June 14 – July 17, 2011 Directed by Steve Scott

Home , Defiant Theatre, Face Value (play), Family Devotions, Silk Road Rising, The Sound of a Voice, Tony Award for Best Play

T h e C H I C A G O P r e m i e r E June 14 – July 17, 2011 Directed by Steve Scott

GLOBAL THEATRE FOR A GLOBAL CITY Presented in association with The Historic Chicago Temple Building 77 West Washington Street, Chicago

www.srtp.org Yellow Face is presented by special Table of arrangement with Dramatists Play Service, CONTENTS Inc., New York. Originally produced by the Center Theatre Group, Michael Ritchie, Artistic Director; 3 Cast List and Production Team Charles Dillingham, Managing Director; and The Public Theatre, Oskar Eustis, Director; 4 Cast Bios Mara Manus, Executive Director.

6 Production Bios Yellow Face was first developed at the Lark Play Development Center, New York City, and later was developed in collaboration 10 Dramaturgical Notes with the Stanford Institute for Creativity in by Neal Ryan Shaw the Arts, Stanford University. The Center Theatre Group production of Yellow Face 12 Artistic Ruminations was presented in association with East/ by Jamil Khoury West Players.

14 Letter from the Founders “Shall We Dance?” Music by Richard Rodgers by Malik Gillani and Jamil Khoury Lyrics by Oscar Hammerstein II This selection is used by special arrangement 15 About Silk Road Theatre Project with The Rodgers and Hammerstein Organization, www.rnh.com. 16 Company Members and Board of Directors Recording of Dong Folk Songs: People and Nature in Harmony used by permission of Joanna C. Lee and Ken Smith. 17 Sponsor Acknowledgments and Special Thanks The music of the Dong people has been documented in recordings and video footage 18 Supporting Donations by the Western China Cultural Ecology Research Workshop (workshop.ffmm.com), 20 Neighborhood Partners a Hong Kong-based, non-government, non-profit organization dedicated to cultural preservation and socioeconomic development in the region. Its initial recording, Dong Folk Songs: People and Nature in Harmony, was honored in China’s 2003 Ministry of Culture Media Awards and has been broadcast both in Europe and North America. More recently, the Workshop has garnered Travel & Leisure magazine’s 2008 Global Vision Award.

2 Cast production LIST TEAM

Joseph Anthony Foronda* | HYH Producers | Malik Gillani and Jamil Khoury

David Rhee* | DHH Director | Steve Scott**

Lydia Berger | Jane, Ensemble Production Stage Manager | Donald E. Claxon*

Box Office Manager Anothai| Kaewkaen

House Manager| Corey Pond

Program Editor | Sarah Ibis * Denotes member of Actors’ Equity Association, the union of professional actors and stage managers. ** The Director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. *** Denotes member of United Scenic Artists, the union of professional designers, artists, and craftspeople.

3 cast bios

Joseph Anthony Lydia Berger (Jane, En- Foronda (HYH) ap- semble) was previously seen peared in Silk Road Theatre in Silk Road Theatre Project’s Project’s Durango. Other In the Crossing. Chicago Chicago credits include credits include Love’s Labour’s Pacific Overtures at Chicago Lost and Dancing at Lughnasa Shakespeare Theater, The at the Oak Park Festival The- King & I and Miss Saigon at atre, Arms and the Man and Drury Lane Oakbrook, The Romance of Magno The Philanderer at ShawChicago, A Midsummer Rubio at Victory Gardens Theatre, and Frog and Night’s Dream at Chicago Shakespeare Theatre’s Toad at Chicago Children’s Theatre. Broadway Short Shakespeare, and Pride and Prejudice at the and London credits include Pacific Overtures Northlight Theatre. She has also worked with First (2004 revival,) Miss Saigon, Shogun: The Musical, Folio, Montana Shakespeare, and Artists’ En- and Pacific Overtures at the Donmar Warehouse. semble Theater where she will be seen inCollected Regional credits include Flower Drum Song, Les Stories next spring. Thanks to Jamil, Steve, Malik, Miserables, and The Fantasticks. Love to family, DHH, Christian, and Paonessa Talent! teachers, and friends.

David Rhee (DHH) Tanya McBride (Leah New York credits include Anne Cho, Ensemble) is Twelfth Night, Sweet Charity, proud to be working with and the original Broadway Silk Road Theatre Project! production of Thoroughly Chicago credits include Modern Millie. Chicago punkplay at Pavement credits include Kafka on Group, The Fantasticks at the the Shore, Pacifc Overtures, Porchlight Music Theatre, M. Butterfly, and Miss Saigon. Regional credits Mr. Fluxus at The Neo-Futurists,Mirror of the include Thoroughly Modern Millie, Macbeth, The Invisible World at The Goodman Theatre,The Velveteen Rabbit, The Inspector General, Richard Rivals at Polarity Ensemble, as well as productions III, and Around the World in 80 Days. Television with First Folio Theatre, Adventure Stage Chicago, and Film credits include NBC’s Law and Order, Caffeine Theatre, Collaboraction, and Chicago 2003 Tony Awards, The View, and Dak-Ho and Dramatists. McBride received her MFA in Acting Zehra. Thanks to New Trier High School and and New Works Creation from The Ohio State Visceral Dance Center for helping me through University. Special thanks to Gray Talent Group the last year. For my father. for their support!

4 Christopher Meister filmboth/and . His artistry has taken him to other (Stuart, Ensemble) is thrilled great stages, including the Chicago Shakespeare to be making his Silk Road Theatre, Roundabout Theatre, Marriott Theatre, Theatre Project debut. Re- Little Colonel Playhouse, and Joe’s Pub. Stamper cent credits include Grace- received his BFA from Roosevelt University. Big land at the Profiles theatre, Love to Jamil, Malik, Steve, David, Sam, Sandy, Under Construction at The Mom, Dad, and Jay. “The face we choose to show Artistic Home, Death of a the world reveals who we really are.” Salesman with the Hypocrites, and Franz Kafka’s The Castle with Right Brain Theatre. He has played at Sundance, Slamdance, Hamptons, and the Holly Bittinger (Under- HBO Comedy Arts Festival. Other screen credits study for Jane, Ensemble) is include The Dilemma, The Life of David Gale, Ten, excited to be working with The Newton Boys, and The Return of Joe Rich. This Silk Road Theatre Project for winter, Chris can bee seen in The Chicago Code, the first time. Chicago credits Heaven is Hell, and being a dad. All my love to include Liv Hayden in Won- Eviecakes. ders Never Cease at Provision Theater and Jill inEquus at Redtwist Theatre. She is currently enrolled in Christopher Popio The Second City Conservatory. Bittinger earned (NWOAOC, Announcer) her BFA in Acting from Emerson College. Many has acted on many Chicago thanks to her family for their unwavering support. stages, most recently with TUTA Theatre inThe Wed- ding and Uncle Vanya. Other Gordon Chow favorites credits include The (Understudy for HYH, Exonerated at Serendipity Ensemble) returns to Silk Theatre,Hizzoner at Prop Theatre,The Fourth Road Theatre Project where Sister at Trap Door Theatre,Sons of Liberty at he understudied in Durango Breadline Theatre,Sylvia at Buffalo Theatre and Golden Child. He was Ensemble, and The Sand Castle at Theatre Seven. last seen on stage performing He has also appeared in numerous national and in Jade Heart with Chicago regional commercials, films, and television shows. Dramatists. Chow has also worked with Lifeline Originally from New Jersey, Popio is also a writer Theatre, Prop Theatre, Griffin Theatre, and and photographer. Much love to the wolverine. Defiant Theatre.

Clayton Stamper (Marcus Kevin Barry Crowley Ghee, Ensemble) is thrilled (Understudy for Marcus to return to Silk Road Ghee, Stuart, Ensemble) is Theatre Project forYellow delighted to be working with Face. Previous SRTP credits Silk Road Theatre Project for include The DNA Trail and the first time. He has been Talib, as well as SRTP’s seen at The Lyric Opera of Chicago, Chicago Shake-

5 (CASTbios continued) production team speare Theater, Goodman Theatre, Chicago Children’s Theatre, The House Theatre, Route bios 66 Theatre Company, and most recently with Filament Theatre Ensemble, and others. He is represented by Shirley Hamilton Inc., and would like to thank his lovely fiancée Leslie for romance!

Jillian Jocson (Under- Malik Gillani study for Leah Anne Cho, (Producer) is Founding Ensemble) is thrilled to Executive Director of Silk become a part of the Silk Road Theatre Project. He Road Theatre Project fam- is thrilled to be advancing ily! Credits include Miss both the rich cultural Saigon at the Drury Lane legacy of the Silk Road in Oakbrook, Aladdin at and greater visibility for the Chicago Shakespeare Silk Road artists. Gillani nurtured Silk Road Theatre, One Flew Over the Cuckoo’s Nest at Theatre Project from its embryonic stage into a The Gift Theater,Kama Sutra: The Musical at celebrated theatre company, integrating business the Royal George Theatre,The Golden Mickeys acumen and fiscal responsibility within an for Disney Cruise Line, and The King and ,I A artistic mission. He established SRTP’s arts Wonderful Life, and Phantom at the Porchlight integrated education program, which has been Music Theater. Much love to her family and heralded as one of the finest elementary school friends for their continued support! arts education programs in the Chicago Public Schools system. Gillani is the recipient of the IBM Business and Technology Leadership Erik Kaiko (Un- Award and was honored by Changing Worlds derstudy for DHH, for Outstanding Contributions to the Arts. Ensemble) is thrilled Recently, he received the prestigious and highly to be back at Silk Road selective Chicago Community Trust Fellowship Theatre Project, where Award. As a part of his CCT Fellowship, he was previously seen Gillani is receiving mentorship from the in Silk Road Cabaret, leaders of ethnically specific and multicultural Into the Numbers, and theatre companies across the United States. Durango. This past spring, he played Lun Tha Gillani earned a BA from St. John’s College in in Porchlight Music Theatre’sThe King & .I He Annapolis, Maryland. He is a Kellogg Executive has had the pleasure of working at other Chica- Scholar and has been awarded a Certificate goland theatres, including the Marriott Theatre, of Professional Achievement in Nonprofit Chicago Shakespeare Theater, Noble Fool Management. Gillani is currently enrolled in Theatre, Caffeine Theatre, Promethean Theatre, North Park University’s Graduate School of Bailiwick Repertory, and Bailiwick Chicago. He Business and Nonprofit Management. is a proud Northwestern University graduate. Many thanks to Megan and the Kaiko family!

6 Jamil Khoury (Producer) Rice’s Aida, Rodgers & Hammerstein’s Flower is Founding Artistic Director Drum Song (2002 revival), and Disney’s Tarzan. of Silk Road Theatre Project. His opera libretti include 1000 Airplanes on the Khoury’s plays focus on Roof, The Voyage, and The Sound of a Voice for Middle Eastern themes and composer Philip Glass as well as Bright Sheng’s questions of Diaspora, as The Silver River, Osvaldo Golijov’s Ainadamar well as the intersections of (two 2007 Grammy Awards) and Unsuk Chin’s culture, national identity, Alice In Wonderland (Opernwelt’s 2007 “World sexuality, and class. He conceived of and curated Premiere of the Year”). Hwang authored three the highly successful Silk Road Cabaret: Broadway feature films and the song “Solo” with Prince. He Sings the Silk Road. Khoury also developed and serves on the Council of the Dramatists Guild and was a featured playwright in SRTP’s production is Silk Road Theatre Project’s Artistic Ambassador. of The DNA Trail: A Genealogy of Short Plays about He attended Stanford University and Yale Drama Ancestry, Identity, and Utter Confusion. His short School, and was appointed by President Clinton play, WASP: White Arab Slovak Pole has inspired to the President’s Committee on the Arts and the two video plays, both/and and Not Quite White, Humanities. His newest play, Chinglish, will enjoy which will be released in 2011. Khoury’s 2003 play its world premiere at the Goodman Theatre, in Precious Stones has been performed in ten cities June 2011. across the U.S. He is the 2010 recipient of the 3Arts Artist Award for Playwriting. Khoury holds Steve Scott (Director) a MA in Religious Studies from The University of is pleased to be directing Chicago and a BS in International Relations from his third production for Georgetown University. He is a Kellogg Executive Silk Road Theatre Project. Scholar and has been awarded a Certificate As the Associate Producer of Professional Achievement in Nonprofit of the Goodman Theatre, Management. Khoury has developed courses in he has overseen over 150 Middle East Studies for The University of Chicago productions. He has directed Graham School of General Studies and has lectured at a wide variety of other Chicago theaters, widely on Arab American affairs. including the Goodman Theatre, the Shattered Globe Theatre, A Red Orchid Theatre, the Next David Henry Hwang Theatre Company, the Porchlight Theatre, Theatre (Playwright) is the author Wit, Theatre at the Center, the Organic Touchstone of M. Butterfly (1988 Tony, Theatre, the Lifeline Theatre, the Lyric Opera Drama Desk, and Outer Center for American Artists, Redtwist Theatre, and Critics Awards, and Pulitzer Eclipse Theatre, where he is a company member. Prize finalist),Golden Child He is a member of the faculties of Act One Studio (1997 OBIE Award), FOB and the Theatre Conservatory at the College of (1981 OBIE Award), The Performing Arts of Roosevelt University. Steve Scott Dance and the Railroad, Family Devotions, Sound has received five Jeff nominations, an After Dark and Beauty, and Bondage. Yellow Face, which Award, and the Award of Honor from the Illinois premiered at Los Angeles’ Mark Taper Forum and Theatre Association. New York’s Public Theater, won a 2008 OBIE Award and was a finalist for the 2008 Pulitzer Donald E. Claxon (Production Stage Manager) Prize. He wrote the scripts for Elton John & Tim is proud to be making his debut with Silk Road

7 (PRODUCTION TEAMBIOS continued)

Theater Project. In his short time in Chicago, he has Our Song for Fox Valley Rep, and Goodnight Moon had the pleasure of stage managing at The Second for Chicago Children’s Theatre. Hughey earned her City, Provision Theater, and About Face Theater, and MFA from Northwestern University where she also working on The Addams Family: A New Musical and teaches lighting design. Shrek: The Musical. Regionally, he’s worked at the Florentine Opera Company in Milwaukee, Glim- Matt Guither (Costume Designer) is very merglass Opera Festival in Cooperstown, and Yale pleased to be working with Silk Road Theatre Repertory Theatre in New Haven. He is a graduate Project. Past credits include the American Country of Wabash College and The Yale School of Drama. Music Awards, the Bailiwick Theater, The Second City Theatre, and eleven years as resident designer Jason Pikscher (Production Manager and for Pheasant Run Theatre. Starting as a clothing Technical Director) is thrilled to be part of yet designer in the 1980s in Paris, his proudest one more production at Silk Road Theatre Project. moments include the costumes for multiple Pikscher has been involved in every production at videos, a world tour for the Eurythmics, design SRTP since December 2007. Pikscher’s fabrications work for Pierre Cardin, and pattern work for Yves have been seen all over the country from the St. Laurent. Kennedy Center to Six Flags, Microsoft, and TLC; he has built scenery for just about everyone. Peter J. Storms (Sound Designer) returns to Silk He would like to thank his wife for her undying Road Theatre Project after designing and scoring support and for her tolerance of his work schedule. last year’s Scorched. Storm’s sound design and music direction have also been at Circle Theatre, Tom Burch (Set Designer) designed Scorched Noble Fool Theatricals, Raven Theatre, the Theatre for Silk Road Theatre Project. He has also worked Building Chicago, and TimeLine Theatre, among Off-Broadway for Barrow Street Theatre. Regional others. Storms serves as the accompanist for Unity work includes shows at Williamstown Theatre Temple in Oak Park. In March he conducted the Festival, Cleveland Play House, Arizona Theatre orchestra for Beyond Celtic, which will be broadcast Company, and others. Chicago credits include on PBS later this summer. www.peterstorms.com. Talking Pictures, Gas for Less, and Hairy Ape for the Goodman Theatre; Woyzeck, No Exit, and Jesse Gaffney (Props Master) is back at Silk Road Frankenstein for the Hypocrites; as well as shows Theatre Project after designing props forScorched, for the Court, About Face, Northlight, and The DNA Trail,and Pangs of the Messiah. In Chicago Shakespeare Theatres. Burch has received Chicago she has worked with Apple Tree Theatre, a Jeff Award and three After Dark Awards. Learn 16th Street Theatre, A Red Orchid Theatre, Piven more at www.tomburch.com. Theatre, Steep Theatre, and Noble Fool Theatre Companies. Outside of Chicago Gaffney has Sarah Hughey (Lighting Designer) is happy worked for Allenberry Playhouse, Stages St. Louis, to be returning to Silk Road Theatre Project after and The Arrow Rock Lyceum. She is a St. Louis lighting Scorched in October 2010. Hughey’s Chi- native and an Illinois Wesleyan graduate. You can cago lighting design credits include work with the follow her blog at theatreprojects.blogspot.com. Lifeline Theatre, The House Theatre, A Red Orchid Thanks and love to Warwick. Theatre, Seanachai Theatre, City Lit Theatre, Provision Theatre, Lookingglass Theatre, and the Neal Ryan Shaw (Dramaturg) has worked Chicago Symphony Orchestra. Upcoming projects as a dramaturg on The Last Night of Ballyhoo for include Festen for the Steep Theatre,They’re Playing Project 891 Theatre Company,Scorched for Silk

8 Road Theatre Project,The Armageddon Dance Party Theatre, American Theatre Company, and the St. for Nothing Special Productions, and Let Them Louis Shakespeare Festival. Eat Cake for About Face Theatre. Shaw is also a contributor to Newcity Stage. A member of the Page Domikaitis (Wardrobe Supervisor) Literary Managers and Dramaturgs of America, he is excited to be back at wardrobe for her fifth holds an MA from Illinois State University and a production with Silk Road Theatre Project. She BA from Southern Illinois University, Carbondale. started the year as a dresser for the Midwest regional Learn more at nealryanshaw.com. premiere of Spamalot at Drury Lane Oakbrook and spent this spring as the Stage Manager for AlphaBet Danny Bernardo (Assistant Director) returns Soup’s production of Peter Pan and the Pirates. She to Silk Road Theatre Project after appearing in is looking forward to hike-leading this autumn with staged readings of Cleveland Raining and Ching Theatre Hikes. She graduated from Monmouth Chong Chinaman. He has worked with About College in 1999 and since has participated in tons of Face, Victory Gardens, Bailiwick, Collaboraction, theater in the Chicagoland area. Lifeline, and Porchlight Theatre, where he is an artistic associate. He has served on the faculty of the Anothai Kaewkaen (Box Office Manager) is a Chicago Academy for the Arts and Gallery 37/After native of Bangkok, Thailand. He recently graduated School Matters. Thanks to Steve, the cast and crew, from the University of Illinois at Chicago with a and everyone at SRTP. For Dad. major in English and a minor in Asian American Studies. A long-time intern at Silk Road Theatre Becca Knights (Casting Coordinator) became Project, he is honored to return as box office a permanent member of the Simon Casting family manager for Yellow Face. Much love to Malik, in 2005 when hired to assist with Prison Break. Jamil, and the rest of the cast and crew! Knights has cast shows for many theatres including Broadway In Chicago, Indiana Rep, Lyric Opera Sarah Ibis (Program Editor) is happy to be of Chicago, Milwaukee Rep, Provision Theatre, working with Silk Road Theatre Project again. Royal George Theatre, and Writers Theatre. She Previously, she worked as an understudy for Pangs also works as associate for TV and Film, most of the Messiah, and as program editor and house recently with Warner Brother’s Contagion, ABC’s manager for The DNA Trail and Scorched. Thanks Detroit 1-8-7, and Fox’s The Chicago Code. She is a to Jamil and Malik for the opportunity to keep member of the Joseph Jefferson Committee and is working with this great company, even though she committed to knowing the Chicago talent pool. now lives miles and miles away.

Kathryn Eckert (Assistant Stage Manager) is Corey Pond (House Manager) received a thrilled to be making her debut with Silk Road Bachelor of Arts in Theatre from Illinois State Theatre Project. She holds a BA from Bradley University where he studied Directing and University and is completing her MFA in Theatre developed an interest in Dramaturgy and all things for Young Audiences from the University of Central Theatre Management. Some of his favorite projects Florida. She is the project assistant for Teen Volume included dramaturging Stephen Sondheim’s Into at the Chicago Public Library. Regional credits the Woods, directing a student production of John as a stage manager and teaching artist include Patrick Shanley’s Doubt, and assistant directing Next Theatre Company, Chicago Department of Heartland Theatre Company’s production of David Cultural Affairs, Opera Theatre St. Louis, Summer Lindsay-Abaire’s Rabbit Hole. This is his first time Studio Theatre, Peoria Ballet, Orlando Repertory working with Silk Road Theatre Project.

9 Dramatur gica l by Neal Ryan Shaw Notes

Behind the Mask: This Whole Miss Saigon Business Notes on the Nature of Identity Coincidentally, just on the heels of that triumph for Asian Americans came another event that would throw the theatre world into contention. The headline for David Henry Hwang’s first The West End musical Miss Saigon was planning New York Times feature was “I Write Plays a move to Broadway, and the producers ex- to Claim a Place for Asian-Americans.” It was pressed their intention to keep Jonathan Pryce, a 1981. Hwang was 23 years old. His first play, Welsh actor, in the lead role of a Eurasian char- FOB, had already been well received at the acter, instead of hiring an actor of Asian descent. Public Theater, which was soon to premiere his As in Yellow Face, Hwang was at the front and second play, The Dance and the Railroad. Hwang center of the Asian American protests against might now contest that he used those exact the casting; he had become a sort of poster boy words (as he did in an interview with American for Asian American theatrical success. Theatre), but in the last thirty years that bold sentiment turned out to be rather prescient. Yet even within the Asian American community there was disagreement. In interviews conducted Throughout his career as a playwright, David for the anthology Tokens? The NYC Asian Henry Hwang has always been concerned with American Experience On Stage, playwrights issues of identity, family, and the Asian Ameri- reflect on the historic protests. There is a general can experience—with emphasis on “American.” consensus that the protests were important, With plays such as The Dance and the Railroad, but many also noted the irony inherent. Said Family Devotions, Golden Child, and others, Chiori Miyagawa, “To me, the main issue was Hwang explores the intricacies of self-definition, not just Jonathan Pryce playing an Asian. It was tradition, and East-West relations. the fact that playing prostitutes in bikinis were Hwang’s career arc embarked on a sharp incline still the only roles that Asian women could get from FOB, but he caught his biggest break on Broadway.” Or, as Frank Chin put it, “It’s a when his play M. Butterfly opened on Broadway racist play so let the white racists play it all!” and won the 1988 Tony Award for Best Play, the first Asian American playwright to win the Yellow Face honor, and, to date, the only one ever to do so. It was a landmark moment not just for Hwang Asian Americans have long struggled to manage but also for the community he would end up the popular representations of themselves. The representing. It is also the moment in his career phrase “yellow face” is a description of a mask; from which the events of Yellow Face kick off. not only the mask of makeup and costume worn by white actors attempting to look Asian

10 for the screen or stage, but also a metaphorical sometimes not. But in this case the yellow mask that makes “Asian-ness” the primary face mask is an idealized one, rather than one aspect of identity. Yellow face is also an idea that that reflects the insulting images of the past. distorts the image of Asians with exaggerated Hwang certainly felt pressured to wear this depictions of slanted eyes, an overbite, and mask, writing once, “I do not believe that I sickly yellow skin. In his book Orientals: Asian will ever become a ‘fully actualized’ Asian Americans in Popular Culture, Robert G. Lee American, indeed such a state would be death, writes that “yellowface marks the Asian body creatively and politically.” That quote comes as unmistakably Oriental; it sharply defines the from his foreword to The State of Asian America: Oriental in a racial opposition to whiteness.” Activism and Resistance in the 1990s, edited by Lee’s introduction opens with a caricature that Karin Aguilar-San Juan. In his essay, Hwang appeared on the cover of a March 1997 issue uses the artistic failure of his play Face Value of the National Review, depicting Bill and as a launching pad for discussing the changes Hilary Clinton and Al Gore as Chinese coolies, that were happening with the Asian American suggesting that they have turned Chinese movement. As a backstage farce that also by virtue of allegedly accepting campaign satirized the Miss Saigon debate, the play had contributions from overseas, a problem that intended to expose race as a social construct with arises in Yellow Face. “no inherent meaning.” In doing so, Hwang hoped to show yellow face for what it truly is: so More deplorable to artists in the Asian American much papier mache. Although Face Value might movement are the vast number of portrayals of have failed, its themes live on in Yellow Face, and Chinese, Japanese, and other Asian characters by are no less potent. white actors whose star power is more important to producers than authenticity. These include The Chinese Concept of Face Warner Oland’s Charlie Chan, Mickey Rooney’s Japanese caricature in Breakfast at Tiffany’s, and In the play Yellow Face, the character Marcus David Carradine’s Caine from the television attempts to explain to DHH the Chinese series Kung Fu, a role originally intended for concept of face: “Basically, it says that the face Bruce Lee, who developed the series. Though we choose to show the world—reveals who we less common, this practice has recently taken really are.” It is an over simplification, but there on a new form called “racebending,” which is a great deal of truth in it. The key word is involves changing a character that was Asian “choose.” Just as with race, face speaks about in the source material into a white character a nonessential construction, vulnerable to the for the Western adaptation, coined after a will and easily malleable. In a way it is a freeing controversy surrounding the casting of the film thought, and an idea applicable to anyone, The Last Airbender. anywhere, of any color. §

Face Value

However, exploiting the idea of yellow face is not exclusive to non-Asians. In the name of activism, passionate individuals will sometimes put their race at the forefront of their identities. Consequently, a virtual mask is often worn by Asian Americans, sometimes willingly and

11 Artistic by Jamil Khoury, Artistic Director Ruminations

Let us not lull ourselves into believing that From 9/11 to mosque battles are limited to either lower Manhattan or “red states.” This is, in fact, a local issue too. There have been several high Mosque Alert: profile cases in Chicagoland and throughout Illinois of resistance to the building of mosques. America’s Culture Wars It is our opinion that many of the arguments employed in these debates reveal an unfounded Demand Responsive Art and irrational fear of our Muslim neighbors. We believe that SRTP, founded as an artistic response to the attacks of 9/11 and the ensuing As we approach the ten-year anniversary of “clash of civilizations” discourse we so strongly the attacks of September 11, 2001, Silk Road reject, is uniquely positioned amongst Chicago Theatre Project feels that it is imperative not theatre companies to address the complexity of only to address, but also to dramatize, the issues currently complicating relations between continued backlash against Muslim Americans Muslims and non-Muslims. ignited by those attacks, a backlash most manifested today as resistance to the building of In the hopes of generating deeper engagement mosques in U.S. cities and towns. The national around these issues, both locally and nationally, uproar that surrounded a proposed Islamic we are turning to the Internet as the next community center in lower Manhattan, and frontier in the development of new plays. I the emotionally charged debate that greeted have designed an interactive online artistic the proposal, has compelled us to explore, both process that invites viewers to participate in theatrically and virtually, this newest “ground artistic development from point of inception zero” in America’s culture wars. through completion. Viewers are encouraged to both influence and assist me in the writing of To that purpose, I have designed an interactive Mosque Alert. This process effectively reverses online artistic process that will assist me in the traditional engagement model of audience expanding my play Mosque Alert. I initially with play. I am proposing a model in which the wrote Mosque Alert as a ten-minute play audience accompanies me on every step of the performed in March as part of American Theatre play development ladder, rather than merely Company’s 10 x 10 Festival. Mosque Alert sitting in a theatre viewing a finished product. It tells the story of a suburban American family is a process I will inaugurate with Mosque Alert torn apart by the prospect of a mosque being and will continue with future plays. built in their community. Family divisions are further aggravated by the arrival of two My virtual workshop anticipates a highly Muslim neighbors into their lives. My goal is to participatory, ten-step artistic process, consisting reconceptualize Mosque Alert into a longer piece of stages to be conducted online, offline, and with a companion video play. It is intended as live. Online components will present characters both a work of art and a civic engagement tool, and conflicts through video blogs (vlogs) advancing SRTP’s commitment to presenting performed by actors, as well as my own vlogs. emotionally compelling drama while facilitating Viewers will be asked to respond to these cross-cultural dialogue and discourse. vlogs by posting written or video responses

12 to questions I pose, or by posing questions 4. The Conflicts This step involves two or more and comments themselves, to which I will characters highlighting the conflicts that exist respond. Offline components will include vlogs between them. Once again, I will question the designed to keep viewers abreast of possible new online audience, generating ideas to help deepen directions for the play, while chronicling my and shape relational dynamics, and develop the own internal artistic processes. Live components larger storyline. will include video streaming of in-house 5. The Text Armed with all of this wonderful workshops as well as staged readings performed feedback, I will begin the process of actually before live audiences, enabling those who cannot writing the play. Though usually a very lonely attend in person to participate online. In the process, I will be communicating with the end, the process culminates with release of a audience via blogs and vlogs and, no doubt, video play, and viewers will be encouraged to welcoming their companionship! From this, the post their own reviews. first draft of the play will be created. This ten step artistic process, which I call 6. The Workshop This is an opportunity for me (tongue-in-cheek) Creationism: An Epic in Ten to work with a group of actors and a dramaturg, Stages! is aligned with current practices of social and to hear my text read out loud. From there media and endows each participant with the I’ll begin to determine, through a process capacity to influence, co-create, view, and review that includes actor improvisation, continuous throughout the entire play development cycle. rewrites, and group conversations, how to best I like to think of it as a spiritual convening hone the script. Portions of the workshop will be of the individual with the art. It is direct, videotaped and broadcast online. From this, the uninterrupted, and takes place whenever and second draft of the play will be created. wherever the individual so desires. 7. The Staged Reading A staged reading of Below are my ten steps to developing a new play: the second draft will be presented before a live 1. The Spark The Spark is the conception of an audience and simulcast via video stream to idea. From it flows characters, conflicts, and plot the online audience. Both the live and online points. This step requires a good deal of research, audiences will be invited to participate in a talk contemplation, and discourse. back. From this, the final draft of the play will 2. The Prologue During The Prologue, I will be created and the play will head into pre- explain to the online audience the inspiration for production. Yes, I will definitely be blogging and the play, set goals for the development process, vlogging and providing all sorts of play-by-play and identify issues I’d like the play to address. insights, pun intended! Then I will ask a series of questions to the online 8. The Stage Play The entire final play will be audience. Participants may answer as many or produced for a live audience, with videotaped as few questions as they please, including none portions posted online. at all. 9. The Video Play The video play will be a 3. The Characters For this step, each of the modified version of the stage play, broadcast actors in the play will videotape separate online. It will be shot through a cinematic vlogs addressing four components of their lens by a film crew, guaranteeing a quality respective characters (biography, self-perception, viewing experience. personal challenges, and politics) and solicit 10. The Review The final component to audience feedback. Again, I will pose questions engaging a finished work of art is absorbing, to the online audience to help facilitate dissecting, and critiquing it. Audience members character development. who so wish may submit a review or address specific aspects of the finished product. §

13 media. The term “Rising” suggests many associa- LETTER FROM the tions that resonate for our organization and, we FOUNDERS hope, for our audiences. Allow us to illuminate: by Malik Gillani and Jamil Khoury Silk Road Rising is evolutionary. Silk Road The- atre Project is rising to new levels, new challenges, and new goals. Beyond our own organization, we see the rising up of new arts and aesthetics, including the rise of the Internet as a leading Change is a-Comin’! medium for arts engagement. Within our own From Silk Road Theatre Project to organization, we see the rise of our online profile, Silk Road Rising as we tap into social media as a means of creating and connecting. In taking this word as our own, Yes, indeed, change is a-comin’! Our baby, Silk we celebrate the rise of a virtual Silk Road that is Road Theatre Project, turns nine this summer, artistic, egalitarian, democratic, and visionary. and with age comes new directions and new heights. Transformation is baby’s birthright, and Silk Road Rising is aspirational. Rising is an as singer/songwriter Chris Williamson reminds active verb, timeless and clear, that evokes a us, it’s all about the Changer and the Changed. cross-cultural set of associations: the rising of the So as we strive to keep in step with this rapidly sun and the moon on the horizon, as well as the changing world of ours, we sense an upward rising of hopes, dreams, and imagination. Rising trend, an ascendant calling, ideas and peoples signals our intent to uplift, go forth, and stand and artists all on the rise. In developing a new up for the Silk Road. We see people rising up name for our organization, we wish to honor the against tyranny, racism, and colonialism. In tak- triumphs of Silk Road Theatre Project while con- ing this word as our own, we commit to rising up juring the movement that has led us to a more against misrepresentation and false imagery. expansive vision. The image that has stayed with Silk Road Rising is metaphorical. The rise of us throughout this process is that of a spiral along the Silk Road is a metaphor for polyculturalism, which we move up. It is upward motion that cross-cultural exchange, and a world connected elevates body, mind, and soul. This escalating through ideas and stories. The Internet is the direction and our history come together in our 21st century’s Silk Road; it facilitates the rise of new name. And so with no further ado, please global citizenship. In taking this word as our join us in welcoming…drum roll, please… own, we embrace this growing global connected- Silk Road Rising! ness as a means to explore and understand our interdependence. Arts organizations have been known to levitate. For nonprofits, defying gravity is all in a day’s Silk Road Rising is representative. We see the work. Our plan is to officially launch Silk Road rise of Silk Road communities in the United Rising this fall. But why, you may wonder, States, of Silk Road nations and peoples, and of have we chosen the name Silk Road Rising? In global Diasporas. All carry cultural, economic, keeping the term “Silk Road” we signal to our and political dimensions that call for artistic supporters that we remain faithful to Silk Road representation and response. As the rise of new artists and committed to nurturing an Ameri- technologies opens up new possibilities for ex- can theatre movement that presents Asian and pression, we are seizing this moment to diversify Middle Eastern stories. Our devotion to live artistic and cultural representation. In taking theatre remains constant, but is now buttressed this word as our own, we create art that reflects by an emerging commitment to online theatre. our communities while we harness technology to Mining the intersections of art and activism re- bring it to whole new audiences. mains central to our aesthetic, as does showcasing It is a new era for Silk Road Theatre Project. We perspectives seldom, if ever, heard in mainstream hope you will continue rising with us. §

14 about Silk Road Theatre Project

Mission Get InvolveD Silk Road Theatre Project showcases playwrights with Silk Road Theatre Project of Asian, Middle Eastern, and Mediterranean backgrounds, whose works address themes Donate relevant to the peoples of the Silk Road and their Be a part of the exciting things happening at Diaspora communities. Through the mediums of Chicagoland’s only theatre company dedicated to theatre, video, education, and advocacy, we aim telling the stories of Asian, Middle Eastern, and to deepen and expand representation in Ameri- Mediterranean peoples. Your tax-deductible con- can culture. tribution will support the production of our main stage season, as well as staged readings, new play The Silk Road Stretched From Japan commissions, community outreach, educational to Italy. So Does Our Theatre. programs, and more. Check this program for a donate envelope, visit www.srtp.org/support, or The term “Silk Road” refers to the great trade mail your donation to Silk Road Theatre Project, routes that originated in China and extended 680 S. Federal Street, Suite 301, Chicago, IL across Central and South Asia, the Middle East, 60605. Thank you! and into Europe, from the 2nd century BC until about the 16th century AD. The dominant land Volunteer routes connected China to Syria, and adjoined to Want to be closer to the artists and artistry at sea routes, creating an East-West corridor linking Silk Road Theatre Project? A variety of volunteer Japan to Italy. These transcontinental caravans opportunities afford patrons the chance to get in- resulted not only in trade, of which silk was an volved at a grassroots level, from ushering through important commodity, but also in tremendous The Saints to offering pro bono professional cross-cultural interaction among the peoples of services. Contact us today at [email protected] to find the regions; interaction that fostered the exchange out how you can help. of ideas and the fusion of art and aesthetics. Lead The Silk Road is a legacy associated with rich Silk Road Theatre Project’s most active supporters traditions of oral narrative, epic poetry, and sto- can be found on our Board of Directors, a dy- rytelling. Thus, the celebrated trade routes serve namic group of individuals dedicated to sustain- Silk Road Theatre Project both as a geographic ing the mission and goals of this acclaimed young guide as well as a metaphor for intercultural company. Others show their leadership by joining dialogue. a steering committee or an honorary committee for our annual fund campaigns and benefit events. Contact If you wish to discuss leadership opportunities at Silk Road Theatre Project SRTP, please contact Executive Director Malik Administrative Offices Gillani at [email protected]. Silk Road Theatre Project 680 South Federal Street, Suite 301 Receive Chicago, Illinois 60605 Get advance news about SRTP’s activities, Tel: 312-857-1234 Fax: 312-577-0849 productions and events from our e-newsletter. http://www.srtp.org [email protected] Send us an email at [email protected] or just stop by the Box Office—no spam or selling of lists, we promise!

15 company BOARD OF list DIRECTORS

16 Sponsor Acknowledgments

Production support for Yellow Face is provided by:

This project is partially supported by a This program is partially supported by a grant CityArts grant from the City of Chicago from the Illinois Arts Council, a state agency. Department of Cultural Affairs and Special Events.

SPECIAL THANKS

To our gracious hosts at the First United Methodist Church at The Chicago Temple, who exhibit hospitality and generosity towards us on a daily basis, and provide us a space in which we can flourish and grow. And also to: Andrea Bell Claire Simon Casting North Central College Ravenswood Studio

17 Nancy Ali supporting Brent & Stephanie Allen Anonymous DONATIONS Karen & Michael Atwood Danny Au Monica Badlani Sameena & Talha Basit Corporate, Foundation, Sandra Bass Government, and MATCHING Walter Bayer GIFTS Donors Bernard Beck July 1, 2010 to May 15, 2011 Carlos Bekerman, M.D. Mardi Bergen Alphawood Foundation Carolyn Bernstein & Garry Clarke American Theatre Wing Charles Bicker Anonymous Sally & Phil Blackwell Arts Work Fund for Organizational Development Barbara & Ronald Blumenthal Asian Giving Circle Monica Borkar Blue Cross and Blue Shield of Illinois Aldridge & Marie Bousfield The Boeing Company Julie Burros Chicago Community Trust Karen A. Callaway City of Chicago Department of Cultural Affairs and Marion Cameron Special Events Kelly Carroll ComEd Victor Chao The Elizabeth Morse Charitable Trust Sheila J. Chapman & David D. Soo Elizabeth Morse Genius Charitable Trust Dipika Cherala The Field Foundation of Illinois, Inc. Prema & Sundar Cherala French American Fund for the Performing Arts Lisa Church Gaylord and Dorothy Donnelley Foundation Martha & Patrick Coady IBM Corporation Sharon Conway Illinois Arts Council Anna Cooper-Stanton James S. Kemper Foundation N. Cornell Boggs The John D. and Catherine T. MacArthur Foundation Arlene J. Crewdson The Joyce Foundation Carol & Daniel Cyganowski Lloyd A. Fry Foundation Jamilee & Rainier Bellone D`altavilla The MacArthur Fund for Arts and Culture at Prince Sabiha & Shafique Daudi Motorola Foundation Bruce & Laurie Davidson National Endowment for the Arts Jo Anne Davis Northern Trust Charitable Trust Erin & John Dern Polk Bros Foundation Daniel Dornbrook The Saints Pamela Duke Sara Lee Foundation Jane M. Eisner The Shubert Foundation, Inc. Khaled J. Elkhatib Siragusa Foundation Mr. & Mrs. Brian L. Engle Fadi Farhan Marcia Festen Individual Donors James Fitzgerald III April 1, 2010 to May 15, 2011 Nona Flores Florence Forshey Jonathan Abarbanel Lainie & Dieter Freer Christina Adachi Sono Fujii & Claudio Katz Betty Akins Barbara Gaines Pat & Russ Alberding Donna Gerber James L. Alexander Viva Gillio

18 Matthew W. Gorman & Shirley A. Soo Carol Ng-He Sydney Gorman Susan B. Noel Pearl & Larry Greenstein Karen & Eric Nussbaum Linda & Norman Groetzinger Antje Oegel & Scott M. Goldner Joan & Guy Gunzberg Leslie Osterberg Venu Gupta & Vijay Sendhil Revuluri Kriston Patton Chris Haddad & William J. Haddad Susan Payne Mary Louise Haddad Jessie M. Pedron Gulam Hajat Dan Pierro Jo & Steve Ham Carol Porter Trish & Harp Harper Jerry Proffit Dan Heiser Cerna Rand Angeline Heisler Louise Lee Reid Larry Higa Lyn Ridgeway Jann Ingmire Vivian Rosenberg Theresa Jabaley Katherine Ross Norman Jeddeloh & Mario Lopez T. Marshall Rousseau Nizar Jiwani Carolyn Ryffel Diana & Ron Johnson Haytham Safi Diane & Francis Johnston Clarita Santos & Stephen Merritt Craig L. Kaiser & Diana R. Kaiser Margaret & John Saphir Patrick Kapustka Drs. Scott Sarran & Susan Sarran Heidi Katz Hedwig Schellbach Catherine Key Roche Schulfer & Mary Beth Fisher F. George Khoury Michael Shapiro & Elizabeth Klein Joanna & George Khoury Aparna Sharma Carolyn & Gordon Kirk Claudette Smith Beverly Kirks Karen E. Smith Terri Kline Hermia G. Soo Julie & John Kong Arvid Sponberg Ann Kroll Donald E. Sprague Lorraine Kulpa Nikki & Fred Stein George Langlois & Clem Taylor Ron Story Elaine Lauer Cory Tabachow James Legge Val True Fran & Chuck Licht Hollis G. Turner Mario Lopez Dr. & Mrs. W.H. Van Houten Heather MacDonald Cora Vander Broek Marge & Jim Massarello D. Gray Vogelmann Mary McAuliffe Deborah & Walter Wagner Karen & Larry McCracken Maria & Nathan Wagner David & Arlene Alpert-Mehlman Bobbi Walters Adi & Mia Mehta Ben Wilson Mia Mehta Hui-Fei Yu Laura Meyer Cheryl Yuen & Thomas Chin Faisal Mirza Pat Yuzawa-Rubin & Jack Rubin Gib Monokoski Evemarie Moore Joan Morris Sahar Mustafah Margaret Myles Patricia Naguib Joyce Nakamura

19 Neighborhood Partners

Our neighborhood partners provide generous support to Silk Road Theatre Project throughout the year. Please help us show our appreciation by patronizing these outstanding businesses.

35 W. Wacker Dr. Catch 35 Chicago serving the freshest Chicago, Illinois seafood, steaks and daily specials: the (312) 346-3500 perfect prelude to a great performance. www.catch35.com

The Comfort Suites Michigan Avenue is a 320 North Michigan Avenue gorgeous property located in Chicago ’s city Chicago, Illinois 60601 center, steps from the Magnificent Mile, the (312) 376-1997 theater district, and all the best Chicago has www.comfortsuiteschicago.com to offer.

1 S. Wacker Dr. In the heart of the Financial District, Chicago, Illinois the revamped menu at Lloyd’s Chicago (312) 407-6900 features eclectic American cuisine with an www.lloydschicago.com Asian flair.

Macys 7th Floor 111 N. State St. Opened in 1907, The Walnut Room is Chicago, Illinois one of Chicago’s oldest and most famous (312) 781-3125 restaurants. A uniquely Chicago treasure. www.visitmacyschicago.com

20 Welcome! Chicago’s Oldest Church (b. 1831)is alive with new ideas! “Come and see...”

Th ere are many key words that describe this congregation. Words like these: URBAN. From Day One, we have been in the heart of Chicago. DIVERSE. Our staff is diverse - white and black, female and male, Asian and Caucasian. Our congregation is diverse, like the city itself. Our offi cial Statement of Welcome and Inclusion makes it clear that “we welcome and encourage all persons, including persons of all sexual orientations and gender identities, in every aspect of our Christian life together.” TRADITIONAL and CONTEMPORARY. Our roots are in the Methodism of John and Charles Wesley, but our traditional services are enriched by music from classical, modern, Gospel and jazz sources. INTERFAITH and ECUMENICAL. Each year the Temple hosts an interfaith Th anksgiving service, bringing together the city’s broad spectrum of faith communities. GLOBAL. “Th e world is my parish,” said John Wesley. In that spirit our laypeople and clergy have been involved personally in mission projects in such countries as China, Ghana, Haiti and the Philippines.

Philip Blackwell COSMOPOLITAN. Our church hosts the award winning Silk Road Senior Pastor Th eatre Project, the Chicago Humanities Festival, guest lecturers from First United Methodist Church National Public Radio, concerts and pre-election debates. at the Chicago Temple

We invite you to come and see us at the Temple. You are more than welcome.

21 Join Theatre Seven for twelve World Premiere Opening June 2, 2011 short plays about specific Chicago places, including 63rd & Kedzie: The Arab American Greenhouse Theater Center Community Center, by Silk Road Theatre Downstairs Mainstage, 2257 N Lincoln Ave Project Artistic Director Jamil Khoury.

Using distinct locations in zip codes from Tickets: $15 - $30 Rogers Park to the South Side, The Chicago Landmark Project offers twelve diverse 773.404.7336 snapshots of Chicago life from present-day to the distant past, centered around local landmarks. Contributing playwrights include Brooke Berman, J. Nicole Brooks, Aaron Carter, Lonnie Carter, Brian Golden, Laura Jacqmin, Jamil Khoury, Rob Koon, Brett Neveu, Yolanda Nieves, The Red Orchid Youth Ensemble and Marisa Wegrzyn.

22 Silk Road Theatre Project Cordially Invites You to Attend

An exquisite dining experience featuring specialty cocktails, dinner, and the ever-so-playful music of the Silk Road Cabaret Singers!

The Narcissus Room Macy’s on State Street 111 N. State St., 7th Floor, Chicago, IL Tickets: $125 per person

To purchase, call the Silk Road Theatre Project box office GLOBAL THEATRE FOR A GLOBAL CITY at 312-857-1234 ext. 201 or email [email protected] One Great Playwright, Three Great Plays SUMMER OF DAVID HENRY HWANG The Tony Award winning author of M. Butterfly

JUNE 14 - JULY 17, 2011 JUNE 18 - JULY 24, 2011 AUG. 11 - SEPT. 4, 2011

DirecteD by Steve Scott DirecteD by Leigh SiLverman DirecteD by Jennifer adamS A revealing backstage comedy, this The truth is lost—or concealed—in In a dream house, three generations ferociously funny, utterly unreliable the new comedy Chinglish. When await famed patriarch Di-Gou’s memoir chronicles David Henry an American businessman arrives in arrival from Communist China. Hwang’s struggle to define racial China hoping to make an important When he arrives, it is clear he is not identity in the mixed-up melting deal, he finds himself enmeshed the man his sisters remember from pot of contemporary America. Part in a system that he doesn’t thirty years ago, and a comic war fact, part fiction,Yellow Face explores understand—and is more complex ensues between the old ways and the pitfalls and promise of our than he ever imagined. the new, and what it means to be “PC” world. an American.

Presented in association with

GLOBAL THEATRE FOR A GLOBAL CITY theatre

Performances are at The Historic Chica- Performances are in The Albert at Performances are at the Greenhouse go Temple Building, 77 W. Washington Goodman Theatre, 170 N. Dearborn Theater Center, 2257 N. Lincoln St., Pierce Hall, in downtown Chicago. St., in downtown Chicago. Tickets Ave., in Chicago. Tickets are $10.00- Tickets are $24.00-$34.00 and can be start at $25.00 and can be purchased $25.00 and can be purchased at purchased online at srtp.org, at Good- online at goodmantheatre.org, at the greenhousetheater.org, or by phone: man Theatre box office (170 N. Dear- box office (170 N. Dearborn St.), or by 773-404-7336. born St.), or by phone: 312-443-3800. phone: 312-443-3800.