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Home , East West Players, James Hong, Mako (actor), Nobu McCarthy, The Fly (opera)

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The Long View After 20 years as artistic director of , TIM DANG eyes the challenges unmet

By Diep Tran

Krunk Fu Battle Battle, a musical by Qui Nguyen, Beau Sia and Marc Macalintal, directed by Tim Dang. It premiered in 2011. M i chael L a m o nt

n 1980, when Tim Dang was getting ready energetic and communicative. He talks in long-winded yet to graduate from the University of Southern , one precise sentences. He is tall and slim, with a youthful stride of his college professors gave him some hard-hitting advice. and attitude, and always is looking forward to the next step— “He informed me that of all the people in my senior class, program initiatives, advocacy opportunities or support for an I was going to have the toughest time making a living as an artistic voice that is fighting to be heard. ,” Dang recalls. He may be a longtime leader, but the end is nowhere in I Now 55, Dang, a Hawaiian-born Chinese-American, had sight. “It doesn’t feel like 20 years,” Dang exclaims. “Someone been used to playing lead roles with multicultural casts at USC. a few years ago called me an elder of the Asian-American Back in Hawaii, he had been part of the dominant population. theatre. I don’t see myself as an elder! There is so much work But, as his professor told him, the world on the mainland was to be done.” less inclusive. “He said, ‘East West Players does really great work, I think you’ll find a home there.’” “Do you like scary movies?” Dang asks as Soon after graduation (with a degree in acting, emphasis we’re walking through EWP’s theatre space in Little Tokyo on musical theatre), Dang joined the –based on a sunny fall afternoon. I say no. He proceeds to give me , then an ensemble of around 100 artists. In 1993, some factoids about EWP’s home: It’s an abandoned Japanese Dang was made the producing artistic director; 2013 is his Union Church that was built in 1922; the original church 20th year at the helm. Counting back to his first involvement altar is underneath the stage (“In case one day it becomes a in 1980, EWP has been Dang’s artistic home for more than church again”); and it was featured in the 1987 horror film 30 years. The professor was right. Prince of Darkness. Founded in 1965, EWP is now the largest Asian-American “This is where all the ghosts are,” Dang confides as we theatre in the nation, and its oldest continuously operating thea­ enter the balcony. Apparently, onstage have seen ghosts, tre of color. Under Dang’s leadership, the theatre transitioned but if there are spirits in the theatre of EWP, they are friendly from a 99-seat black box to a 240-seat proscenium. The budget ones. Most likely, they are the incarnations of the many artists, grew from $350,000 to $1.5 million, with a four-play season, some well known, others a bit more obscure, who have graced plus an annual new-play festival called EVOKE and various EWP’s stages over the years. educational programs for professionals, students and K-12. Nine Asian-American actors—including , Beulah And Dang is tireless. Some months ago, despite a speaking Quo and James Hong—founded EWP as a place where they commitment, play rehearsals, local performance events and a could perform in meaty roles, beyond the waiters and villains meeting with Los Angeles mayor Eric Garcetti, Dang remained that were common for Asians in . Onscreen,

110 AMERICANTHEATRE October13 Dang likes to tell his staff that when he arrived as artistic director, his salary was $16,000. Because the old theatre adage “you don’t train to be an artistic director” is true, he learned everything about running a theatre on . One of his first goals was to follow through with the dream of EWP’s first artistic director, Mako, “which was to pay the artists a living wage.” That meant establishing a revenue stream that included corporate and foundation donors. “Mako and Nobu were

M i chael Pal m a both well-known, established actors, and whenever the theatre was in trouble, they wrote a check,” Dang explained. “I didn’t Dang have the ability to do that.” So he learned how to fundraise. yellowface was a common practice (Mickey Dang was 34 at the time. “For EWP to Rooney’s slant-eyed turn in Breakfast at Tif- grow to the next step, you needed someone In 1998, Dang led a $5.6-million fany’s was a mere four years prior), and Asian to come in with energy and a youthful vision, capital campaign to move EWP from its Americans were usually relegated onstage who’s also a really good artist,” says playwright 99-seat storefront spot in Silver Lake to a to minor parts, or to ethnically specific lead , who had founded EWP’s 240-seat space in the Little Tokyo neighbor- roles in such vehicles as The King and I and writers institute in 1991. “Tim had that com- hood in downtown LA. And as evidence of . bination. He was the right person to begin how small and close-knit the Asian-American Dang’s first production at EWP was in breaking out of the predominant Chinese- community is, the largest donation for the new Godspell (he played Lamar). Early on, he also American and Japanese-American literature, theatre came from Henry Y. Hwang, David took on a variety of administrative tasks at the and create a more diverse theatre, responding Henry Hwang’s father. The founder of Far theatre: “I did box office, stage management, to third-wave and, later, fourth-wave writers.” East National Bank, Hwang senior had been tech,” he recalls. Meanwhile, he worked on his craft, taking on bit parts in iconic ’80s TV shows such as “Star Trek: The Next Genera- tion,” “Night Court” and “MacGyver.” In the process, he met , who now heads EWP’s board of governors. Dang had watched “Star Trek” as a kid, and seeing the rare actor onscreen who shared his ethnic background made him realize: “If George could do it, I could do it!” Then, in 1993, second artistic director Nobu McCarthy announced her resignation and an offer came from the EWP board to take over as artistic director. Initially he hesitated. Taking an artistic directorship, he knew, would put his still-early acting career at a standstill. Then Dang remembered something that British producer Cameron Mackintosh said, during the 1990 Miss Saigon casting contro- versy: “He said, in a very arrogant way, ‘Well, if you want to see Asians onstage, you produce your own theatre and cast shows with Asians.’ That’s always stuck in my mind.” Dang had been a picketer in that dust-up, and with this memory of activism in mind, he saw an opportunity to expand EWP’s reach beyond its role as a presenter of Asian- American talent. “I had this vision of how much the Asian-American artists’ movement could benefit from a more activist style of leadership.”

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the accountant for EWP. And he elected to have the new theatre named after his son. “I think his father also wanted a bust of David in the lobby,” says Dang, with a grin. “But David put a stop to it.” Besides the address change, a roster of new programs was launched under Dang’s leadership. One of the first was the Alliance of Creative Talent Services—an agency that con- nected actors, writings and directors to casting notices and networking opportunities. This gave casting agents access to a talent directory of Los Angeles–based Asian-American actors, writers and directors. “We’re the best resource when it comes A hip-hop-infused production of Stephen Schwartz and Roger O. Hirson’s , directed by Dang in 2008. to talent,” confirms Marilyn Tokuda, EWP’s M i chael L a m o nt arts education’s director, who oversees the alliance. She has also created a number of American Theaters and Artists, a coalition The panelists were the artistic heads of nearby EWP educational programs. “Tim has really of Asian-American theatre companies that he major theatres—Christopher Ashley of La given me free rein to create and manage these helped create. Dang spearheaded CAATA’s first Jolla Playhouse, Sheldon Epps of Pasadena programs—it’s empowering,” she testifies. Asian American Theater Conference in 2003; Playhouse, Marc Masterson of South Coast Besides running the day-to-day - EWP co-hosted the last conference in 2011. Repertory and Michael Ritchie of Center tions at EWP—he oversees both artistic and When I was trailing Dang last season, Theatre Group. “Orange County is 20 percent financial duties—Dang is also an activist in the EWP hosted a panel event called “Asian Asian/Pacific Islander now,” Dang tells me over community. He sits on the board of directors American Opportunities in American Thea­ sushi the day before the panel. “There should of Arts for LA, and he is the vice president tre: Why Not Asian? Why Asian?” to address be a lot more representation onstage there.” and co-creator of the Consortium of Asian the lack of Asian-American actors onstage. Takei believes Dang’s efforts have made a difference along those lines. “Tim has vocal- ized the importance of diversity and advocated Professional and Amateur Rights Now Available! for the casting of to reflect the diversity of America,” the actor asserts. “We need someone to be there advocating for us, and Tim is the person who has the MMiissss AAbbiiggaaiill’’ss tenacity and articulateness to do it. He’s a real groundbreaker.”

guide to With its conservatory program and networking opportunities, EWP is one DDaattiinngg,, MMaattiinngg,, of the leading training grounds for Asian- American actors. “I figure that 70 percent of the Asian-American actors you see on && MMaarrrriiaaggee!! television and film have probably walked through the halls of East West as an actor or have taken class here, or have supported East The off-Broadway hit West somehow,” says Dang. Indeed, he seems is now available! to keep a mental rolodex of every well-known Asian-American performer—Dang casually mentions names such as Sandra Oh (who spoke at the aforementioned panel), (who’s done two EWP productions), John Cho (who made his professional debut at EWP) and (who used to teach opera at EWP). “BD Wong and I were in East West’s pro- duction of in 1987,” Dang tells me. “He played the ‘I Can Do That’ guy and www.steelespring.com (323) 739-0413 I played the ‘Gimme the Ball’ guy. We didn’t change any of the lines. My line ‘And I’m

112 AMERICANTHEATRE October13 place those voices are represented. “Unfortu- nately, we can only pick four shows a season, so it actually behooves us to enlist the help of other theatre companies in order to share these voices. We can’t do everything.” And that is why partnering with other theatres of color, advocating to larger theatres and acting as a resource for Asian talent is so important. “Whether you’re the Old Globe or La Jolla, if you can count the number of Asians you’ve employed in your shows on one hand, it’s not enough,” he asserts. mi chael la m o nt As for the long-term plan for EWP, Dang is aware of the clock and does not want The cast of ’s Equus to overstay his welcome. “When I came in, (including George Takei, center) in 2005, directed by Dang. everyone believed the theatre needed younger energy. Now at my age, I’m starting to feel that black’ was kept in, and it got laughs. Obviously EWP’s 2011–16 strategic plan. too.” He sounds a little weary, as if the years I wasn’t, but that’s how the character identi- It’s surprising to hear that a theatre of have caught up to him as he’s been talking. “I fied. Once you see it with an all-Asian cast, color—the nation’s largest, at that—is not would love to start mentoring other people those lines have a different sort of resonance.’ diverse enough, but Dang would be the first who could possibly take East West to the next Even though he doesn’t do much acting to admit that about EWP. “The South-Asian level, or even welcome the start-up of other these days, being an A.D. has opened up a vari- community is the third largest community Asian-American theatres. I don’t think we can ety of new enterprises for Dang. He regularly in Southern California. We’ve done three have enough.” directs shows at EWP and this season, for South-Asian shows in 10 years, and obviously If that’s the long-term, what’s the short- example, the musical Beijing Spring will have it’s not good enough.” term? He doesn’t even pause. “I’m still looking lyrics written by Dang. When programming For Dang, EWP should not be the only for a writer of Samoan descent.” a season, variety is especially important. It’s usually a mix of new plays and classics. “My first season was the season of women—all plays by women,” he recalls. “I’m always con- scious of balance: between men and women, generations, voices. You will rarely see two Japanese-American plays in the same year.” Sweet home As an A.D., he’s also not afraid to be pro- vocative. EWP has tackled controversial topics such as Korean sex slaves (Hanako by Chungmi Kim, in 1999) and sexual abuse (Mysterious Skin by Prince Gomolvilas, in 2010). The next touchy topic is gay marriage, and that will come in 2014 via A Nice Indian Boy by Madhuri Shekar, about a Hindi-Caucasian gay relationship. The play won the second prize at EWP’s 2012 Face of the Future Playwrit- ing Competition (a triennial event). Other selections for the 2013–14 season include a new comedy by Betty Tokudani, and Robert Harling’s Steel Magnolias with an all-female Asian-American cast (it’s currently running through Oct. 6). As Dang is keen to point out, Black Ensemble Theater - Chicago there is a sizable Asian-American population in the play’s setting of the American South. He is always on the hunt for new voices and always mindful of the ever-changing demographics of Southern California. His next goals are finding ways to better represent Chicago Dallas Melbourne artists who are South Asian, LGBT and/or schulershook.com mixed-race. Those groups are included in

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