Around the Horn: Puberty and Other Signs of Aging

  • December 19, 2011 9:33 am

I’ve been thinking lately about growing older. I suppose I’m the right age for that, having turned 54 this year. Though actually, I had my first midlife crisis back when I was 27, so this aging thing has been a periodic preoccupation for me. Like they say, getting older certainly beats the alternative. And currently, I find myself wanting to do new things: like I acted, playing a character for the first time, in Offender Quentin’s upcoming feature WHITE FROG. Also, I’ve learned that I enjoy cooking for my family (for some really easy, yet really tasty, recipes, I recommend Ming Tsai’s book SIMPLY MING). Moreover, I’ve started rediscovering some earlier interests. Back in college and during my 20’s, I was a jazz and electric violinist. I’d let my music go over the decades, but recently, I picked my instrument up again and started playing some gigs. So, as midlife crises go, this one’s been pretty enjoyable and constructive.

DDH at age 17.

One compensation of getting older if you’re Asian American, is that people tend to think you’re younger than you actually are. Sometimes when friends point this out, I reply that looking younger now makes up for having spent my early-20’s looking like a 15 year-old, which was no fun at all. A middle-aged Asian guy once shared with me his theory about this: he believed that Asian males develop physically more slowly than our non-Asian counterparts. It seemed like a wacky idea at the time, but over the years, the notion has sorta stuck in my head. I mean, I do think I hit puberty later than most of my friends, and it didn’t finish for me til I was like 22. Whereas in general, we tend think of puberty happening, what, like between 12 and 18-19, right?

I figure the Offenders are as good a group as any to poll on this issue. Is it possible that Asians, as a very broad generalization, are physical “late bloomers,” which then ends up being advantageous in middle age? (This guy’s theory concerned men, but let’s include
women too.) Or is the whole notion ridiculous and my own experience was just a personal thing?

And here’s a bonus question: in my mind, I think I’m still 35. How old are you in your own mind?  Read more...

2 Comments on Around the Horn: Puberty and Other Signs of Aging

The ‘Chinglish’ Broadway Journal: Post-Opening (Nov. 21, 2011)

  • November 21, 2011 12:02 am

We’re into the fourth week of our Broadway run, and I’m happy to report that things are looking pretty good. If you’ve followed the CHINGLISH blog posts, you’ll remember that Broadway is a commercial venture, and therefore all about profits and losses. True, we don’t have particularly large weekly grosses when compared to some of our counterparts. However, since we don’t have a big movie star in the cast, our running costs are also very low. Therefore, as of this writing, we’ve made money — not a huge amount, but some — every week, including during previews.

Significantly, our producers continue to believe in our show and are in this for the long haul. Their original budget included a large fund to cover potential losses, which we’ve not yet had to tap. So we’re in good shape. Of course, the hope is that good word of mouth kicks in, and our weekly grosses will continue to grow.  Read more...

8 Comments on The ‘Chinglish’ Broadway Journal: Post-Opening (Nov. 21, 2011)

The ‘Chinglish’ Broadway Journal: Week 7 (Nov. 1, 2011)

  • November 1, 2011 12:00 pm

Playwright David Henry Hwang continues his weekly report from rehearsals opening night of the Broadway premiere of his new play CHINGLISH, which officially opened last Thursday.

If you’re a dramatist lucky enough to get a show on Broadway, you know Opening Night will be one evening you’ll never forget. I’m fortunate beyond words, because CHINGLISH was my seventh Broadway show (though only my sixth opening; I had one play that closed in previews, but we’ll save that story for another post).

CHINGLISH opened on Thursday, October 27. It’s customary to present little gifts and cards to everyone involved with the show. Weeks ago, Leigh and I had decided to give chops — you know, those Chinese name stamp things — reading “Chinglish.” Joanna had them made for us in Hong Kong, and Ken served as our tireless mule, lugging a hundred across the Pacific from his recent trip there. The last two preview performances, Leigh and I hunkered in her dressing room, listening to the show on the backstage speakers while writing thank-you cards.

October 27 dawned cold and rainy. A Broadway opening is sorta like a wedding. Friends and relatives from around the world show up to cheer you on. I got a limo and traveled with my family, first to a reception for the Goodman Theatre, which had so beautifully hosted our show in Chicago, and then to the Longacre for Joanna’s ritual burning of incense and presentation of the roast pig.

Check out THIS awesome Opening Night gift, from understudy Vivian Chiu: CHINGLISH cookies!  Read more...

3 Comments on The ‘Chinglish’ Broadway Journal: Week 7 (Nov. 1, 2011)

The ‘Chinglish’ Broadway Journal: Week 6 (Oct. 25, 2011)

  • October 25, 2011 1:15 pm

David Henry Hwang continues his weekly report from rehearsals previews of the Broadway premiere of his new play CHINGLISH, which officially opens this Thursday.

DHH in front of the theater (photo by Lia Chang)

This is the part of the process I like least.

We froze the show — no more changes — last Friday. The new ending worked, so that’s the final text. Over this past weekend, critics started arriving. Thursday, October 27, is our opening night and, as those of you who followed the Chicago blogs may remember, reviews will start appearing online that same evening. In the meantime, there’s nothing to do but wait.

At the end of our final rehearsal last Friday, I told the actors that this is how I imagine I’ll feel when my kids go off to college. It’s time to let the child go out into the world, and make its own way. When an actor is the first to do a new part, he or she is said to have “originated” that role. In some cases, the CHINGLISH actors literally suggested line changes which got incorporated into the script. But simply by virtue of having embodied these characters, each one of them influenced how I continued to rewrite and develop this play, which, if we’re lucky, will have a future life and become part of American theatrical literature.  Read more...

12 Comments on The ‘Chinglish’ Broadway Journal: Week 6 (Oct. 25, 2011)

The ‘Chinglish’ Broadway Journal: Week 5 (Oct. 18, 2011)

  • October 18, 2011 6:14 pm

David Henry Hwang continues his weekly report from rehearsals of the Broadway premiere of his new play CHINGLISH.

We’ve just finished our first week of previews, and learned many things, among them:

1. The laughs are all still there, becoming more solid and powerful over our first eight performances, as the actors’ performances get tighter and more focused.

2. The show seems to be playing more emotionally than it did in Chicago. Audiences are getting into the love story, following its twists and turns. As a result, the play’s surface comedy and its deeper underlying issues feel more balanced, perhaps giving the evening a little more gravitas.

3. We can still make the play a little tighter, and button the ending a bit more clearly.

There’s a Broadway tradition of asking colleagues you trust to give notes at this point in the process: when you’re doing your final fixes before “freezing” the show. The great American playwright Neil Simon was nicknamed “Doc Simon” for his skill at diagnosing a play. Of course, if you feel your show is in trouble, you might bring in help earlier. But we’re feeling good about our progress, so are just covering our bases for some final nips and tucks.  Read more...

1 Comment on The ‘Chinglish’ Broadway Journal: Week 5 (Oct. 18, 2011)

The ‘Chinglish’ Broadway Journal: Week 4 (Oct. 10, 2011)

  • October 10, 2011 1:08 pm

With this post, Tony Award-winning playwright David Henry Hwang (or DHH) has been “upgraded” from Guest Offender status to full blown Offender. DDH continues his weekly report from rehearsals for the Broadway premiere of his new play CHINGLISH. Today, week 4…

This has been a busy week for our show. On Wednesday, we finished our last day in the rehearsal hall, and celebrated with a Sour Fish Soup banquet, organized by our Cultural Advisors Joanna & Ken. Sour Fish Soup is a specialty of Guizhou Province, where our play is set. I’ve eaten it twice on previous trips to China, and, since hot and sour are my favorite flavors, had a craving for it ever since. But, so far as I’ve been able to tell, Guizhou cuisine has not yet made it to either New York or LA. So Ken & Joanna brought back the necessary ingredients from their last trip to the region, and Wu Liang Ye, an excellent Sichuan restaurant in Midtown Manhattan, kindly agreed to prepare it for us. The dish proved too spicy for many of our group, which left more for me! (I had four helpings.)

Our producers, including co-Lead Producer Jeffrey Richards, center in the open shirt. They hardly drank any Sour Fish Soup (on the hot plate). On Jeffrey’s left, however, our Projections Co-Designer Shawn Duan, whose Mom comes from Sichuan, ate a lot!

Then it was on to the Longacre Theatre. You may recall from Chicago that this particular meeting of superstitious cultures — Chinese and theatre people — has led Joanna to create good luck rituals for us. So we carried incense (in a counter-clockwise direction, per Daoist tradition, so I’m told) from our rehearsal hall on 42nd Street to our theatre on 48th St. Right through the heart of Times Square.  Read more...

6 Comments on The ‘Chinglish’ Broadway Journal: Week 4 (Oct. 10, 2011)

The ‘Chinglish’ Broadway Journal: Week 3 (Oct. 3, 2011)

  • October 3, 2011 3:35 pm

DHH

Tony Award-winning playwright David Henry Hwang (M. BUTTERFLY) is in rehearsals for the Broadway premiere of his latest play CHINGLISH following a hugely successful run in Chicago at the historic Goodman Theater. DHH has graciously agreed to blog weekly throughout the rehearsal process to give our readers a glimpse into how a major theatrical production comes to life. 

Sometimes, you can start to dislike one of your own characters. A figure from CHINGLISH who has deepened through the New York leg of our journey is Peter Timms, a white English expat living in China, who our American businessman hires as his translator and consultant. Peter started out as a composite of the many non-Chinese expats I’d met during my trips over there. In some ways, they are the reverse of my parents: immigrants who traveled from the West to Asia. They could also, however, be considered the descendants of Colonialists from earlier centuries who settled in the “Orient” to rule and exploit it. And, in today’s bustling Chinese economy, Mandarin-speaking Westerners in their 20’s can experience a range of exciting opportunities which they would probably not have access to back home.

Peter, however, is not one of those young Westerners. He’s in his early-40’s, and has lived in China almost twenty years. Which means, he arrived there when the country was still poor, and foreigners relatively rare. So Peter’s a bit of a relic. When he first arrived, simply being a white guy who spoke Mandarin made him instantly employable. But China has changed a lot, and he doesn’t want to be left behind.  Read more...

7 Comments on The ‘Chinglish’ Broadway Journal: Week 3 (Oct. 3, 2011)

The ‘Chinglish’ Broadway Journal: Week 2 (Sept. 26, 2011)

  • September 26, 2011 12:05 am

DHH

Tony Award-winning playwright David Henry Hwang (M. BUTTERFLY) is in rehearsals for the Broadway premiere of his latest play CHINGLISH following a hugely successful run in Chicago at the historic Goodman Theater. DHH has graciously agreed to blog weekly throughout the rehearsal process to give our readers a glimpse into how a major theatrical production comes to life. Today, the start of rehearsals for the Broadway premiere.

We’ve just finished our second week of rehearsals, and I’m struggling with a feeling which I also experienced in Chicago: things seem to be going really smoothly, what’s the catch? When’s the other shoe gonna drop? Christine, one of our cast members, said to me last night, “You’re sort of a worrier, aren’t you?” Er, maybe. But opening a show is sorta like giving birth. Even when things seem to be going well, you stay alert for signs of trouble.

Our new cast member, Gary Wilmes, who plays Daniel, the white American businessman, has a challenging task. Everyone else in the company went through a full rehearsal process in Chicago, then performed the show before audiences eight times a week, for six weeks. Gary’s got to learn his lines, find his character, understand the arc of the scenes, and basically get up to speed with his fellow cast members. And to his credit, he wants to do this work honestly, not just go through the motions. Gary compared this to jumping onto a moving train. I imagine it can’t be easy to be the guy in the room starting out way behind everyone else. But he’s tackled his assignment with grace, humor, and loads of hard work. And the cast has supported him with affection and generosity. This week, Gary’s labors really started to bear fruit. His scenes now feel energized, confident, and emotional. Which also makes them funnier. Because sometimes the best humor comes, not out of trying to make people laugh, but from feeling things more intensely, being more invested in the stakes of a situation, than people in everyday life.  Read more...

3 Comments on The ‘Chinglish’ Broadway Journal: Week 2 (Sept. 26, 2011)

The ‘Chinglish’ Broadway Journal: Week 1 (Sept. 19, 2011)

  • September 19, 2011 12:05 am

DHH
Tony Award-winning playwright David Henry Hwang (M. BUTTERFLY) is in rehearsals for the Broadway premiere of his latest play CHINGLISH following a hugely successful run in Chicago at the historic Goodman Theater. DHH has graciously agreed to blog weekly throughout the rehearsal process to give our readers a glimpse into how a major theatrical production comes to life. Today, the start of rehearsals for the Broadway premiere.

“They say the neon lights are bright On Broadway/They say there’s always magic in the air”
- “On Broadway” (Mann/Weil/Lieber/Stoller)

It’s the Great White Way. It’s the Main Stem. It’s one of the world’s most recognizable brands. It’s Broadway, a mythic word which conjures images of musicals, chorus girls and boys, bright lights, and flashy marquees. This week, my new play, CHINGLISH, began rehearsals to open on October 27 at the Longacre Theatre. On Broadway.

To those of you who followed my CHINGLISH blogs from Chicago (links to the Chicago blogs below), thanks for supporting us in our premiere production. When we last left off, our show had opened to great reviews in the Windy City, and our producers had announced we would be moving to Broadway. In the weeks that followed, CHINGLISH ended up becoming the most successful play (not musical) produced in the history of the Goodman Theatre. The show’s run was extended an additional week by popular demand. Its closing performances were attended by Illinois Governor Pat Quinn and Chicago Mayor Rahm Emanuel (former Chief of Staff to the POTUS).  Read more...

1 Comment on The ‘Chinglish’ Broadway Journal: Week 1 (Sept. 19, 2011)

The ‘Chinglish’ Journal: Week 7 (July 4, 2011)

  • July 4, 2011 12:01 am

DHH

Tony Award-winning playwright David Henry Hwang (M. BUTTERFLY) just opened his latest play CHINGLISH in Chicago where it is having its world premiere at the historic Goodman Theater now-July 24. DHH has graciously agreed to blog regularly throughout the rehearsal process to give our readers a glimpse into how a major theatrical production comes to life. Today, the final blog from Chicago. Next up in the fall: New York and Broadway.

It’s been quite a week. Last Monday, June 27, was our Opening Night. Joanna & Ken ordered a 35-pound roast suckling pig, which they set up backstage in the wings. About 45 minutes before curtain time, Leigh and I rushed from a Western ritual for the Goodman’s patrons and special guests, to the Asian ritual, where Joanna handed me a stick of lit incense and told me to stick it into an orange. After eating some pork, we dashed back to the Western ceremony, where I gave a speech.

Leigh and I in our opening night togs, photographed by my wonderful wife, Kathryn Layng

In many ways, Opening Nights are a cruel ritual. Why? Because the reviews, at least in New York (and I’ve now learned, in Chicago too), come out that same evening. YOMYOMF readers can probably recall scenes from old movies where critics rush from opening night to their typewriters and dash off reviews (like the famous one in CITIZEN KANE). Well, it’s not quite like that any longer. Nowadays, theatres designate one or more of the final preview performances as critics’ nights. This gives the reviewers more lead time to write their pieces. Ours was the previous evening, Sunday night. So by the time you arrive for opening, your fate is already sealed — you just don’t know what it is yet.  Read more...

4 Comments on The ‘Chinglish’ Journal: Week 7 (July 4, 2011)

The ‘Chinglish’ Journal: Week 6 (June 27, 2011)

  • June 27, 2011 1:23 pm

DHH

Tony Award-winning playwright David Henry Hwang (M. BUTTERFLY) is in rehearsals for his latest play CHINGLISH in Chicago where it will have its world premiere at the historic Goodman Theater now-July 24 (opening night is tonight). DHH has graciously agreed to blog regularly throughout the rehearsal process to give our readers a glimpse into how a major theatrical production comes to life.

Overture, Curtains, Lights!
This is it, the night of nights!
No more rehearsing and nursing a part,
We know every part by heart!

As a baby boomer, I can’t help but remember, “This Is It,” the theme song (written by Mack David & Jerry Livingston) from THE BUGS BUNNY SHOW, whenever I get to an opening night. This evening, Monday, June 27, 7 pm Central Standard Time, is indeed “It.”

We had a very productive week of preview performances. The new ending which I wrote and Leigh staged at Tuesday’s rehearsal seems to work very well, giving our show a “button,” and our audiences a little more to think about as they leave the theatre. Leigh continued to polish the acting and production, while I trimmed lines that weren’t buying us anything. If a moment is neither funny nor adds to our understanding of the plot or characters, it’s gotta go. Two weeks ago, Act One ran an hour and fifteen minutes, without scene transitions. Today, including scene changes, it runs an hour and eight. As a writer, I geek out over those kinds of numbers, they make me incredibly happy.

Our final rehearsal was Saturday afternoon. This is always a bittersweet moment. I imagine it’s akin to watching your kid graduate from college (which I also expect to experience in the coming decade). This has been an unusually blissful rehearsal process. The cast gets along incredibly well, and we all believe so much in what we’re doing here. This Is It: when the creative team hands over the show to the actors and running crew. It’s been ours; now, it belongs to them.  Read more...

5 Comments on The ‘Chinglish’ Journal: Week 6 (June 27, 2011)

The ‘Chinglish’ Journal: Week 5 (June 20, 2011)

  • June 20, 2011 3:50 pm

DHH

Tony Award-winning playwright David Henry Hwang (M. BUTTERFLY) is in rehearsals for his latest play CHINGLISH in Chicago where it will have its world premiere at the historic Goodman Theater from June 18-July 24. DHH has graciously agreed to blog regularly (tentatively every Monday) throughout the rehearsal process to give our readers a glimpse into how a major theatrical production comes to life.

The audience is laughing a lot! We’ve now played three public performances, but our show won’t officially open until next Monday, June 27. We’re going through previews.

I like to think of the audience as the final collaborators in the creation of a show. Plays aren’t really written to be read (though it’s a nice bonus when they get published). They’re meant to be performed in front of live people. I believe there’re two points in the process when you learn the truth about your play: the first time you hear it read out loud, and the first time it’s performed in front of an audience.

The audience is rarely wrong. I don’t mean that suggestions from individual patrons are necessarily right (though occasionally, they can be). I’m talking about the audience as a whole, as an organism. If I think I’ve written something funny, and no one’s laughing, it’s not funny. Period. The end. If I think a moment is deeply moving, but audience members are shifting in their seats or looking at their watches … you get the idea. If they’re not reacting the way we hoped, it’s not their fault, it’s ours – either the script’s or the production’s.  Read more...

1 Comment on The ‘Chinglish’ Journal: Week 5 (June 20, 2011)

The ‘Chinglish’ Journal: Week 4 (June 13, 2011)

  • June 13, 2011 3:51 pm

DHH

Tony Award-winning playwright David Henry Hwang (M. BUTTERFLY) is in rehearsals for his latest play CHINGLISH in Chicago where it will have its world premiere at the historic Goodman Theater from June 18-July 24. DHH has graciously agreed to blog regularly (tentatively every Monday) throughout the rehearsal process to give our readers a glimpse into how a major theatrical production comes to life.

We are now two weeks away from Opening Night on June 27. You try to write the best play you can, give it a home at one of the country’s leading theatres, work with the most skilled director, hire talented and experienced actors and designers – but you never really know what’s going to happen.

I’m best-known for a play called M. BUTTERFLY, which won the Tony Award back in 1988 and was a hit around the world. But when that show first premiered, in Washington D.C., the critics were far from impressed. The WASHINGTON POST wrote, “You will not have an easy time wending your way through M. BUTTERFLY … Hwang’s net is riddled with holes and the elusive prey flutters forever out of reach.” VARIETY declared, “This is not Broadway material.” One of our producers, Stuart Ostrow, continued to believe in the show and literally mortgaged his house to get us to New York, where, fortunately, the story had a happy ending. But it could’ve easily gone the other way.  Read more...

9 Comments on The 'Chinglish' Journal: Week 4 (June 13, 2011)

The ‘Chinglish’ Journal: Week 3 (June 6, 2011)

  • June 6, 2011 9:58 am

DHH

Tony Award-winning playwright David Henry Hwang (M. BUTTERFLY) is in rehearsals for his latest play CHINGLISH in Chicago where it will have its world premiere at the historic Goodman Theater from June 18-July 24. DHH has graciously agreed to blog regularly (tentatively every Monday) throughout the rehearsal process to give our readers a glimpse into how a major theatrical production comes to life.

This is a really Big Room. I don’t mean the literal size of the room (though, actually, it does happen to be one of the larger rehearsal halls I’ve worked in). I’m talking about the number of people it takes to make this show happen. On Broadway musicals, you expect a large room. The principal creative team on a musical, besides the playwright (which musicals call the “bookwriter”), includes the director, composer, lyricist, choreographer, musical director, etc. – all of whom generally come with their own assistants and staff. That’s a lot of people.

On a play, by contrast, there are usually only two principal creatives: the playwright and director. The storytelling of CHINGLISH, however, requires a larger cast of backstage characters. Let’s say I want to rewrite a line of dialogue. I do it in English (cuz that’s all I know). If that line needs to be spoken in Chinese, it goes to Candace for translation (which sometimes involves input from Joanna, one of our two Cultural Advisors). Candace then uses an online program to convert the characters into pinyin, a Chinese system of transliterating Mandarin into the Western alphabet, which some of our actors read more easily than ideographs. The English, Chinese, and pinyin all go to Tony, my assistant, for formatting, then finally to Lou, our new literary intern, to print out pages for distribution. Also, Shawn, our projections operator, needs to redo the English supertitles.  Read more...

8 Comments on The 'Chinglish' Journal: Week 3 (June 6, 2011)

The ‘Chinglish’ Journal: Week 2 (May 30, 2011)

  • May 30, 2011 12:02 am

DHH

Tony Award-winning playwright David Henry Hwang (M. BUTTERFLY) is in rehearsals for his latest play CHINGLISH in Chicago where it will have its world premiere at the historic Goodman Theater from June 18-July 24. DHH has graciously agreed to blog regularly throughout the rehearsal process to give our readers a glimpse into how a major theatrical production comes to life.

We’ve completed our second week of rehearsals, and things still seem to be going remarkably well. Leigh (the show’s director) keeps the rehearsal room humming with her energy, insights, and sense of humor. Our actors are digging into the script, making discoveries, and deepening their characterizations. Surprisingly, they’re all easy to work with – not a prima donna in the bunch.

As the playwright, my job in rehearsals is to provide insight into the play when appropriate, but, most importantly, to continue rewriting and fine-tuning the script. Unlike some writers, I don’t like to follow along in the text as the actors run scenes. I believe playwriting is sort of like writing music, where the notes on the staff are less important than how they sound in the air. Therefore, a part of me couldn’t care less about the words on the page. Because we’re not publishing a book, here, we’re putting on a show, and the audience isn’t going to be looking at my script, they’re going to be watching and listening to what’s happening onstage.

So I do the same: watch the actors, and listen to the scenes. I’m constantly on the lookout for stuff that feels false, forced, overwritten, cheesy – moments which neither illuminate character nor move the plot forward. When that happens, I get a bad feeling — I grow bored, or slightly nauseous.  Read more...

7 Comments on The 'Chinglish' Journal: Week 2 (May 30, 2011)

The ‘Chinglish’ Journal: Week 1 (May 23, 2011)

  • May 23, 2011 6:35 pm

DHH

Tony Award-winning playwright David Henry Hwang (M. BUTTERFLY) has just started rehearsals for his latest play CHINGLISH in Chicago where it will have its world premiere at the historic Goodman Theater from June 18-July 24. DHH has graciously agreed to blog regularly throughout the rehearsal process to give our readers a glimpse into how a major theatrical production comes to life. And so it begins…

It’s what we playwrights work and live for. It can lead to great success, or humiliating failure. And the twists and turns it will take, not to mention its final outcome, are completely unpredictable.

I’m talking about the world premiere of a new show. This week, my latest play, CHINGLISH, began rehearsals for its opening on June 27 at the Goodman Theatre in Chicago. I’ll try to give YOMYOMF readers a glimpse into this process, by posting regular updates through opening night. I’m shooting for one blog a week (on Mondays), but we’ll see. Like I said, it’s all impossible to predict.

A little background on the play itself. CHINGLISH is set in the present, and concerns a non-Chinese American businessman who travels to the Chinese provincial capital of Guiyang, to try and make a deal. I started thinking about business in contemporary China because I’ve been traveling there fairly regularly lately – about once or twice a year over the past five or six years. Broadway-style theatre has become quite popular in China, particularly in major cities like Beijing and Shanghai. The Chinese government has made it something of a national priority to create a homegrown musical which will end up on Broadway. Which is both bizarre and sort of cool. I happen to be the only even nominally-Chinese person who’s ever written a Broadway show, so I started getting a lot of invitations to go over and talk about potential projects. Unsurprisingly, none of the big schemes proposed has ever materialized. But it’s been a great opportunity for me to learn about China today, arguably the most exciting place in the world. (And I would argue that Shanghai today is the world’s best party city.)  Read more...

16 Comments on The 'Chinglish' Journal: Week 1 (May 23, 2011)

Joe Papp & Me

  • March 2, 2011 10:47 am

DHH

David Henry Hwang is a regular YOMYOMF Guest Offender and playwright who has been producing plays, musicals and operas for three decades. He was a Pulitzer Prize finalist and won the Tony Award for his play M. BUTTERFLY and also writes for movies and television. His latest play CHINGLISH has its world premiere this June at the historic Goodman Theatre in Chicago.

Joseph Papp was hands-down the most important American theatre producer of the last half of the 20th century. Maybe, of the entire century. He founded the New York Shakespeare Festival, Shakespeare in the Park, and the Public Theatre; produced hit musicals like HAIR, PIRATES OF PENZANCE, and A CHORUS LINE; and championed most of the major American dramatists of his day, including Sam Shepard, David Mamet, David Rabe, Ntozake Shange, Charles Gordone, John Guare, Elizabeth Swados, Wallace Shawn, etc.

He also gave me my first production.

He was born Joseph Papirofsky, the son of Russian Jewish immigrants, and grew up in terrible poverty in Brooklyn, New York. Joe was complicated, difficult and unpredictable — but always passionate. During the 1950’s, he was called before the notorious House Un-American Activities Committee, accused of being a Communist, lost his job as a stage manager at CBS, then successfully sued to get it back.

Joe believed culture belonged to the masses, and fought the tyrannical “master builder” of New York, Robert Moses, to build a free theatre in Central Park. The plays he loved confronted social and political issues, often written by playwrights from underprivileged or minority backgrounds. He cast “ethnic” actors in “mainstream” roles long before the term “non-traditional casting” had been invented.  Read more...

9 Comments on Joe Papp & Me

Why I Hate (writing for) the Movies

  • October 25, 2010 8:50 pm

DHH

David Henry Hwang is a playwright who has been producing plays, musicals and operas for three decades. He won the Tony Award for his play M. BUTTERFLY and also writes for movies and television. He spent the past weekend in San Diego to help YOMYOMF celebrate the end of INTERPRETATIONS at the San Diego Asian Film Festival and to attend the production of his play YELLOW FACE at the Mo’olelo Performing Arts Company which runs until this weekend. 

Having just served as a juror for INTERPRETATIONS and returned from the impressive San Diego Asian Film Festival, I find myself inspired by the talent, dedication, and passion that went into each and every film. This causes me to reflect on my own experiences as a screenwriter working on movies, most of which did not get made, as well as the handful that did.

I should explain that I come to the filmmaking world as something of an outsider. I’m not referring so much to my being Asian, as that I’m basically a theatre guy, having written plays, Broadway musicals, and libretti for operas. So, as a writer, I am spoiled. In every form involving scripts, someone holds the primary creative vision, which the other collaborating artists support. In opera, for instance, that person is the composer. When it comes to plays, it’s the playwright.  Read more...

7 Comments on Why I Hate (writing for) the Movies

Working with Prince

  • June 28, 2010 12:00 am

DHH

David Henry Hwang is a playwright who has been producing plays, musicals and operas for three decades. He won the Tony Award for his play M. BUTTERFLY and also writes for movies and television. After his previous blogs where he unleashed his Asian Shame and discussed his worst career moves (see here, here and here), he turns to write about something more…funky.

Growing up, I listened to lots of music, but the two artists who meant most to me were David Bowie and Prince. I discovered Prince through his 1980 album DIRTY MIND. See, back in 1980, there was black music, and there was white music. Period. I listened mostly to black artists cuz I imagined most of the white guys would just as soon beat me up as pick up their guitars. Unless they were British, in which case they might not beat me up cuz, I dunno, they had cool accents.

But Prince. DIRTY MIND. What WAS this? Kinda R&B, kinda New Wave. Kinda disco, kinda … punk? How was this guy managing to pull it off? The sound wasn’t black, wasn’t white, it was BOTH. Or neither. Whatever. It was totally new. And brilliant. So danceable. And … really nasty. I loved, loved, loved it.

From then on, I bought every Prince album the day of its release, scoured record stores for unreleased and bootleg tracks, followed each concert tour. I saw 1984’s PURPLE RAIN show in Prince’s hometown of Minneapolis — on Christmas Eve.

So imagine my groupie heart in 1989, when I opened PEOPLE Magazine to find a picture of Prince, coming out of M. BUTTERFLY, my Broadway show! Prince goes to Broadway? Who knew? He saw my play! Did he like it? How come no one told me? I could’ve been there! I could had like a … casual conversation with him. “Hey, Prince, how ya doin’?” Do people actually call him “Prince?”

Four years later, in 1993, I began hearing through my agents that Prince was interested in meeting with me. To talk about an idea for a stage musical.  Read more...

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My Worst Career Mistakes: Part Three (My Lunch With Neil)

  • April 22, 2010 12:00 am

DHH

David Henry Hwang is a playwright who has been producing plays, musicals and operas for three decades. He won the Tony Award for his play M. BUTTERFLY and also writes for movies and television. This is the third blog where David opens up about his worst career moves and unleashes his Asian Shame. Read parts 1 and 2 here and here.

Sometimes, you feel like you must have made a terrible mistake, without knowing what you should have done differently. Such was the case regarding an afternoon I spent with the great Irish film director Neil Jordan.

First, some back story: I remain to this day best-known as the author of a 1988 play called M. BUTTERFLY, which was loosely based on the true story of a French diplomat who had a twenty year affair with a Chinese actress, only to discover that his lover was a) a spy and b) a man in drag. More than two decades on, it’s easy to imagine that M. BUTTERFLY had always been destined to be a hit. Believe me, it hadn’t.  Read more...

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