DOCSLIB.ORG

Outside Mullingar at Theatreworks Encore Arts San

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ProgramCALLIGRAPHY.qxp_LayoutProgramCALLIGRAPHY.qxp_Layout 1 12/16/17 2/16/17 11:50 11:50 AM AM Page Page 3 3 CCaalllliiggrraapphhyy ProgramCALLIGRAPHY.qxp_Layout 1 2/16/17 11:50 AM Page 4 March 2017 About TheatreWorks Silicon Valley Volume 48, No. 6 Welcome to TheatreWorks Silicon Valley and our 47th season of award-winning theatre. Led by Founding Artistic Director Robert Kelley and Managing Director Phil Santora, TheatreWorks Silicon Valley presents a wide range of productions and programming throughout the region. Founded in 1970, we continue to celebrate the human spirit and the diversity Paul Heppner Publisher of our community, presenting contemporary plays and musicals, revitalizing great works of the past, championing arts education, and nurturing new works Susan Peterson for the American theatre. TheatreWorks has produced 66 world premieres Design & Production Director and 160 US and regional premieres. In the 2016/17 season, we add the world Ana Alvira, Robin Kessler, premiere of Confederates and four more regional premieres to our résumé. Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design TheatreWorks Silicon Valley’s 2015/16 season included the world premiere of Mike Hathaway the musical Triangle, as well as regional premieres of The Country House, Sales Director Hershey Felder as Irving Berlin, tokyo fish story, Cyrano, and The Velocity of Marilyn Kallins, Terri Reed, Rob Scott Autumn. Hershey Felder as Irving Berlin broke all our box office records, San Francisco/Bay Area Account Executives becoming the highest-grossing show in TheatreWorks’ history. In the course of the year, shows that debuted here were produced at theatres around the world. Brieanna Bright, Joey Chapman, Ann Manning With an annual operating budget of $8 million, TheatreWorks Silicon Valley Seattle Area Account Executives produces eight mainstage productions at the Lucie Stern Theatre in Palo Alto Jonathan Shipley and the Mountain View Center for the Performing Arts. Sixteen years ago, we Ad Services Coordinator New Works Initiative launched the , dedicating ourselves to the development of Carol Yip new plays and musicals. The Initiative has since supported over 150 new works Sales Coordinator through retreats, workshops, staged readings, developmental productions, ENCORE and the annual New Works Festival, inspiring The Mercury News to call us “a premiere breeding ground for new musicals, which has put the company on the national map.” TheatreWorks believes in making theatre accessible to the entire Silicon Valley community. Our Education Department reaches on average 25,000 students in 70 schools in 7 counties annually. It sponsors outreach programs that include Paul Heppner the Children’s Healing Project at Lucile Packard Children’s Hospital, the Young President Playwrights’ Initiative, specially-priced student matinees, extensive school tours, post-show discussions, and theatre camps, classes, and conservatories Mike Hathaway Vice President for youth. Genay Genereux For more information on our 2016/17 season, New Works Festival, and Accounting & Office Manager Education programs, please visit theatreworks.org or call 650.463.1960. Sara Keats Marketing Manager Ryan Devlin AFFILIATIONS—TheatreWorks Silicon Valley is a member of the League of Resident Theatres (LORT) and Business Development Manager operates under agreement between LORT and Actors’ Equity Association (AEA), the union of professional actors and stage managers in the United States. TheatreWorks is a constituent member of Theatre Communications Group, Inc., the national organization for the nonprofit professional theatre. TheatreWorks is a member of the National Alliance for Musical Theatre, a national service organization for musical theatre. In addition, Corporate Office TheatreWorks is a member of Theatre Bay Area, the Palo Alto Chamber of Commerce, and the Mountain View Chamber of Commerce. TheatreWorks’ 2016/17 Season is presented in cooperation with the City of Mountain 425 North 85th Street Seattle, WA 98103 View and the City of Palo Alto, Community Services Department, Division of Arts and Sciences. p 206.443.0445 f 206.443.1246 The director is a member of the Society [email protected] of Stage Directors and Choreographers, E N Inc., an independent national labor union. R 800.308.2898 x105 E B The lighting, scenic, and sound designers N www.encoremediagroup.com I are members of United Scenic Artists. This V E K season is supported in part by an award O from the National Endowment for the Arts. T O H P TheatreWorks Silicon Valley is a proud / home company of the Mountain View O N Center for the Performing Arts. A G A T A I M Garden Court is the official J. Lohr is the official wine : R Encore Arts Programs is published monthly by Encore Media hotel of TheatreWorks. of TheatreWorks. E V Group to serve musical and theatrical events in the Puget The Mercury News is TheatreWorks’ O C 2016/17 Season Media Sponsor. Hengehold Trucks is the official trucking provider of TheatreWorks. T Sound and San Francisco Bay Areas. All rights reserved. N O ©2017 Encore Media Group. Reproduction R F without written permission is prohibited. 2 THEATREWORKS EAP full-page template.indd 1 1/13/17 3:34 PM EAP full-page template.indd 1 1/27/17 3:29 PM ProgramCALLIGRAPHY.qxp_Layout 1 2/16/17 11:50 AM Page 7 From the Board Chair In this Issue Strange times we’re living in. On the one hand, I’m luxuriating in the creativity, diversity, and brilliance of TheatreWorks’ 47th season 2 About TheatreWorks —perhaps our best ever. On the other hand, I’m increasingly Silicon Valley worried about the future of the performing arts. Significant cuts since the recession have resulted in a 2015 national 6 2017/18 SEASON arts budget of $146 million, a paltry .002 percent of federal discretionary spending. Now there are rumblings that the impend- 8 Coming Next at TWSV ing national budget will shutter both the National Endowment for the Arts (NEA) and the National Endowment for Humanities (NEH). The importance 9 From the Artistic Director of these agencies cannot be underestimated. Since being signed into law in 1965, the NEA and NEH have administered grants annually to the fine arts, performing 10 Director’s Notes arts, and cultural projects in each congressional district in the country. TheatreWorks Silicon Valley has been fortunate to be one of many such grantees. 12 Velina Hasu Houston Gets It Looking ahead, it’s clear that there will be fewer federal dollars available to deserv- ing applicants. Equally important, the message that defunding these agencies will Write with CALLIGRAPHY send the public, including the next generation of theatregoers, is disheartening. We must continue to support the arts. They matter! Your generosity allows nonprofit organizations like TheatreWorks to teach, entertain, and inspire, while employing creative artists on the stage, behind the scenes, in the schools, and throughout the community. There is more we can do to ensure that the arts thrive and keep pace with the scientific and technological innovation that surrounds us in Silicon Valley. Your annual support can make a vital difference. In addition, a legacy gift will help TheatreWorks prosper well into the future. Through our FutureWorks program, planned gifts from bequests, trusts, life insurance, and retirement plans are easy to arrange. And they can help fulfill your personal philanthropic, retirement, and financial goals. I’m hoping you’ll join me as a donor and a member of FutureWorks. Although I believe we will survive additional federal cuts, it is comforting to know that our gifts will safeguard the art of TheatreWorks now and for generations to come. Playwright Velina Hasu Houston Barbara Shapiro 14 Insider Access 15 TheatreWorks Silicon Valley BOARD OF TRUSTEES presents CALLIGRAPHY Barbara Shapiro, Chair Jayne Booker Roy Johnson Lynn Szekely-Goode Cabell Chinnis Derry Kabcenell Ewart Thomas 16 Who’s Who Bill Coughran Michael Kahn Tzipor Ulman Ciro Giammona Julie Kaufman Mark Vershel Contributors Anne Hambly Robert Kelley Holly Ward 19 Judy Heyboer Phil Santora Lisa Webster Larry Horton Loren Saxe Jane Weston 22 TWSV Staff Charlotte Jacobs Nancy Ginsburg Stern Gayla Lorthridge Wood Debra Summers 23 TWSV General Information BOARD EMERITUS Nancy Meyer, Founder • William F. Adler • Edward T. Anderson, MD • Doug Barry • Lauren Berman • Chuck Bernstein • Sharon Anthony Bower • Michael Braun • Polly W. Bredt • Bruce C. Cozadd • Jeff Crowe • Peggy Dalal • Yogen Dalal • Jenny Dearborn • Susan Fairbrook • Continue the conversation online! Michael R. Flicker • Peggy Woodford Forbes • Dan Garber • Doug Garland • Aaron Gershenberg • Marcia Goldman • Emeri Handler • Susan M. Huch • Perry A. Irvine • Nancy Lee Jalonen • Lisa Jones • Gina Jorasch • Roberta R. Katz • Tom Kelley • Robin Kennedy • Michael Kwatinetz • Dick Maltzman • Suzanne Martin • Patti McClung • Don McDougall • Bruce McLeod • Cynthia S. Miller • Leslie Murphy-Chutorian • Eileen Nelson • Karen Nierenberg • Carrie Perzow • Carey Pickus • Margot Mailliard Rawlins • John Reis • Eddie Reynolds • @TheatreWorksSV Sandi Risser • Lynn Wilson Roberts • Ray A. Rothrock • Adam Samuels • Denise Stanford • #TWSVCalligraphy Rosina Lo Sun • James Sweeney • Cathie Thermond • Helaina Titus • Robert J. Van der Leest, MD • Ronni Watson • Elissa Wellikson encoreartsprograms.com 5 EAP full-page template.indd 1 1/27/17 3:29 PM ProgramCALLIGRAPHY.qxp_Layout 1 2/21/17 4:42 PM Page 8 “STELLAR!” “STUNNING!” NOT TO BE MISSED! E N R E B A TIMELY NEW MUSICAL A TIMELESS MUSICAL JOURNEY N I V E K & N I The Four Immigrants: The Prince of Egypt T R A M Music and Lyrics by Stephen Schwartz Y An American Musical Manga C A Book by Philip LaZebnik R T Book, Music, & Lyrics by Min Kahng Y B Directed by Scott Schwartz S Based on Manga Yonin Shosei by Henry Yoshitaka Kiyama O WORLD PREMIERE in collaboration with Fredericia Teater, Denmark T Translated as The Four Immigrants by Frederik L. Schodt O H P Join TheatreWorks as this inspiring world premiere musical begins its / Directed by Leslie Martinson Y E international journey towards a 2018 debut in Denmark.
Recommended publications
  • Mertens 2000 Revised

    Mertens 2000 Revised

    MERTENS 1 "Kokoro (True Heart)" by Velina Hasu Houston Summary: When Yasako and her family move to the United States, she struggles to adapt to American life while retaining Japanese culture in herself and her young daughter. Her husband decries her inability to acculturate yet expects her to conform to traditional Japanese family roles. When she discovers her husband's infidelity and must respond to his mistress' threats, Yasako believes the only way to preserve her dignity is oyako shinju (parent-child suicide). Activities for students: Pre-reading ** Japanese words/phrases found in the play bun-cha: evening tea bun-shin: Japanese belief that the child is a part of the mother -chan: used after a person's given name to express intimacy and affection; also used as a diminutive for children; (i.e. Kuniko-chan) kokoro: spirit; heart; mind kuro-ko: stage assistants who help actors with their costumes and props; they are usually dressed completely in black obon: Japanese summer festival during which people express their gratitude to their dead ancestors obon dori: religious folk dance that is done to comfort the spirits of the dead. People gather around a wooden platform at a temple or shrine which is decorated with lanterns and dance to the accompaniment of traditional drum and flute music. The dances differ according to MERTENS 2 locality, and today many modern or even foreign songs and dances have been introduced into the obon festival. okaasan: mother otosan: father o-manju: bean-paste filled bun oyaku shinju: parent-child suicide yukata: cotton summer kimono ** Cultural Defense - Group Activity (one class period) ** Objectives 1.
  • THE APPA Newsletter Oct. 23, 2007 See This Weekend MISSION

    THE APPA Newsletter Oct. 23, 2007 See This Weekend MISSION

    THE APPA Newsletter Oct. 23, 2007 See This Weekend MISSION STATEMENT: Promote full utilization of the capabilities of the Enterprise's employees and champion the betterment of the company and community. Promote interest in Asian Pacific issues and culture and act as a bridge to all groups within our community. (substitute in your Enterprise and company, etc…) --------------------------------------------------------------------- ed. by Douglas Ikemi ([email protected]) ------------------------------------------------------------------------- Back issues of the newsletter for all of 2000, 2001, 2002, 2003, 2004, and 2005 are available at http://www.ikemi.info/APPA/newsletters.html if you want to look up some past event. The website www.apa- pro.org no longer exists. This newsletter was originally published under the auspices of the Hughes Asian Pacific Professional Association (no longer extant). It currently has no affiliation and is available to anyone who is interested in downloading it. ---------------------------------------------------------------------- Please send in information on cultural events and news items to [email protected] or [email protected] . Thanks to those who have. Long range calendar items: Chinatown Farmers Market EVERY THURSDAY FROM 2-6PM, the Chinatown Farmers' Market takes place at Hill & Alpine bringing fresh fruits and produce by California Farmers to the Chinatown Community. FRIED BANANA, FRIED YAM, HAWAIIAN CHICKEN. We invite you to come and experience the Chinatown Farmers' Market. Free parking with purchase. The Downtown Arts District/Little Tokyo Farmers' Market Weller Court 2nd & San Pedro in Little Tokyo Summer Hours 10-3pm Features fresh produce, Hawaiian Chicken, more food gifts...and live jazz band. Tuesdays from 10 a.m.- 3 p.m. The weekly market is held every Tuesday from 10 a.m.- 3 p.m year round, rain or shine.
  • Transnational Feminist Theatre of Velina Hasu Houston Mariko HORI

    Transnational Feminist Theatre of Velina Hasu Houston Mariko HORI

    ISSN 1347-2720 ■ Comparative Theatre Review Vol.11 No.1 (English Issue) March 2012 Shaping a New Communal Identity: Transnational Feminist Theatre of Velina Hasu Houston Mariko HORI Abstract Velina Hasu Houston, a Los Angeles-based American writer, is often regarded as a multicultural or postmodern playwright because of the characteristics of her works written from her transnational or multiracial point of view, but she posits herself as a feminist writer, resisting the labels such as “multicultural artist” or “postmodernist” that may force every “ethnic theater” into “an artistic ghetto.” She creates works revealing struggles and frustrations of transnational, multicultural and multiracial women in the white male-centered society, dreaming of a new world community where they are treated equally and with respect. Houston challenges to accepted practices by exploring theatrical innovations in her pursuit of an identity that dissolves any border. In her most successful play, Tea, her her- oine, a ghost, who, having killed her husband and lost her daughter, committed suicide, crosses the border between this world and that world, listening to the interactions of four other Japanese women who are visiting her house. Scenes go back and forth; in some scenes five women enact the roles of their husbands and daughters. Such use of scenes defies chronological order; the use of geographically unfixed sets and multiple roles played by a single performer are features often seen in contemporary feminist theatre. She often re-envisions the gender relations of ancient myth and creates a new myth where individuals “transgress borders of nations and identity, forming new communities that often defy categorization.” Mina in The House of Chaos, based on the Medea myth, is a Japanese woman who defeats her husband and his male ally who conspired to drive her away to rob her of the firm she had inherited from her Japanese family.
  • UCLA Electronic Theses and Dissertations

    UCLA Electronic Theses and Dissertations

    UCLA UCLA Electronic Theses and Dissertations Title Pluralistic Realities and Tenuous Paradigms: Critical Examinations of Race and "Normativity" in Japanese/American Multiethnic and Multiracial History Permalink https://escholarship.org/uc/item/4j3997h8 Author Ong, James Man Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Pluralistic Realities and Tenuous Paradigms: Critical Examinations of Race and “Normativity” in Japanese/American Multiethnic and Multiracial History A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Asian American Studies by James Man Ong 2014 © Copyright by James Man Ong 2014 ABSTRACT OF THIS THESIS Pluralistic Realities and Tenuous Paradigms: Critical Examinations of Race and “Normativity” in Japanese/American Multiethnic and Multiracial History By James Man Ong Master of Arts in Asian American Studies University of California, Los Angeles, 2014 Professor Lane Ryo Hirabayashi, Chair In both the US and Japan in recent decades, multiethnicity has become an increasingly significant phenomenon for Japanese/Americans. Though relative minorities in the past, mixed individuals have become an emerging demographic as successive generations of individuals of Japanese and non-Japanese ancestry have transgressed social barriers, ethnic racial boundaries and national divides, blending diverse ancestries and cultures into unique syntheses. While individuals
  • Jeanne Sakata Joel De La Fuente Lisa Rothe

    Jeanne Sakata Joel De La Fuente Lisa Rothe

    PRESENTS BY Jeanne Sakata STARRING Joel de la Fuente SCENIC DESIGNER COSTUME DESIGNER LIGHTING DESIGNER SOUND DESIGNER Mikiko Suzuki MacAdams Margaret E. Weedon Cat Tate Starmer Daniel Kluger PRODUCTION STAGE MANAGER CASTING Mary K. Botosan Pat McCorkle, Katja Zarolinski, CSA BERKSHIRE PRESS REPRESENTATIVE DIGITAL ADVERTISING NATIONAL PRESS REPRESENTATIVE Charlie Siedenburg The Pekoe Group Matt Ross Public Relations DIRECTED BY Lisa Rothe SPONSORED IN PART BY Carol and Alfred Maynard & Dick Ziter and Eric Reimer Hold These Truths was first produced in 2007 by East West Players in Los Angeles, California, under the title of Dawn’s Light: The Journey of Gordon Hirabayashi. It was commissioned in 2004 by Chay Yew, former Director of the Center Theater Group’s Asian Theatre Workshop, and further developed with the Lark Play Development Center, the New York Theatre Workshop, and the Epic Theatre Ensemble. Hold These Truths received its New York Premiere at the Epic Theatre Ensemble in October 2012. ST. GERMAIN STAGE MAY 22–JUNE 8, 2019 CAST Gordon Hirabayashi ............................................................................. Joel de la Fuente* STAFF Production Stage Manager .................................................................... Mary K. Botosan* Stage Management Intern ........................................................................ Melina Yelovich Master Electrician/Light Board Operator ...................................................Joey Rainone IV Sound Engineer ..............................................................................................
  • Show Me the Money Pacific Gitizen 9

    Show Me the Money Pacific Gitizen 9

    Newsstand: 25¢ $1.50 postpaid (U.S., Can.) I $2.30 (Japan Air) #29901 Vol. 136, No. 7ISSN: 0030-8579 National Publication of the Japanese American Citizens League (JACL) APR. 18-MAY 1, 2003 Census Shows Increase in Hapas; Playwright APAs React to Michigan Affirmative Action Houston Notes Growing Acceptance Among Asians Cases Going Before Supreme Court By MARTHA NAKAGAWA Southern California where she is By TRACYUBA final ruling will have a lot of gray undergraduate programs because Assistant Editor currently a professor of theater WriterlReporter area and the Supreme Court won't race and diversity factors and director of the playwriting rule completely in favor [ot} or allowed less qualified minority Personal account from interna­ program at USC's School of Asian Pacific Americans completely against the use of race students to get in ahead of them. tionally acclaimed playwright Theatre. across the country reacted to two in admissions. The tricky part is The court is expected to delib­ Velina Hasu Houston and 2000 highly scrutinized cases involv­ how much gray area they will erate over the next two months The event was co-sponsored by · Census data analyzed by the Asian USC's Asian Pacific American ing the University of Michigan 's allow through the language that and a decision may be rendered Pacific American Legal Center Student Services, USC Nikkei use of race as in late June. confirm that the Nikkei communi­ Association and the Japanese an admissions After six ty has evolved into a highly multi­ American Historical Society of factor in its law years of legal ethnic community.
  • CONFERENCE ON-SITE ACTIVITIES All Sessions and Activities, Unless Otherwise Noted, Are Held at the Sheraton Seattle Hotel

    CONFERENCE ON-SITE ACTIVITIES All Sessions and Activities, Unless Otherwise Noted, Are Held at the Sheraton Seattle Hotel

    SCHEDULE AT A GLANCE 7a 8a 9a 10a 11a 12p 1p 2p 3p 4p 5p 6p 7p 8p 9p CONFErENCE ON-SiTE ACTiViTiES All sessions and activities, unless otherwise noted, are held at the Sheraton Seattle Hotel. For more information, visit janm.org/conference2013 expo Friday, July 5, 1 pm–5 pm WEDNESDAy, JULy 3 Saturday, July 6, 8 am–5 pm 2– 8p Registration The Expo is an opportunity to take a moment to review and reflect on the ConnectConference sessions through interactive, thought-provoking, and hands-on THUrSDAy, JULy 4 activities for all ages. Enhance your Conference experience as you further explore 9a–5p Bainbridge Island July 4th Celebration the issues surrounding democracy, justice, and dignity within the context of the 1:10p Seattle Mariners Baseball Game Japanese American story and your own cultural heritage and identity. (To be confirmed pending 2013 MLB schedule announcement in Fall 2012) Just for kids! In partnership with the Japanese Cultural & Community Center 2–8p Registration of Washington, the Expo features special activities for our young attendees ages FriDAy, JULy 5 5 to 12 years, including origami and storytelling. 7a–5p Registration Community Marketplace 8a–12noon Wing Luke Asian Friday, July 5, 1 pm–5 pm Museum of the Asian Pacific American Saturday, July 6, 8 am–5 pm Experience and International District Bus Tour (Ticketed) The Community Marketplace showcases community-based organizations and select vendors from across the nation. These invited exhibitors present the 1:30–3p Opening General Session with Keynote Address fascinating histories of their regional communities as well as their current 1–5p Community Marketplace and Expo projects and products of note.
  • English-Language Works by JAAS Members 1998

    English-Language Works by JAAS Members 1998

    The Japanese Journal of American Studies, No. 11 (2000) English-Language Works by JAAS Members 1998 The following citations and abstracts introduce recent publications and dis- sertations, written in English by members of the Japanese Association for American Studies, on topics related to American Studies. The works are list- ed in the order of articles in journals, articles in books, and dissertations. ARTICLES IN JOURNALS Asada, Sadao. “The Shock of the Atomic Bomb and Japan s Decision to Surrender—A Reconsideration.” Pacific Historical Review 67:4 (1998): 477–512. Microscopically examining Japan’s decision-making process in the days between the Hiroshima bomb and surrender in August 1945, this article critically reviews both American and Japanese historiography. A close study of the Japanese side of the pic- ture shows that the arguments of the “atomic diplomacy” thesis as advanced by Gar Alperovitz and Martin Sherwin are totally untenable. Fujita, Hideki. “Cannibalism in Tennessee Williams’ ‘Desire and the Black Masseur.’” Journal of the Faculty of Humanities (Toyama University) 29 (1998): 73–80. In “Desire and the Black Masseur,” Williams describes cannibalism as a sado- masochistic act in religious imagery and language, thereby revealing the significant link between the sensual and the spiritual. Cannibalism in this story represents a form of interpersonal union, one of Williams’s major thematic obsessions. Fujita Hideki. “Gender Strife in Tennessee Williams’ A Streetcar Named Desire.” New Perspective 168 (1998): 43–50. Williams’ A Streetcar Named Desire displays the intense gender struggle through the antagonism between two major characters, Stanley and Blanche. This play shows that 219 220 ENGLISH-LANGUAGE WORKS IN 1998 the power relations between the masculine and the feminine are inextricably connect- ed with questions of signification and sexuality.
  • In Velina Hasu Houston's Kokoro

    In Velina Hasu Houston's Kokoro

    The Japanese Journal of American Studies, No. 11 (2000) Creating a Feminist Transnational Drama: Oyako-Shinju (Parent-Child Suicide) in Velina Hasu Houston’s Kokoro (True Heart) Masami USUI IINTRODUCTION Velina Hasu Houston’s play Kokoro examines the Japanese traditional practice of oyako-shinju, or parent-child suicide, in a transnational con- text. A 1985 oyako-shinju case in Santa Monica motivated Houston to do further research and ultimately complete Kokoro as a drama.1 On January 29, 1985, a 32-year-old Japanese woman attempted oyako-shin- ju with her 4-year-old son and her 6-month-old daughter at the Santa Monica seashore. Only the mother survived. Her 40-year-old husband, an artist and restauranteur in Chatsworth, had kept a Japanese mistress for three years. The couple had been married about eight years and had lived in the States for about six years when this incident occurred. Kokoro uses key facts from newspaper articles, such as the out-of-fashion Japanese practice of the wife’s bathing the husband’s legs, the wife’s insomnia whose symptom is a loss of hair, the wife’s journal and poet- ry written during her imprisonment in the Los Angeles County Jail, and a neighbor’s assistance with childcare. The 1985 oyako-shinju incident “certainly makes us consider how the Japanese culture can be judged in the States and also how deeply the frequency of oyako-shinju is related Copyright © 2000 Masami Usui. All rights reserved. This work may be used, with this notice included, for noncommercial purposes. No copies of this work may be distributed, electronically or otherwise, in whole or in part, without per- mission from the author.
  • UC Santa Barbara Electronic Theses and Dissertations

    UC Santa Barbara Electronic Theses and Dissertations

    UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Race and Role: The Mixed-race Asian Experience in American Drama Permalink https://escholarship.org/uc/item/9qv6d1mn Author Heinrich, Rena M. Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Race and Role: The Mixed-race Asian Experience in American Drama A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater Studies by Rena M. Heinrich Committee in charge: Professor Christina S. McMahon, Chair Professor Ninotchka Bennahum Professor Paul Spickard June 2018 The dissertation of Rena M. Heinrich is approved. ____________________________________________ Ninotchka Bennahum ____________________________________________ Paul Spickard ____________________________________________ Christina S. McMahon, Committee Chair June 2018 Race and Role: The Mixed-race Asian Experience in American Drama Copyright © 2018 by Rena M. Heinrich iii ACKNOWLEDGEMENTS I am deeply indebted to my committee members Drs. Christina S. McMahon, Ninotchka Bennahum, and Paul Spickard for their endless support, crucial mentorship, enthusiastic cheerleading, and abundant wisdom. I thank the faculty, the staff, and my colleagues in the Department of Theater and Dance for their generosity of spirit and their unwavering belief in my endeavors. I am especially indebted to Blythe Foster, Ming Lauren Holden, Yasmine M. Jahanmir, Kelli Coleman Moore, Rachel Wolf, and Rebecca Wear for looking after my children and making it possible to do this work. I thank the Department of Asian American Studies—faculty, staff, and fellow teaching assistants for their kindness, support, and good cheer. I thank my colleagues in the Department of History for their many hours of caring feedback.
  • JOYCE KIM LEE Costume Designer

    JOYCE KIM LEE Costume Designer

    JOYCE KIM LEE Costume Designer www.JoyceKimLee.com Television PROJECTS DIRECTOR STUDIO / PRODUCTION COMPANY DISNEY CHANNEL HOUSE PARTY (specials) Various Disney Channel Halloween House Party | Holiday House Party Prod: Skot Bright JUST ROLL WITH IT (pilot + series) Jamie Widdoes Disney Channel Various Prod: Trevor Moore, Adam Small, Skot Bright BIXLER HIGH PRIVATE EYE (mow) Leslie Kolins-Small Nickelodeon Prod: Greg Sills, Rene Rigal, Tom Keniston MAYIM’S WONDERLAB (pilot) Hugh Martin Nickelodeon / Sid & Marty Krofft Pictures Corp. Prod: Irene Oncley, Sid Krofft, Marty Krofft, Mayim Biyalik WALK THE PRANK (season 3) Various Disney XD / Horizon Productions Prod: Skot Bright, Trevor Moore, Adam Small THE MUPPETS (pilot + series) Randall Einhorn ABC / The Muppet Studios Various Prod: Kris Eber, Michael Gray, Bob Kushell, Kristin Newman FOREVER BOYS (pilot) Adam Stein Disney Channel / Humble Picture Company Prod: Carrie Morrow, Bob Smiley, Stephen Engel THE HAUNTED HATHAWAYS (pilot + series) Various Nickelodeon Prod: Dionne Kirschner, Boyce Bugliari, Jamie McLaughlin FIGHT MASTER: BELLATOR MMA (series) Various Spike / Profiles Television Prod: Mark Dziak THE FRESH BEAT BAND (pilot + series) Various Nickelodeon 2012 Daytime Emmy Award: Outstanding Achievement in Prod: Susan Nessanbaum-Goldberg, Chris Robinson Costume Design (Nomination: 2011, 2013, 2014) CULTURE SHOCK (pilot) Chris Cowan CBS / Rocket Science Labs Prod: Chris Cowan KRYPTON (pilot)* Ciaran Donnelly Syfy / DC Entertainment / Warner Horizon Colm McCarthy CD: Varvara Avdyushko
  • View Festival Program

    View Festival Program

    Welcome to the 2021 OPC New Works Festival. Our creative community of over 80 artists, spearheaded by our fearless playwrights, has been meeting, collaborating, imagining, writing and rehearsing on and off for the past year and a half. This is the culminating phase of that process -- an extraordinary chance for our playwrights and their new plays to engage and embrace you, the audience, albeit virtually. We are so gratified to include you in the OPC developmental process that gives birth to the next generation of great American plays. I am so proud of our 2021 playwrights who have responded to this remarkable moment in history with plays that speak to the heart of what it means to be a caring human being, of the profound impact of living in these turbulent times, and of honestly facing up to the challenges of the present in order to build a better future for all. These past months have reinforced how rare and special our OPC family truly is. We have been reminded that gathering in beautiful Ojai is an inspirational, unique and enriching moment in our lives. But, more importantly, the programs and festivities that our staff, our board, our artists and our loyal followers have sustained and grown during this pandemic have proven once again our OPC resilience and unflagging support for plays and playwrights caring and daring to make this a more just and equitable world. The 2021 New Works Festival is a living testament to the collective spirit of generosity, imagination and compassion this OPC community inspires. That is our mission and the