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2001 Next Wave Festival Bamcinematek November 2001 2001 Next Wave Festival BAMcinematek Denise Green, For Merce 2000 BAM Next Wave Festival sponsor: PHiliP MORRIS ~lAGfBlll COMPANIES INC. Brooklyn Academy of Music Bruce C. Ratner Alan H. Fishman Chairman of the Board Chairman, Campaign for BAM Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents Once Upon a Time in Chinese America ... A Martial Arts Ballet and Music-Theater Epic (aka Voice of the Dragon*) Music & concept by Fred Ho Approximate BAM Harvey Lichtenstein Theater running time: Nov 7, 9 & 10, 2001 at 7:30pm; Nov 11 at 3pm 1 hour, no Director Mira Kingsley intermission Martial arts choreography Jose Figueroa Written by Fred Ho & Ruth Margraff Lighti ng Allen Hahn Costumes Kenneth Chu Scrolls calligraphy Tony Kun-Feng Chen Set and original scroll design Michael Forrest Kurtz Stage manager Matthew Welander Afro Asian Music Ensemble Composer/leader/baritone sax Fred Ho Alto sax "Sweet" Sue Terry Tenor sax David Bindman Drum set/Chinese percussion Royal Hartigan Marimba/vibes/percussion Hitomi Tono'oka Bass Wesley Brown Major support for the BAM presentation of Once Upon a Time in Chinese America ... is provided by The Dime Savings Bank of New York, FSB. Next Wave dance programs are supported by The Harkness Foundation for Dance and The Joyce Mertz-Gilmore Foundation. Produced by Big Red Media, Inc., with Mrs. Mary Sharp Cronson, Tina Chen, and commissioned by The Mary Flagler Cary Charitable Trust, The World Music Institute, NYSCA, and the John Harms Center for the Arts. BAM thanks Theatre Development Fund for its support of this season. 25 Program A 17th-century Chinese martial arts legend of intrigue, opportunism, betrayal, revolutionary redemption, and innovation serves as an allegory for the destruction and resurrection of the modern-day Asian American Movement. 1. Prologue/Overture: The Way of Shaolin ... 2. A Poisoned Soul: Gar Man Jang Curses the Moon and Does Not Bow to the Sun! 3. Serpenti ne Attack on Shaol in! The Five Ancestors: 4. Chen Jak, Visionary Strategist Leader and Tai Chi Master 5. Miao Hin, Master of Knives 6. Gee Shin, The Builder, Master of Leopard Kung-fu 7. Li Wen Mao, Revolutionary Cantonese Opera Artist 8. Ng Mui, Martial Nun, and the Greatest Hand-to-Hand Boxer of All Time 9a. Outlaws All! All Heroes Are Brothers and Sisters (Loyalty Oath Sworn Underneath a Peach Tree) 9b. Absolute Corruption from Absolute Power 10. Drunken Fist Revenge and the Apocalypse 11. Epilogue Cast (in order of Narrator Shyaporn Theerakulstit appearance) Gar Man Jang Kathleen Cruz Chen Jak Jose Figueroa Miao Hin Philip Joseph Silvera Gee Shin George Crayton, III Li Wen Mao R. Scott Parker Ng Mui Sharon Soomi Kim Eunuch/Manchu Flaming Warrior Malcolm Chin-Soong Murray Manchu Super Warrior Earl Weathers Jr. Manchu Superfighter Jose Quinones "Bolo" Super Macho Manchu Michael Pasigan The Widow-maker Vera Vanguard In conjunction with Once Upon a Time ... , BAM presents: Dance of the Dragon: Martial Arts on Film BAMcafe Live BAMcinematek at BAM Rose Cinemas NIGHT VISION: A Third to First Nov 10-Dec 16 World Vampyre Opera (excerpts from a new opera by Martial Arts Workshop (with masters Fred Ho and Ruth Margraff) Hu Jianqiang and Gordon Liu) Nov 15 at 9pm BAM Hillman Attic Studio Nov 10 at 2pm. Tickets $20 Visit www.bam.org for details. 26 I was asked to submit my director's notes the day before the tragedy at the World Trade Center. I began that day jotting down a few scattered thoughts about the unique chal­ lenges and questions I have confronted during my three years with this piece. Some of the thoughts were the clashing elements of eastern and western philosophy in the show, genre fusion, and the idea of creating a new American musical form. But those words I would have written in September, like so many lives, have been violently buried. We are human because we have limits, and we are human because we will strive to reach beyond those limits. Within this paradox lies our salvation and our destruction. Theater allows us to be first-hand witnesses to the uniquely human struggle of answer­ ing the question, "How far can we go?" The answer to that question can be triumphant, terrifying, or touching, but it is always transforming. What I have learned watching this cast perform superhuman feats in a brutally exhausting show, with no enhancement but their own adrenaline, is that our bodies have boundaries. But those physical boundaries are almost always far beyond what we expect. The same is true spiritually. The best theater exists in a world without judgement. Whether we witness a character like Gar Man Jang, whose force of ambition surpasses boundaries of her own and other's destruction, or characters like the Five Ancestors, who overcome insurmountable odds and use innovation as a mode of revenge to bring about their own salvation. Their miracle and their message is the same. We can always do more. -Mira Kingsley Once Upon a Time in Chinese America... Produced and Managed by Big Red Media, Inc. www.bigredmedia.com *Title for 2002-2003 North American Tour. Tour Management by Columbia Artist Management, Inc. att: John Luckacovic ([email protected]) For information on soundtrack recording, visit www.innovarecordings.com. Fred Ho plays exclusively a Selmer low-A Mark VI baritone saxophone, a Lawton 9starB metal mouthpiece and Rico #4 reeds. Fred Ho is represented by Sozo Arts (http://[email protected]). Special thanks to Sozo Arts (Rika and Bill), Joe Scarcella, Marina Celander, Natasha Radiojevic, Joe Melillo, BAM, and above all, to Harvey Lichtenstein, Mary Sharp Cronson, and Manny Rodriguez. 27 ONCE UPON A TIME IN CHINESE AMERICA ... : A Martial Arts Ballet and Music-Theater Epic (aka Voice of the Dragon) Prologue The Narrator, a time-traveling ghost, appears, creating the orchestra and characters and introduc­ ing us to the history of the Shaolin Temple. We see a baby, Gar Man Jang, brought to the Shaolin Temple and abandoned by her father. The Monks adopt the orphaned child. As she grows, the monks educate Gar Man in the mystical martial arts forms of the Shaolin teachings. She learns quickly and receives her black belt earlier than most other students. After earning her black belt, Gar Man chooses to train with the elders. Here is where her story begins .... Scene I Though Gar Man's skill is advancing rapidly in the temple, she grows impatient with the time-honored traditions of the Shaolin way. Her pride and ambition begin to take command of her personality. As punishment for her vanity, the Elders order her to perform the menial duty of cleaning the monastery floor, a humbling task usually left to novices. Insulted, but too afraid to defy her elders, Gar Man begins to clean. She is careless and breaks an ancient lamp. The sound of the crash causes an uproar in the temple. Gar Man is harshly reprimanded by the elders for this careless­ ness, then left alone to clean up the mess. Gar Man's soul explodes with rage. Forgetting her fears and acting out of defiance, she runs away from the only place she has known as home. Scene II We meet Eunuch Chow Mae Ngai, a sly member of the Imperial Court on a mission to infiltrate the Shaolin Temple and steal its secrets. Chow Mae Ngai disguises himself as a common beggar and sets himself outside the temple in hopes of finding a way in. He accosts Gar Man as she is sneaking out of the temple in the dead of night. He promises her riches and power if she will 28 (continued on page 33) (continued from page 28) divulge the secrets of the Shaolin Way to him and plot with him to attack the temple. Gar Man, still seething from her disgrace, agrees. The betrayal begins. Scene III The Monks and Nuns of the Shaolin Temple awake amid a massacre led by Gar Man and the Eunuch. A brutal battle ensues as the temple is burned to the ground and its treasures ravished. Five ancestors manage to escape the slaughter while Gar Man goes in search of the temple's Secret Scrolls. Scene IV In live action comic book style, we are introduced to the powers of the heroic Five ancestors and experience their exciting battles as they flee the massacre of the Shaolin Temple toward the safety of the marshes. Each of the Five displays a unique personality and distinct martial arts fighting style. Scene V Finally managing to escape the Imperial Bandits, the Five collapse in shock and fatigue underneath a peach tree far from their demolished temple. They vow loyalty to the Shaolin Way and agree to split up for safety and then reunite years later to take revenge upon the traitor Gar Man Jang. Scene VI While the temple burns above her, Gar Man Jang discovers the vault of the Shaolin Secret Scrolls. It is forbidden for any but the highest elders of Shaolin to read the scrolls, as martial arts are taught through an oral tradition, teacher to student. Gar Man commits the ultimate betrayal and reads all the scrolls. The awesome power of this martial arts knowledge is too much for any human to handle at once and Gar Man undergoes a terrifying gender-bending transformation. Her soul is turned inside out and she becomes a beast maniacally focused on killing the Five who escaped her madness. Scene VII Ten years later the Five reunite as they vowed, underneath the peach tree. They learn that Gar Man has stolen the knowledge and power of the scrolls.
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