Tag Archives: Wonjung Kim

Forget Your New Year’s Resolutions, Count Your Blessings Instead

Actress Wonjung Kim, Raise Your Voice.

by Terri Roberts

 “When you’re worried and you can’t sleep
 Just count your blessings instead of sheep
 And you’ll fall asleep
 Counting your blessings…” 

Happy 2021! At last, 2020 is in the rear view mirror, and the hope and opportunity of a new year are before us.

Traditionally, this is the point where people try to start over. They make vows to lose weight/stop drinking/quit procrastinating/give up cigarettes, etc. However, a December 31, 2019 post on Psychology Today.com refers to a Scranton University study that found just 19% of people who make New Year’s resolutions actually keep them. Most folks give up within a couple of weeks.

So might I suggest something different this year? Limit your focus on the negative, and consciously expand your focus on the positive. There are countless studies that show developing an attitude of gratitude has great mental health benefits. And when things get as dark as they did in 2020, it’s even more important for the stability of your head and heart to acknowledge those blessings and not take them for granted or ignore them.

Every winter I look forward to watching, once again, those classic holiday movies that remind us to believe in magic and miracles, and to be thankful for all the goodness in our lives – regardless of the darkness that may, at times, obscure it. A Christmas Carol, Miracle on 34th Street, It’s a Wonderful Life and White Christmas are not just great, inspiring movies, they are the reminders we need in the chill of winter that warmth still exists, that hope for the better is ever present, and that love, actually, is all around us.

More than any year before it, 2020 made it near impossible to believe any of those uplifting perceptual changes could still occur. The year was memorialized by death, devastation and incalculable loss as the result of, among other things, a raging pandemic, a crashing economy, exploding racial tensions, and a dangerous, defiant political landscape. Where could we possibly find magic and miracles, comfort and joy, goodness, hope and love in all that? Where were the blessings that Bing Crosby and Rosemary Clooney sang of so sweetly in White Christmas within the tragic year we have just left behind?

I think the very simple answer is this: like love, the blessings of 2020 actually were all around us. They were in the voices and music that rose heavenward from balconies. The drive-bys to celebrate birthdays and lift sagging spirits. The evening outbreaks of applause for first responders, and the celebratory cheers from doctors and nurses when their patients could finally go home.

Blessings were found in the kindnesses of strangers who secretly paid for our coffees, the essential workers who stocked, sold and delivered our food, and the folks who checked on neighbors who could not leave their homes. They were in the gratitude for the outdoors as we took our daily walks, the extra time we suddenly had to clean out closets, learn to bake bread, write a story, or to develop a new skill. They were in the new-found appreciation for the teachers of our children when school became a learn-at-home project, and for our children themselves – even when they clamored for attention while we were Zooming with clients or co-workers. And blessings certainly lived in the medical workers who held the hands of the scared and dying, and used their own cell phones to allow those patients to say goodbye to their loved ones in the only way possible.

Within our theatrical communities, blessings were evident in the sheer resiliency and tenacity of theatre artists everywhere to keep our art alive. Witness, for example, the moving rendition of “Sunday” from the Stephen Sondheim/James Lapine Pulitzer Prize-winning masterpiece, Sunday in the Park With George, and how it affected both actors and audience. The surprise pop-up performance by out-of-work Broadway actors was staged on the red TKTS steps, and delighted unsuspecting tourists and native New Yorkers alike. Theatre can happen anywhere.

Back in March, when our marquees went dark and the only lights that shined were the ghost lights on our stages, theatres turned, en masse, to Zoom to keep connected to audiences, to each other, and to keep telling stories. Conversations, readings, previously filmed shows and newly created hybrid performances filled our screens and kept us going. Despite its challenges, Zoom emerged as one of 2020’s biggest blessings overall. Now clearly, watching a great play on Zoom or speaking to family members highlighted in their own Hollywood Squares, will never surpass the thrill of the live experience. But with social distancing a necessary part of life, Zoom became a safe, protective means for the literal, and metaphorical, show to go on. Businesses still met, doctors still consulted with patients, support groups were still able to be present for each other, friends and families still stayed in touch. How could that be anything but a blessing?

Terri Roberts

Personally, I think it is part of the work of every human being to observe and acknowledge such blessings every day, both the commonplace and the extraordinary. And it is also part of the work of the theatre to present such stories, among others, to an audience. (Even White Christmas was eventually adapted for the stage and is now a holiday staple for regional theatres across the country.) Storytelling is an innate part of the human experience. We’ve been sitting around campfires, drawing on cave walls, and creating ceremonies and traditions since the beginning of human existence. The stage is wherever we make it. Last year, Fountain productions started out, as always, on the physical stage of our intimate theatre. And as the pandemic took hold and changed our lives, we changed as well. We adapted. We shared our stories from our living rooms, in parks, in shopping centers, and yes, even on Zoom. The blessing is that theatres everywhere found ways to carry on. To keep art and creativity alive. To stretch ourselves beyond what we thought possible. Growth, perseverance, fortitude…these are all good things. They are blessings, every one.

As we leave the anguish of 2020 behind and step into the fresh air of 2021, let’s keep in mind that, as terrible as it was, 2020 was not all bad. In the midst of despair, there was still hope. There was bravery in the face of fear. There was beauty that rose up out of ugliness. There was strength to stand and adapt. And there was an urgency to create and make art that burned bright in the midst of chaos. That perceptual change was there for us to find.

So if you become worried or anxious and you find you cannot sleep, take a cue from Crosby and Clooney. Count your blessings instead of sheep. You’ll be asleep in no time.

Terri Roberts is a freelance writer and the Coordinator of Fountain Friends, the Fountain Theatre’s volunteer program. She also manages the Fountain Theatre Café.

Fountain Theatre’s virtual end-of-year party features playreading on Hollywood legend Bette Davis

Settle in with your favorite beverage on Saturday, Dec. 19 at 5 p.m. PT / 8 p.m. ET when the Fountain Theatre winds up 2020 and its monthly Saturday Matinee series with an Old Hollywood-themed holiday party filled with joy, games, and — of course — an online playreading. Admission is free at fountaintheatre.com.

Venerable actress Karen Kondazian, a lifetime member of the Actors Studio and Los Angeles Drama Critics Circle Award-winner best known for her work in the plays of Tennessee Williams (with whom she was a personal friend), takes on the role of Hollywood legend Bette Davis in Interviewing Miss Davis by award-winning playwright Laura Maria Censabella.

After the reading, stick around for party games and a celebration of friends, fellow artists and the Fountain’s all-important audience. Bring something glamorous! (optional)

Inspired by a true event in Ms. Censabella’s own life, the one-act is set in 1985 as Davis interviews a new personal assistant (Wonjung Kim) upon learning that her current, beloved assistant (and nurse) Jacqueline (Aleisha Force) is leaving.

“I was just out of college and very, very broke — no furniture, a folding chair, folding table, mattress on the floor, and I was working for someone who said I’d make a great assistant for Bette Davis,” Censabella explained in an interview. “I went to the interview but was very conflicted because I wanted to be a writer and at the same time I wanted instant validation, and I felt like if I became Bette Davis’s assistant, I would have that.”

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‘Raise Your Voice’ was our call to action

By Terri Roberts

Election Day has come and gone. As of this writing, millions of ballots are still being counted. The process may be slow and frustrating, but taking the time to make sure every voice, every vote, is heard and counted is American democracy in action. It’s why the Fountain Theatre launched its get-out-the-vote project, Raise Your Voice – Vote!, that lived in public spaces across Los Angeles on October 24th and 25th. The fact that you joined us and took action – that you raised your voice, you cast your vote, made your selfie videos encouraging others to do the same – means that you were a vitally important part of the process. And we wanted to say thank you. Thank you for participating, from the bottom of our hearts.

Over that last weekend in October, Raise Your Voice – Vote! actors Victor Anthony, Jessica Emmanuel, Wonjung Kim, Theo Perkins and Rayne J. Rayney – all COVID-tested, properly masked and with a supply of PPE’s – popped up at a variety of culturally different communities across Los Angeles with a mission to activate voter participation via socially-distanced guerrilla-style theatre. Raise Your Voice – Vote! was conceived by the Fountain’s Community Engagement Coordinator France Luce Benson, and co-directed by Benson and dancer/choreographer Lily Ockwell. It utilized some of America’s most iconic speeches about voting rights to create a choreographed collection of 10-minute theatre pieces, augmented with bits of song and movement, that were performed in front of surprised and appreciative audiences at Union Station, Little Tokyo, Fig and 7th Shopping Center, Leimert Park, Pan Pacific Park and Balboa Park.

“We wanted to create an event that was inspirational, but never didactic,” explained Benson. “The performers were in conversation with each other and with the people around them, blending, respecting and embracing whichever community we were in.”

The actors were supported in their travels and performances by Fountain staff and, for the first time ever, a wonderful group of recruited volunteers. (For more information on volunteer opportunities at the Fountain, please email me at terri@fountaintheatre.com.) Raise Your Voice – Vote! was also presented in partnership with the volunteer group Big Sunday and The Social Ripple Effect, a non-profit organization committed to global change through local action. As part of our get-out-the-vote effort, SRE was on hand to distribute literature briefly outlining the significant propositions also on this year’s ballot.

The Raise Your Voice – Vote! performances were live-streamed throughout the weekend on the Fountain’s website and its Facebook, YouTube, Twitter and Instagram pages. Those live feeds were supplemented by the afore-mentioned selfie videos, posted hourly, that were submitted by actors, directors and producers; Fountain patrons, staff and board members; colleagues within the LA theatre community-at-large; plus educators and students, business leaders and soccer moms, and more. Dozens of videos flowed in, all of them with personal observations about the urgent need to vote in this, “the most important election of our lifetime.” They were witty. Heartfelt. Serious. Reflective. One video was even sung, a cappella, as a comedic duet version of The Star Spangled Banner! But all of them, in their own unique ways, were impassioned calls to action.

So, thank you for answering the call. For being part of a record-breaking turnout of voters who stood up and had the courage to say, with your vote, These are the people, the propositions and the measures I believe will best be of service to me and my country.

Still, we all know it’s not a fair election unless every voice is heard. And because the laws that govern when ballots can be opened and counted vary by location, a full and complete ballot count is going to take awhile. Unfortunately, there are those who are actively trying to halt this process and silence all those voices. We urge you: Don’t let them.

Raise your voice one more time and demand that every single vote be counted. Send a text, make a phone call, sign the petitions that are probably clogging your inbox right now. Take action. Stay involved.

In the meantime, while votes continue to be counted, enjoy these photos from the many stirring public performances of Raise Your Voice – Vote! And reflect on these words from Lyndon B. Johnson, which were part of the Raise Your Voice —Vote! live experience:

“Our mission is, at once, the oldest and the most basic of this country: to right wrong, to do justice, to serve man…Our fathers believed that if this noble view of the rights of man was to flourish, it must be rooted in democracy. The most basic right of all was the right to choose your own leaders. The history of this country, in large measure, is the history of the expansion of that right to all of our people. Many of the issues of civil rights are very complex and most difficult. But about this, there can, and should be, no argument. Every American citizen must have an equal right to vote. There is no reason which can excuse the denial of that right. There is no duty which weighs more heavily on us than the duty we have to ensure that right.”

  — Lyndon B. Johnson, March 15, 1965

                                                       

Terri Roberts is a freelance writer and the Coordinator of Fountain Friends, the Fountain Theatre’s new volunteer program. She also manages the Fountain Theatre Café.

Fountain Theatre weekend event ‘Raise Your Voice’ seeks to activate public to vote

Actors in rehearsal for Raise Your Voice.

Events on the streets and online

The Fountain Theatre is readying Raise Your Voice – Vote!, a guerrilla style, immersive theater event set to take place over the course of two days at six locations throughout the City of Los Angeles. Watch the live-stream every hour on the hour beginning at 10 a.m. PT / 1 p.m. ET on Saturday, Oct. 24 and Sunday, Oct. 25 at www.FountainTheatre.com.

Conceived by acclaimed playwright and Fountain Theatre community engagement coordinator France-Luce Benson and co-directed by Benson and Lily OckwellRaise Your Voice – Vote!aims to build momentum and awareness about the upcoming election while bringing theater for the people to the people. The five-member acting ensemble (Victor AnthonyJessica EmmanuelWonjung KimTheo Perkins and Rayne J. Raney) will present a series of pop up performances in six public spaces, each representative of L.A.’s cultural landscape. Each performance will feature America’s most iconic speeches about voting rights, plus dance and song. Volunteers will be stationed at every location to offer assistance with voter registration and voter education.

“We want to create an event that is inspirational, but never didactic,” explains Benson. “The performers will be in conversation with each other and with the people around them, blending in, respecting and embracing whichever community we’re in.”

Each of the performances will be live-streamed and will also be augmented by a series of surprise appearances, posts and performances on the Fountain Theatre’s social media pages in support of voter awareness.

Send Us Your Selfie on Voting

Want to engage in the Fountain’s newest project? We want you to upload a short selfie video (2 mins or less) of yourself expressing how important it is to vote. Nothing fancy. Can literally be taken on a smartphone. Just speak from your heart. Be passionate. What does voting mean to you? Why does voting matter? Do you have a personal story about voting? These video selfies will air at the top of each hour, from 10am to 6pm, on all Fountain social platforms and website.

Important: 

  • You (we) cannot endorse a specific candidate.
  • Do not mention Trump or Biden by name.
  • Shoot your selfie horizontal, not vertical.   

The purpose of the event is to use theatre as a trigger to activate the public to vote, to emphasize the responsibility of voting, to remind each other of the price some have paid to vote, to express the urgency to participate in this election and in our democracy.

Raise Your Voice – Vote! is produced by Stephen Sachs and Simon Levy for the Fountain Theatre. James Bennett is live-stream editor, and Terri Roberts is volunteer coordinator. The event is underwritten by Miles and Joni Benickes, Diana BuckhantzKaren KondazianMaggi PhillipsSusan StockelDorothy Wolpert, and Don and Suzanne Zachary. Event partners include volunteer organizations The Social Ripple Effect and Big Sunday.

For more information, to find out how you can volunteer and to live-stream Raise Your Voice –Vote! on Oct. 24 and Oct. 25, go to www.fountaintheatre.com.

PHOTOS: Opening Night of ‘Hannah and the Dread Gazebo’ at Fountain Theatre

Company party shot

The Hannah company gathers for a party photo.

A packed house of passionate theatregoers, donors and guests, friends and family, and the invited press enjoyed Saturday night’s Opening performance of our California Premiere of Hannah and the Dread Gazebo by Jiehae Park.  A collaboration between the Fountain Theatre and East West Players, the audience reflected a lively engagement from the communities of both companies.

Following the performance, guests enjoyed a catered reception upstairs in our charming cafe. The delicious Korean cuisine was served by Kimbap Paradise, with Korean beer provided by Lotte Beverage America.

Enjoy these photos!

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Hannah and the Dread Gazebo continues in a limited run to Sept 22.  Tickets/More Info

VIDEO: Cast and director feel the magic of ‘Hannah and the Dread Gazebo’ at Fountain Theatre

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Photo Slideshow: First rehearsal for CA Premiere of ‘Hannah and the Dread Gazebo’

Welcome 6 Jennifer

Director Jennifer Chang addresses the company.

Our California Premiere of Hannah and the Dread Gazebo is an opportunity for the Fountain Theatre and East West Players to bring their community of artists, staff, Board members and patrons together for the first time.  That commonality of purpose was on display last night with the large turnout from both organizations at the meet & greet/first rehearsal.

Held at the East West warehouse rehearsal space in South Los Angeles, the evening began with a brief mixer including food and drinks. Fountain  Co-Artistic Director Stephen Sachs welcomed the group with some opening remarks. Through the magic of technology, playwright Jiehae Park joined the gathering via FaceTime to provide her thoughts and encouragement.  Director Jennifer Chang then shared her production vision with the room, noting that the play moves at the speed of thought. Designers Rebecca Bonebrake, Howard Ho, Ruoxuan Li, and Michael Allen Angel offered their insights. Professional illusionist Dominik Krzanowski will design special magic elements for the production.

After a quick break, the cast read the script aloud for the first time. And the real magic began.

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In the 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, funny and heartbreaking 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.

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Fountain Theatre, East West Players will make magic in ‘Hannah and the Dread Gazebo’

HANNAH prelim image

Creation myths and family histories meld in a wildly theatrical, startling new comedy that explores what it means to walk the edge between cultures. The Fountain Theatre, in association with East West Players and with generous support form the S. Mark Taper Foundation, presents the California premiere of Hannah and the Dread Gazebo by Jiehae Park. Los Angeles Drama Critic’s Circle Award-winner Jennifer Chang (Vietgone) directs for an Aug. 17 opening at the Fountain Theatre in East Hollywood, near Koreatown, where performances continue through Sept. 22.

Set in NYC and Korea in the winter of 2011, just before the death of Kim Jong Il, Hannah and the Dread Gazebo takes Hannah’s Korean American family on a surreal, funny and heartbreaking adventure back to their roots in South and North Korea and the forbidden Demilitarized Zone that divides them.

“The play is a funny-tragic look at what it means to be caught in between,” says Park. “The characters are striving to reconcile the contradictions of their immigrant lives: North/South, past/future, coming/going.”

Monica-Hong

Monica Hong

Thirty-something Hannah, played by Monica Hong (Ivanov at the Mint Theater in NYC, Please Stand By at Actor’s Playpen in LA), is two weeks away from becoming a board-certified neurologist when she receives a FedEx box from her grandmother with two things inside: a 100% bona-fide-heart’s-desire-level wish — and a suicide note. Hannah’s father (Hahn Cho, recently seen on TV in For the People, Magnum P.I., Swedish Dicks) and mother (Elaine Kao — upcoming feature film Paper Tigers, recurring on Netflix’s No Good Nick) have already moved back to South Korea to be near Grandma at the Sunrise Dewdrop Apartment City for Senior Living, which sits right on the edge of the DMZ. Meanwhile, Hannah’s slacker brother, Dang (Gavin Lee, whose credits include Blood, written and directed by Robert Allan Ackerman, and a recurring role on Fox’s The Orville) bonds over music with a student activist played by Wonjung Kim (Korea Musical Award for Best Actress, Ovation nominee for The Last Empress in L.A). In this strange and wonderful play that is a mix of unexpected whimsy, delightful comedy, profound despair and more than a little bit of magic, actress Jully Lee (Ladies at Boston Court, tokyo fish story at South Coast Rep) appears in many forms.

Helping make that magic happen is the Magic Castle’s Dominik Krzanowski, who will create original illusions for the production. 

Hannah and the Dread Gazebo premiered at the 2017 Oregon Shakespeare Festival in Ashland, where the Mail Tribune called it “blisteringly original, acerbically funny, powerfully dramatic and deeply thought provoking… If you’re keen to have your mind expanded by an evening of theater that is not going to be comparable to anything you’ll see anytime soon, Hannah and the Dread Gazebo is a good place to start.”

Last week, the American Theatre Critics Association announced that Hannah has been selected as one of three finalists for its prestigious Francesca Primus Prize, sponsored by ATCA and the Francesca Ronnie Primus Foundation.

“I saw the world premiere in Ashland and was completely charmed by the play,” says Fountain Theatre co-artistic director Stephen Sachs. “I was enchanted by its whimsical, dreamlike surprises, and truly moved by its poignant revelation of a grandmother, mother and daughter relationship. Once the lights came up and the performance was over, I knew I wanted to present it at the Fountain.”

Sachs continues, “The Fountain is committed to diversity and inclusion, which makes this first-time partnership with East West Players very meaningful. It’s an invigorating sharing of resources, artists and audiences benefiting both companies and the communities we serve.”

“We are honored to partner with the Fountain on this production,” agrees East West Players artistic director Snehal Desai. “EWP first did a reading of the play in 2013, also directed by Jennifer Chang. The Fountain is a theater whose work and mission I have always admired; this seemed like the perfect project for our two companies to collaborate on, with its mix of humor, theatricality and timeliness.”

The creative team for Hannah and the Dread Gazebo also includes scenic and video designer Yee Eun Nam, lighting designer Rebecca Bonebrake, sound designer/composer Howard Ho, costume designer Ruoxuan Li and props designer Michael Allen Angel. The production stage manager is Bryan P. Clements.

jiehae park

Playwright Jiehae Park

Jiehae Park’s plays include peerless (Yale Rep premiere, upcoming in NY at Primary Stages), Hannah and the Dread Gazebo (Oregon Shakespeare Festival), Here We Are Here (Sundance Theater-Makers residency, Berkeley Rep’s Ground Floor, Princess Grace Works-in-Progress @ Baryshnikov Arts Center), The Aves (McCarter Spotlight Series) and contributions to Wondrous Strange (Humana/Actor’s Theatre of Louisville). Her work has been developed through the Soho Rep Writer-Director Lab, The Public’s Emerging Writers Group, p73, Playwrights Horizons, NYTW, Atlantic, Old Globe, Dramatists Guild Fellowship, Ojai, BAPF, CTG Writers Workshop, Banff Playwrights Lab, ACT New Strands, and Ma-Yi Writers Lab. Awards: Leah Ryan, Princess Grace, Weissberger, ANPF Women’s Invitational; two years on the Kilroys List. Commissions: Playwrights Horizons, Yale Rep, Geffen, OSF, Williamstown, MTC/Sloan. Residencies: MacDowell, Yaddo, Hedgebrook, McCarter/Sallie B. Goodman. She is a NYTW Usual Suspect, Lincoln Center New Writer in Residence, former Hodder Fellow, and current New Dramatists. As a performer recently: Ripe Time/Naomi Iizuka’s adaptation of Haruki Murakami’s Sleep (BAM Next Wave, Yale Rep); Celine Song’s Endlings (A.R.T.). She was a staff writer on season one of Marvel’s Runaways and currently teaches Playwriting at Princeton University. BA, Amherst;
MFA, UCSD.

Jennifer Chang

Jennifer Chang

Jennifer Chang won the 2019 LADCC award for excellence in direction for her work on the Los Angeles premiere of Qui Nguyen’s Vietgone. She was a 2018 Drama League New York directing fellow and was the assistant director for the Broadway world premiere of Bernhardt/Hamlet by Theresa Rebeck starring Janet McTeer. Ms Chang’s multi-disciplinary work has been honored with Ovation, LA Weekly and the Stage Scene LA awards, among others. She is a founding member of Chalk Repertory Theatre where she served as artistic producing director and produced, directed and acted in numerous plays over the course of eight seasons. Upcoming directing credits include Where the Mountain Meets the Moon at South Coast Repertory and The Time of Your Life at Antaeus Theatre Company. Select directing credits include Death & Cockroaches by Eric Reyes Loo (Chalk Rep at Circle X/ Atwater Village Theatre); 53% Of by Stephanie Del Rosso and Birds of North America by Anna Moench for the Wagner New Play Festival; Animals Out of Paper at East West Players (Los Angeles Times “Critics Pick”); Edith Can Shoot Things and Hit Them for Artists at Play (GLAAD Media Award and Ovation-nominated); and Residence Elsewhere, commemorating the 75th anniversary of Executive Order 9066 at the Japanese American National Museum. She is very active in the development of new plays with the Geffen Playhouse, Chance Theater, Circle X Theatre Company, EST/LA, Playwrights Arena and East West Players.

The Fountain Theatre is one of the most successful intimate theaters in Los Angeles, providing a creative home for multi-ethnic theater and dance artists. The Fountain has won hundreds of awards, and Fountain projects have been seen across the U.S. and internationally. Recent highlights include all-star readings of Ms. Smith Goes to Washington and All the President’s Men at Los Angeles City Hall and the inclusion of the Fountain’s Citizen: An American Lyric in the Music Center’s Our L.A. Voices festival at Grand Park. The Fountain’s 2018 productions of The Chosen and Arrival & Departure each enjoyed months-long sold out runs and was named a Los Angeles Times “Critic’s Choice.” The company’s West Coast premiere of Martyna Majok’s Pulitzer Prize-winning play Cost of Living, was named to the Los Angeles Times’ “Best of 2018” list. Its current production, Daniel’s Husband, was named a Los Angeles Times “Critic’s Choice” and is enjoying an extended, sold-out run.

As the nation’s premier Asian American theater organization, East West Players produces artistic work and educational programs that foster dialogue exploring Asian Pacific Islander (API) experiences. Founded in 1965, at a time when APIs faced limited or no opportunities to see their experiences reflected outside of stereotypical and demeaning caricatures in the American landscape, EWP not only ensures that API stories are told, but works to increase access, inclusion, and representation in the economy.

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