Interview: POOR YELLA REDNECKS' Ben Levin Discusses Diverse Storytelling, Representation & Why This Show is a Dream Come True

Qui Nguyen's (Vietgone, Raya and The Last Dragon)'s Poor Yella Rednecks is currently being presented by Manhattan Theatre Club at New York City Center – Stage I. The prodcution, which is now running through Sunday, December 3, follows a young Vietnamese family as they settle in Arkansas, chasing the American dream as they build a life for themselves. This funny, sexy, and personal new play takes audiences on an exciting and heartfelt roller coaster ride complete with rap, kung fu, puppets, and more. .

The cast of Poor Yella Rednecks features Jon Hoche (Vietgone, Life of Pi), Ben Levin (Vietgone, “Kung Fu”), Samantha Quan (Vietgone), Jon Norman Schneider (The Coast Starlight), Maureen Sebastian (The Best We Could: A Family Tragedy), and Paco Tolson (Vietgone).

BroadwayWorld spoke with one of the stars of the production, Ben Levin, about what Poor Yella Rednecks means to him, why this show is resonating with audiences, and much more. 

When this show first came to you, what was it about the material that you initially connected with?

I think right off the bat I was so eager to do anything that Qui Nguyen is involved in. Having done Vietgone at the San Diego Rep about six years ago, that was my foray into his world, and just the chance to reprise that same character in this sequel was sort of enough. But honestly, it was the fact that I’d just come off of working on this show called Kung Fu on the CW, and having gotten to play with this all-Asian cast there really meant a lot for me. I think I was just eager to jump into another all-Asian cast where we got to tell a diverse immigrant story. I think that was really my initial driving feeling.

Can you share a little bit about who you play in the show and what audiences can expect to see?

I play Qui’s father as a young man, Quang Nguyen. I play a struggling immigrant. We first see me in 1975 when I’m essentially courting his mother, we’re down on our luck and struggling to make ends meet in Arkansas. And audiences can expect a roller coaster of a show. There are no wasted moments, it’s a fast-moving show that incorporates rap, and kung fu, and a puppet, and a lot of heartfelt, tender moments. For me, I’m seeing this through the lens of a love story, and it’s really about his parents meeting and how they began their life in America.

The production was just extended, why do you think this show is resonating with audiences?

I hope that audiences crave diverse storytelling, and for me it’s all about representation. Growing up I really wished I could have seen more material that incorporated Asian performers and Asian stories, and this show specifically is fun, and exhilarating, and it just moves so fast and with great heart and energy. And I think that’s one thing that’s really clicked with audiences, it’s fun and it’s fun for all ages. I’m just really proud that we get to share this with the New York City scene, I think it’s going over well, and I’m so glad to see that people are flocking to see us.

How has it been working with the company?

Manhattan Theatre Club has been great, they’ve been so incredible. I grew up in New York City my whole life, and I started doing youth theatre at TADA!, this nonprofit theatre downtown. To now be back here doing this Off-Broadway production is a dream come true. I think Manhattan Theatre Club is excellent. I love that they had Jaja’s African Hair Braiding running at the Friedman Theatre, and they’re obviously prioritizing diverse stories, which is really meaningful to me. Everybody all the way from top to bottom here is just incredible to work with. I love the cast, I love the crew.

Do you have a favorite onstage moment?

I like the intimate scenes I get to do with Maureen Sebastian who plays Tong, who’s really the lead of the show. Lately I think I’ve been really enjoying… we have a tender scene on the truck Quang owns, and that’s been a scene that I’ve really enjoyed evolving with her. I like the puppet fight, there is a fun, redemptive fight that happens between two bullies and our main puppet protagonist, who is Qui, essentially. I do like doing that scene. But there are so many fun moments to look forward to in the show for me and my own track. I just like going along for the ride each night, it’s a fun experience. I do like rapping though, I make rap in my real life, so that’s been a real treat to get to incorporate music into this play, that’s what really makes it a perfect role for me.

What do you hope that audiences take away from Poor Yella Rednecks?

In the end, I think it’s a love story, and I hope that audiences connect with that aspect, the fact that even in struggle and squalor, love will prevail. It’s a little bit rom-com-y or corny of me, but I do like that message. And of course, “Immigrants, we get the job done,” as we echo from Hamilton. I think that is another important part of the show, you’re seeing diverse people onstage being the heroes, which is not something I grew up seeing. That in itself is why representation matters, and I love that we’re a part of this moment.

Do you have any final thoughts you’d like to share?

I selfishly want to plug my own music if anyone out there wants to support my music, it’s under the moniker Grasshapa, and that’s my passion project. I’m going to be putting out a second album of music pretty soon, in the next few months. That’s something I’m excited to promote. Beyond that I’m just really proud of the play, and I hope that everyone gets a chance to come out and see it before we close on December 3rd.