Actors from “Joy Luck Club” and “Hannah” in Fountain cafe.
Ever question if LA has a real theatre community? A true sense of camaraderie? Doubt no more. Last night, members of the cast from the Sierra Madre Playhouse production of The Joy Luck Club swarmed to the Fountain Theatre to support friends and colleagues in our California Premiere of Hannah and the Dread Gazebo. After the performance, members from both companies gathered in our upstairs cafe to celebrate and congratulate each other.
It was fitting that the visit happened on Labor Day, the national observance of the value of work. For people who work in the theatre, there is a fervent dedication to the art form and a palpable cord of goodwill between artists.
The bond between the Joy Luck and Hannah casts — both with Asian actors — began when the company of Joy Luck sent a funny and warm-hearted good luck video from the Sierra Madre Playhouse to the Hannah group days before its opening at the Fountain.
The Hannah company replied, posting their own video to the Joy Luck cast.
Happy opening night to the cast and crew of Joy Luck Club at Sierra Madre Playhouse (Victor S Chi Shar Liu Christine Liao Tim Dang Yee Eun Nam Lee Chen-Norman Grace Shen Christopher Chen and everyone) !!!!! — ❤ the cast of Hannah and the Dread Gazebo at East West Players and Fountain Theatre 🎭🥰👏👏👏👏💐
Last night, cast members from The Joy Luck Club were at the Fountain supporting their fellow players. The Hannah cast will soon do the same. Theatre can be a competitive business. It can also be a haven for friendship and support.
It’s an exciting time to be an artist. In the last few years, the arts industry has been experiencing a high production value in diverse storytelling aimed toward better representation of people of color, and more specifically, Asian and Asian American representation. With groundbreaking films such as Crazy Rich Asians, Netflix’s Always be My Maybe, The Farewell, as well as the successful theatrical production of Cambodian Rock Band, people everywhere are becoming more exposed to the nuances of the Asian/Asian-American experience.
With a cast that is made up of Koreans and Korean Americans, Jiehae Park’s Hannah and the Dread Gazebo takes a family on a funny, heartbreaking adventure to reconnect with their roots in South and North Korea, and also into the forbidden Demilitarized Zone that divides them. Hannah premiered at the Oregon Shakespeare Festival in 2017, and is now set to open at the Fountain Theatre in association with East West Players, directed by Jiehae’s longtime collaborator, Jennifer Chang. So we thought we’d grab the chance to talk with them about their own adventure with this play.
Carolina Xique:First, let me say that I’m thrilled to hear about this new piece and that it’s making its way into Los Angeles.
Jiehae, as playwright, can you talk about how the idea for this play came to you? Is it personal to your own experience or indicative of the holistic Korean American experience? And Jennifer, as the director, what drew you to take on this piece?
Jiehae Park: I didn’t know I was writing a play. I was primarily a performer at the time (Jen and I both went to UCSD for acting). There were quite a few big questions I was trying to figure out—and I think the unusual shape of the play reflects that. I would sit down and write down stories that came to me in that moment, not realizing it was all going to add up to something bigger.
Jennifer Chang: I am a huge fan of Jiehae’s and have been following her career with personal interest for some time as we share an alma mater: we both went through the MFA Acting program at UCSD and have both diversified our careers. She is a significant talent and I am so thrilled to have this opportunity to collaborate with her on Hannah and the Dread Gazebo. The musicality of the language and the inherent theatricality that emerges from her ability to weave a multiplicity of thought and theme are all very exciting and honestly a dream to be able to dive into. Also, I love being able to support the telling of Asian American stories in their universality and three-dimensionality.
What kind of research did both of you dive into when writing Hannah?
JP: I didn’t research much initially, but I did do quite a bit before finishing the play (that’s been a recurring pattern in my writing process these last few years). The research didn’t directly go into the play but provided a richer historical and cultural context that helped me complete it.
A follow-up to that, in terms of your other plays and writing process, was anything different for Hannah and the Dread Gazebo?
JP: Broadly, I seem to have two general types of plays—super-quick, freight-train-speed linear ones; or messier, slower-baking plays where the structure is far less predictable. Hannah is definitely in the latter category.
Jennifer, what in your directing process is helping you with Hannah and the Dread Gazebo?
JC: Regarding research, the usual dramaturgical work of researching was involved: Korea, the DMZ, politics of North and South and Kim Jong Il. I wanted to lean into the magic-realism of the play, and early on knew that I wanted to consult with an illusionist, and also started doing some research into magic (I’m currently reading Spellbound by David Kwong). It’s been so great to have a cast that is Korean American. There are some points of commonality amongst Asian Americans, but being able to tap into specific details, nuances, and experiences that the cast has so generously shared with the company and has contributed to the making of the show has been invaluable. It’s illuminating to discover the tiny nuances of how gestures and thinking and sounds differ for Koreans in, and those from, Korea. I love new plays and really view myself as a locksmith in my approach to collaboration. I want to know what the play wants to be, the playwright’s intentions, what’s resonating with the cast and how they approach the work, and how best to facilitate the conversation and “the ride” so to speak, with the audience. Having worked on Vietgone by Qui Nguyen has really helped. These plays are vastly different but they both have scenes that shift at a cinematic pace in widely varying tones that need to be woven together in the same play.
East West Players is a theatre company known for its work lifting up Asian-American stories. How do you feel about bringing the LA premiere of Hannah in collaboration with EWP and the Fountain Theatre?
JP: Honored. I had a reading of my very first play—which had been my college thesis—at EWP over a decade ago…in the time since I figured out I wasn’t a playwright, went to grad school for something else, then re-figured out that I was. And Stephen Sachs at the Fountain reached out about the play very soon after the OSF premiere—I’ve long admired the scripts he brings to LA area audiences. Additionally, Jen directed an early reading of the play at EWP years ago, and I acted in a show with Jully Lee (the Shapeshifter) that Howard Ho (Sound Design/Composer) music directed when I was right out of school. I’m bummed to not have been able to be out there for rehearsals, but happy that it feels all in the family.
JC: It’s an honor to be able to helm a project with the support of two highly respected institutions in Los Angeles. I think it’s really smart theatre making to cross-pollinate and support the universality of human experiences and good work regardless of color. A collaboration like this signals that this isn’t just work by people of color, but that it’s good work worth supporting, period.
What do you want audiences to take with them when they leave the Fountain Theatre after seeing Hannah and the Dread Gazebo?
Hannah and the Dread Gazebo by Jiehae Park, opening at the Fountain Theatre on August 17th in its Southern California Premiere, has been named a finalist for the Francesca Primus Prize, sponsored by the American Theatre Critics Association and the Francesca Ronnie Primus Foundation. The award, presented annually since 1997, recognizes the best work by an emerging woman playwright who has not yet achieved national prominence.
Hannah and the Dread Gazebo earned glowing reviews in its recent world premiere at Oregon Shakespeare Festival in Ashland.
“Masterful! So powerful and indescribably beautiful.” – Stanford Daily
“This is theater as it should be — blisteringly original, acerbically funny, powerfully dramatic and deeply thought-provoking.” – Mail Tribune
Playwright Jiehae Park
In the funny and poignant play, Hannah is two weeks away from becoming a neurologist when she gets a strange package in the mail from her grandmother in South Korea, who may or may not have just ended her own life. A surreal adventure leads Hannah on a journey back to her homeland and the forbidden Demilitarized Zone that divides South and North Korea. A startling comedy about a daughter, a mother, a grandmother and the mystery that connects them.
The Fountain Theatre partners with East West Players in the Southland premiere directed by Jennifer Chang. As the nation’s premier Asian American theatre organization, East West Players produces artistic works and educational programs that foster dialogue exploring Asian Pacific experiences.
Named in honor of Francesca Primus, a playwright, dramaturg, theater critic, and ATCA member who died of cancer in 1992, the Primus Prize was originally administered through the Denver Center Theatre Company. Since 2002, ATCA has adjudicated the award, which includes a $10,000 grant presented through the generosity of the Primus Foundation as well as a plaque for the winning author. The winner will be announced in July.