eric Hayashi, Gil Chooey, Cindy Goo, Kathleen Chin, Joe Yoshino, Marc Hayashi, Marilyn Wong, Mike Chan, Woody Moy, Kathleen Frank Chin Abe; 5) Haley Yee, etc. ; 6) (In order of appearance) Don Tanaka, Eric Hayashi, Gil Chooey, Kathleen Chin, Cindy Goo, Joe Yoshino, Jr., Jeff Yuen, Marilyn Wong, Michael Chan, Woody Moy, Esther Yuen, Chris Salcedo, Franklin Abe Script Available?: No Notes: 1) N/A; 2) Only Act 1 of Fred Eng's Chinatown Tour was performed, 3-4) N/A; 5) This was "An Evening of Asian American Theater" presented by the San Francisco Center for Japanese American Studies. Haley Yee, as Freddie Eng, introduces his Chinatown tour; 6) N/A. Fred Eng's Chinatown Tour was developed by the actors and directors from taped interviews with Chinese Americans made for the Combined Asian American Resources Project, CARP. Synopsis: Fred Eng's Chinatown Tour takes you on a journey through the Asian American communities of the West Coast, from Seattle to Hanford, from San Francisco's Chinatown to the migrant labor camps of the San Joaquin Valley, and right into the kitchen of his own home to meet his family in their apartment overlooking the gaudy trappings of the Chinese New Year's parade. Utilizing the voices of housewives, actors, businessmen, laborers, and others from a collection of interviews, this production is a combination of drama, music, dance and mime. (From Asian America Theater Workshop/Company press release) Title: The Holiday Show Cast: Linda Chuan, Miyuki Fujii, Michael Lee, Naomi Noda, Kira Onodera, Machiko Saito, Susie Takeda, Pete Wong, Jennie Yee, Frank L. Young Script Available?: No Synopsis: The title, The Holiday Show, was selected purposely to emphasize the Asian American experience of the holiday season. Mainstream audiences are unaware that there is quite a large difference between the eurocentric and the Asiocentric perception of these holidays. The Holiday Show was designed specifically to explore these differences. In The Holiday Show, a Japanese and a Chinese family live next door to each other. Both are young families with father, mother, college freshman kid, and an eight to ten year old kid. The family who have all been born in the United States have always been friendly but have also always been plagued with hereditary differences that they were not necessarily aware of. The families join in celebrating and preparing for the arrival of Santa Claus. As the festivities proceed, the two college-aged kids begin to fall in love. The culmination of this festive day should be the arrival of the carolers. However, just before they arrive, an argument breaks out and all the old prejudices flare up hurting everyone's feelings. The lovers fall apart and the first act ends with a discordant "Silver Bells." Act II opens with the beginnings of healing started by one of the mothers (or eventually both) and the two younger kids. The Langston Hughes short story "One Christmas Night" is told in an illustration of how Christmas love is something that must be created universally for all people if it is to be anything less than hollow. The young kids make attempts to reunite the two lovers and the two fathers. The willful pride of the adversaries persists, however, and the kids can only muster a grudging truce. Thus, the families save face when they meet the carolers. (From AATC press release) Title: Hollywood Mirrors Cast: Emilya Cachapero, Marc Hayashi, Amy Hill, George Hoag, Geri Hoag, A.M. Lai, Don Mar, Adrian Kinoshita Myers, Randall Nakano, Judith Nihei, Lane Nishikawa, Rebecca Sanchez, Mee Har Tom Script Available?: Yes Notes: Premiere: November 17, 1978. Hollywood Mirrors was Asian American Theater Workshop's first musical and dance production. Synopsis: Hollywood Mirrors is a musical spoof of Asian stereotypes told along with updated versions of Japanese folktales. (See script for more details) (From AATC press release) Title: Honey Bucket Date(s) Produced: 1) October 8, 1976-October 30, 1976; 2) November 3, 1978-November 18, 1978; 3) January 25, 1979-February 10, 1979; 4) October 1979-unknown Production Location(s): 1) Asian American Theater Workshop, San Francisco, CA; 2) Oakland Metropolitan Theatre, Oakland, CA; 3) Western Additional Cultural Center, San Francisco, CA; 4) N/A Director(s): 1) Frank Chin and Chris Wong; 2) N/A; 3) Melvyn
Escueta; 4) Robert Merrill Cast: 1) Frank Abe, Jean Wong, Don Tanaka, Lauren Tom, Rodney Kageyama, Marc Hayashi, Karen Seriguchi, Alcide Alforque, Joe Yoshino, Forrest Gok, Phil Purganan, Dennis Myers; 2) N/A; 3) Phil Purganan, Ron Denny, Julius Varnardo, etc.; 4) Bernadette Hak Eun Cha, Kern Chinn, Melvyn Danguilan Escueta, William Ellis Hammond, Marc Hayashi, A.M. Lai, Diana Moore, Lane Nishikawa, Rebecca Sanchez, Michael Simpson, Ron Yee Script Available?: Yes Notes: 1) Honey Bucket was held over for two weeks, until November 13, 1976; 2) N/A; 3) This was the second production of Honey Bucket by the Asian American Theater Workshop. This production was held in conjunction with the Western Addition Cultural Center, the Nueva Viscaya Organization of California, and Swords to Plowshares, a San Francisco-based veterans rights organization; 4) program only. This production of Honey Bucket was co-produced by Asian American Theater Company and Swords to Plowshares-Veterans Fair. Synopsis: Honey Bucket is a horror story centered around Andy Bonifacio. The horror is present in his memories and nightmares of his tour of duty in Vietnam. Memories and ghosts of his dead comrades haunt him off and on at first--eventually they are all around him constantly, taking over his decisions, advising him what to say. Bonifacio's conflict comes about in the deterioration of his relationship with the people around him because of these horrors. The rapidly crumbling relationships show effectively the tenuous grip Bonifacio has on "the real world" that leads him to his mental breakdown. The torture that Bonifacio portrays comes from having to justify his six years in the Marines and one year tour in Vietnam to himself and the society he has come home to. All the while, in the back of his head, there is the doubt that that period in his life was a waste and his beliefs were wrong. (By Ed Diokno, Philippine News, October 16-22, 1976) Title: The House of Sleeping Beauties/The Sound of a
Voice Title: How To Get a Head in Show Biz Synopsis: How To Get a Head in Show Biz tells the hilarious tale of two San Francisco street performers who, during a juggling act, accidentally chop off the head of an audience volunteer. Miraculously, the head and body both survive, and what ensues is a frantic struggle to reunite the severed cranium with the angry body. This would be an easy task, except the jugglers are wanted by the authorities for decapitation, and the head and body don't necessarily want to be reunited. (Hokubei Mainichi, November 15, 1991) Title: i.e. Deutschland IV Notes: i.e. Deutschland IV was first performed in 1987. A later revision with additional music by Timothy White was presented at The Lab in May 1988. The Third revision in 1990 was directed by Mary Forcade. This present version, originally commissioned by the Goethe Institute of San Francisco, was presented by The New Arts Connection and at Sonoma State University. This production of i.e. Deutschland IV was presented by Asian American Theater Company's Exponential Art Program. Synopsis: i.e. Deutschland IV does not attempt to give any answers to questions of the collective past. Rather, it is a confessional meditation on the emotional and spiritual landscape of Germany, in the course of which the character shifts from an anguished denial of her motherland to a final acceptance of her heritage. This is an intense hour-long journey of the soul, speaking on an emotional and visceral level as well as that of ideas. (From AATC press release) Title: I'm Not Perfect Production Location(s): 1) Improv, Walnut Hill, CA; 2) The Complex, Hollywood, CA; 3) Asian American Theater Center, San Francisco, CA Director(s): Fred Raker Notes: 1) N/A; 2) A Lean Corned Beef production of I'm Not Perfect.; 3) Preview: March 3, 1993-March 07, 1993. I'm Not Perfect began as a collection of short stories titled "Kitchen Privileges, " which was performed at the Marsh in San Francisco in 1991. Synopsis: I'm Not Perfect is an emotional travelogue that explores relationships between a mother and her son, a man and his girlfriend and the apparent dichotomy between a performer's persona and the man inside. It centers on growing up in a Jewish neighborhood in Boston. This story is colored with memories of family, food addiction, psychotherapy, the Ed Sullivan Show and the contrast between his family and those portrayed in the image perfect world of television. I'm Not Perfect revolves around three generations of family, changing neighborhoods, and sitting around the kitchen table with relatives who are "bigger than life." (From Improv flyer) Title: I'm on a Mission from Buddha Date(s) Produced: 1) March 7, 1990-April 1, 1990; 2) April 25, 1990-May 20, 1990; 3) June 8, 1990-June 24, 1990; 4) July 6, 1990-July 29, 1990; 5) August 17, 1990-August 19, 1990; 6) August 31, 1990-September 2, 1990; 7) October 23, 1990; 8) January19, 1991; 9) January 25, 1991; 10) February 12, 1991-March 3, 1991, March 19, 1991-April 14, 1991; 11) April 11, 1991; 12) May 31, 1991, June 1, 1991, June 7 1991-June 6, 1991; 13) January 22, 1993; 14) May 7, 1993-May 8, 1993; 15) May 20, 1993-June 5, 1993; 16) October 28, Yr?-October 29, Yr?, October 31, Yr? Production Location(s): 1) Asian American Theater Center, San Francisco, CA; 2) Asian American Theater Company, San Francisco, CA; 3) El Teatro Campesino, San Juan Bautista, CA; 4) Julia Morgan Theater, Berkeley, CA; 5) New World Festival, San Jose, CA; 6) Sierra Repertory Theatre, Sonora, CA; 7) Fall-East Coast Tour; 8) Trustees'; Auditorium, Asian Art Museum, San Francisco, CA; 9) Station KQED-TV9; 10) Los Angeles Theatre Center, Downtown Los Angeles, CA; 11) Caminito Theater, Los Angeles, CA; 12) Julia Morgan Theater, Berkeley, CA; 13) UCSC Performing Art Theater, Santa Cruz, CA; 14) Cowell Theater, Fort Mason Center, San Francisco, CA; 15) Asian American Theater Center, San Francisco, CA; 16) Center Stage, Hoytt Theater, San Rafael, CA Director(s): 1-7) Eric Hayashi; 8-9) Deborah Gee; 10-15) Eric
Hayashi Notes: 1) Preview: February 28, 1990, March 1, March 4, 1990, March 6, 1990; Premiere: March 7, 1990. The World Premiere of Lane Nishikawa's one man show, I'm on a Mission from Buddha played to sell-out crowds during the show's first four week run; 2) I'm on a Mission from Buddha was brought back to the Asian American Theater Center after an East Coast Tour and was extended until June 3, 1990; 4) I'm on a Mission from Buddha was extended until August December 1990; 5-6) N/A; 7) The beginning of Asian American Theater Company's tour of Lane Nishikawa's I'm on a Mission from Buddha on the East Coast; 8) The preview screening of I'm on a Mission from Buddha was presented by the Asian Art Museum, KQED-TV9, and the Asian American Theater Company; 9) Broadcast premiere on KQED-TV9; 10) Preview: February 8, 1991-February 10, 1991; Premiere: February 12, 1991. This was a visiting production from Asian American Theater Center, San Francisco; CA 11) Lane Nishikawa performed excerpts from I'm on a Mission from Buddha; 12-13) N/A; 14) This production was two special benefit performances for The Asian American Theater Company; 15) I'm on a Mission from Buddha was performed in conjuction with Life in the Fast Lane for Asian American Theater Company's 20th Anniversary Season; 16) N/A. Synopsis: I'm on a Mission from Buddha, a one-man show, is a powerful look at Asian American life. During the show, Nishikawa (the writer and performer), performs eighteen vignettes, touching on timely subjects ranging from life in the theater to the changing roles of Asian Americans in our country. The roles range from a World War II hero to a sushi- fearing redneck (From AATC press release). Title: In the Dominion of Night Title: Inner Life Cast: (In order of appearance) Tran Ngoc Linh (Juliette Chen), Sammie Choy, Richard Haratani, Frances Lee Hall, Kelly Diem Nguyen Script Available?: Yes Notes: Preview: July 30, 1992-August 2, 1992, August 4, 1992; Premiere: August 5, 1992. Inner Life placed second overall in the first San Francisco Bay Guardian Playwriting Contest [1990] and was developed at the Bay Area Playwrights Festival XIV [1991]. The play continued its development as part of AATC's New Plays and Playwrights Development Program. Synopsis: Inner Life portrays the journey of a South Vietnamese mother and two daughters living in San Francisco's Tenderloin district during the early 1980s. Not knowing the fate of the men in their family, each deals with life in America in her own distinct manner. A letter arrives with the promise of reuniting the family, starting a chain of events that forces them to come to terms with their future and with each other. (From AATC press release) Title: Intake-Outake Production Location(s): 1) University of California, Santa Cruz, College 8 Courtyard, Santa Cruz, CA; 2) Asian American Theater Workshop, San Francisco, CA; Director(s): Marc Hayashi Cast: 1) N/A; 2) Berton Chow, Dennis Dun, Adrienne Fong, Erlinda Garcia, Marc Hayashi, George Hoag, Geri Marie Hoag, Arthur Lai, Judith Nihei, Diana Tanaka Script Available?: Yes Notes: 1) Intake-Outake was presented by the Asian American Theater Workshop Ensemble during the People's Theatre Festival at the University of California, Santa Cruz; 2) Performed by the Asian American Theater Workshop Ensemble. Synopsis: Intake-Outake is a comedy/satire which takes a slanted look at the different ways the mass media portrays Asians and how Asian Americans see themselves projected. (From AATC press release) Title: Intake-Outake, Take II Cast: Emilya Cachapero, Jim Cranna, William Ellis Hammond, Amy Hill, Rodney Kageyama, A.M. Lai, Adrian Kinoshita-Meyers, Judith Nihei, Lane Nishikawa, John Nishio, Diana Tanaka, Kelvin Han Yee, Joe Yoshino Script Available?: No Notes: Premiere: July 20, 1978. This was a revised version of Intake-Outake, the original media-inspired theater piece [1978]. Synopsis: Intake-Outake II, with the use of videotape equipment, television monitors and slide projectors depicts the stereotypical images of Asians projected by the media. (From AATC press release) Title: Jan Ken Po Notes: Premiere: March 21, 1986. Jan Ken Po was a co- production of People's Theater Coalition and Asian American Theater Company. Synopsis: Jan Ken Po is a collaboratively written piece about a destructive love triangle between two brothers and a woman, complicated by conflicting perceptions and lies about each other's history. (From AATC press release) Title: Jelly Belly Synopsis: Jelly Belly is a comedy about a fat Sansei man, not an autobiography. It is an expression, rather than a statement about growing up fat. Audiences will see two fat people, a formerly fat person, a person who has never been fat, and finally, a girl who's not even aware that "fat" can be an all-consuming obsession in people's lives. The audience will also see a tiny slice of life- a minuscule portion taken from a seventy pound overweight named Myron Hotei. Myron is a person who is struggling to accept his physical condition. Other people's opinions shape his self image; he's tolerant of "put-downs" and eventually is convinced that he deserves the belittling he receives. His struggle for a positive image is continually breached by people's attitudes and their ammunition: "fatty", "fatso", "beached whale", "hippo", "blimp", "piglet", "porky", "waddles", "lard gut", "thunder thighs", "jelly belly" and a long string of others. Familiar? This is what poor Myron has to deal with, or for that matter, anyone overweight. He has a condition of ridicule, prejudice, discrimination and abuse. (From "Author's Notes" in Jelly Belly playbill) Title: The Kid Inside the Dragon: An Art and a Reality
of Chinese-America Notes: The Kid Inside the Dragon: An Art and a Reality of Chinese-America is a screenplay based on the story "Food for All His Dead" and original treatment for a documentary by Frank Chin and William Wong. "Food for All His Dead" was copyrighted in 1962, 1967, and 1971 by Frank Chin. Synopsis: N/A Title: KIN Production Location(s): 1) Serramonte del Rey Theatre, Daly City, CA; 2) Cowell Theater, Fort Mason Center, San Francisco, CA Director(s): Chris B. Millado Cast: 1) (In order of appearance) Mara Torres, Robert Santos- Schray, Julia Camagong, Alex Torres, Edgar Aguinaldo, George Despues, George Imperial, Marlette Marasigan, Marnelle Marasigan , Blesilda Ocampo, Mel Cabrrera, Dominick Benigno, Tony Segarra; 2) (In order of appearance) Gwyn Gabe, Julia Camagong, Sandra Ong, George Imperial, Wilma Consul, Art Desuyo, Allan Manalo, Michelle Domingo, Joy Bagnol, Ken Kabasares, Bingo Marasigan, Alex Torres, John S. Abiol, Edgar Aguinaldo Script Available?: No Notes: 1) This production of KIN was performed as a "work-in-progress" by Teatro ng Tanan, sponsored by the Daly Filipino Organizing Project (DCFOP), Likha and Bayanihan Resource Center; 2) Preview: February 12, 1991. KIN was a co-production by Teatro ng Tanan (The People's Theater) in cooperation with Asian American Theater Company, Likha, Daly City Filipino Organizing Project and Cowell In-Performance Series. Synopsis: KIN is about the search for cultural identity, the rediscovery of roots and its accompanying painful realization. (From program) Title: Lady Is Dying Date(s) Produced: October 21, 1977-October 23, 1977; October 28, 1977-October 30, 1977; November 4, 1977-November 6, 1977; November 11, 1977- November 13, 1977; November 18, 1977-November 20, 1977; November 25, 1977- November 27, 1977; December 2, 1977-December 4, 1977; December 9, 1977-December 11, 1977 Production Location(s): Asian American Theater Workshop, San Francisco, CA Cast: Frank Chin, Lane Nishikawa, Sharlene Yow, Hiroshi Kashiwagi, Sachiko Nakamura, Jerry Tondo, Merle Woo Yamasaki Script Available?: Yes Title: The Lair (La Madriguera) Notes: The Lair was a co-production of Asian American Theatre's Community Stage and Rainbow Theater. Performances of The Lair on May 24, 1992 and June 7, 1992 were in Spanish. Synopsis: The Lair is about an arrogant dictator and his personal secretary tormenting each other while trapped together during a coup. (From AATC press release) Title: A Language of Their Own Cast: Merv Maruyama, Art Desuyo, Eric Newton, Alan S. Quismorio, (understudy): James Chan, Jordan Viray, John Wolfe Script Available?: No Notes: A Language of Their Own received its world premiere at The New York Shakespeare Festival in April 1995 with George C. Wolfe as the Producing Director. The Asian American Theater Co. production of A Language of Their Own was produced in association with Berkeley Repertory Theatre. Synopsis: N/A Title: The Last Spirit Boxer: The Life and Times of a
Chinese Laundry Man Production Location(s): 1) Asian American Theater Center, San Francisco, CA; 2) Julia Morgan Theater, Berkeley, CA Director(s): Bill Chen Notes: 1) Premiere: November 3, 1992; 2) The Last Spirit Boxer: The Life and Times of a Chinese Laundry Man was a co-production of Asian American Theater Company and Julia Morgan Theater. Synopsis: The Last Spirit Boxer: The Life and Times of a Chinese Laundry Man is a one man play about the story of Hung Ock Lee, the Last Boxer, weaving the experiences of several men into one. Born in China during the Qing Dynasty (1644-1911), his father's murder by foreigners in the German-held Shan Tung province led the ten-year-old Hung Ock Lee to join the Boxer Rebellion of 1900. In 1911, at the age of 20, Hung immigrates to America as a "paper son," referring to those men who came to America with falsified identities. He spends the rest of his life working in the restaurants and laundries of the United States; a country that forbade Chinese (between 1882 and 1943) from becoming citizens, buying property, bringing their families to America, or marrying Whites. (From AATC press release) Title: Laughter and False Teeth Title: Life in the Fast Lane: Requiem for a Sansei Poet Date(s) Produced: 1) July 3, 1982-August 29, 1982; 2-17) December ?, 1982-January ?, 1983; 18) March 1, 1983-March 6, 1983; 19) May 20, 1993-June 5, 1993; 20) n.d. Production Location(s): 1) Odyssey Theater, West Los Angeles, CA; 2) Oregon; 3) Washington; 4) Carleton College, Northfield, MN; 5) Oberlin College, Oberlin, OH; 6) University of Massachusetts, Amherst, MA; 7) University of Pennsylvania, Philadelphia, PA; 8) Brown University, Providence, RI; 9) Yale University, New Haven, CT; 10) Chinatown, New York City, NY; 11) Wesleyan University, Middletown, CT; 12) Japanese Canadian Cultural Center, Toronto, Ontario, Canada; 13) Japanese Canadian Cultural Association, Montreal, Quebec, Canada; 14) Smith College, North Hampton, MA; 15) Harvard University, Cambridge, MA; 16) Princeton University, Princeton, NJ; 17) Japanese American Citizens League, Chicago, IL; 18) Nippon Kan Theater, Seattle, WA; 19) Asian American Theater Center, San Francisco, CA; 20) Geneseo, NY Director(s): 1) Marc Hayashi; 2-17) Marc Hayashi; 18) N/A; 19- 20) Marc Hayashi Producer(s): 1) Philip Kan Gotanda, Eric Hayashi, Andrew Chang; 2-17) Sansei Theater Company; 18) Sansei Theater Company; 19-20) N/A Cast: 1-18) Lane Nishikawa; 19) Greg Watanabe; 20) Lane
Nishikawa; Notes: 1) Life in the Fast Lane was produced by Philip Kan Gotanda, Eric Hayashi, and Andrew Chang for the Sansei Theatre Company in West Los Angeles; 2-17) N/A; 18) Life in the Fast Lane was produced by Sansei Theater Company; 19) This 1993 production of Life in the Fast Lane was performed in conjunction with I'm on a Mission from Buddha; 20) Life in the Fast Lane was a co-production of Asian American Theater Company and The Geneseo Foundation and Perspectives on Asian Cultures performed in conjunction with I'm on a Mission from Buddha. Life in the Fast Lane saw its initial development as part of Asian American Theater Company's New Play Series in 1980-1981. It received its World Premiere at the Asian American Theater Company in it 1981 season. Life in the Fast Lane was subsequently presented by Sansei Productions of San Francisco on a fifty-city, four-year tour of the United States, Canada, and Europe. Synopsis: See script Title: Live Oak Store Cast: (In order of appearance) Seiji Steimetz, Sharon Iwai, Tom Welch, John Nishio, Trici Seid, Ken Narasaki, Chris Huie, Durand Garcia, John Dorning Script Available?: Yes Notes: The original harmonica music for Live Oak Store was written and performed by Jeff Howe and played with permission by Jeff Howe. Live Oak Store was dedicated to the Issei, many now deceased, whom without government assistance or charity survived the Great Depression. Synopsis: Live Oak Store is a delicate play about impressions. One gets the feeling what it must have been like for a struggling Japanese American family during the Depression era. Racial prejudice is treated simply without being rhetorical. (By Richard Springer, East West Players, June 22, 1983) Title: Lo Foo and the Missing Ming Artifact Cast: Wood Moy, Bernadette Hak Eun Cha, Dennis Dun, Amy Hill, Keith Choy, Terry O'Brien, Jo Yang, Mic Murphy Script Available?: No Synopsis: Lo Foo and the Missing Ming Artifact is part who-done-it, part comedy and part psychological study. It is about an elderly detective's efforts to find not only "the missing Ming Artifact" but what proves to be his own true identity. The villain is Lo Foo, the detective's alter ego, a manufactured entity, complete with linen suit ("a symbol of purity and the Chinese laundry"), Panama hat, Confucius quotes a la Charlie Chin, likewise boasting Number 1 and Number 2 sons, just like in the movies. (By Rodrigo Reyes, Coming Up, April 1983) Title: Locura Lo Cura Notes: Locura Lo Cura was a co-production of Asian American Theater Company and Chicano Secret Service. Synopsis: Locura Lo Cura is a down political, satirical performance piece by three young Chicanos that takes the ridiculousness of Right and Left wing America to an absurd level. A vast array of actors confront and conceptualize the absurd state of America, Chicano style. The whole scenario will make you laugh, piss you off, and hopefully send you home with a mind full of exaggerated images of what we're all really dealing with. (From program) Title: M. Butterfly Title: Madame Mao's Memories Production Location(s): 1) Theatre/Theater, Hollywood, CA; 2) Asian American Theater Center, San Francisco, CA Director(s): 1) N/A; 2) Robin McKee Notes: 1) Preview: June 6, 1990; Premiere: June 13, 1990. Madame Mao's Memories had its world premiere in October 1989 in Los Angeles, produced by Robin McKee in association with Nicolette Chaffey for Theatre/Theater and Yellow Chrysanthemum Productions. It re-opened on January12, 1990 and ran indefinitely; 2) The 1990 production of Madame Mao's Memories in San Francisco was a co-production of Asian American Theater Company and Waterburg Productions. Synopsis: Madame Mao was responsible for the murder of 30,000 people and she persecuted 70,000 more-millions suffered because of her. This one-woman show probes at the rise and fall of Jiang Qing, who, after her marriage to Communist Chinese leader Mao Tse Tung, eventually spearheaded the cultural revolution. (From AATC press release) Title: Making a Name for Ourselves Playwright(s): William Chang, Timothy Franklin, Kevin Kataoka, Albert Tadakuma, Diana C. Weng, Judy F. Weng | ||||