VIDEOS: B.D. Wong Tells #MyYellowfaceStory, Panelists Discuss Inclusion at Beyond Orientalism Forum

As reported by BroadwayWorld, the Twitter hashtag #MyYellowfaceStory, has recently been used by Asian-American theatre artists such as David Henry Hwang, Lea Salonga and Ann Harada to make the public aware of the frequency and impact of racism, both overt and subtle, experienced by Asian Pacific American artists within the industry, particularly when it comes to the use of makeup to allow white actors to play roles written for other races.

The hashtag was created in conjunction with the May 2nd forum, "Beyond Orientalism," presented by the Asian American Arts Alliance, Asian American Performers Action Coalition (AAPAC), Theatre Communications Group (TCG) and Alliance for Inclusion in the Arts in response to recent incidents of yellowface, brownface and whitewashing in American theatre, including multiple productions of THE MIKADO around the country.

Nearly 400 people crowded into Pope Auditorium at Fordham University for the event, which began with a keynote speech from Tony Award-winning actor B.D. Wong. He talked about his own #MyYellowfaceStory, playing a slave in the 2007 TV film "Marco Polo" opposite Brian Dennehy who played Mongolian conqueror Kublai Kahn in yellowface make up, and the opposition he experienced when he tried to sway the director from the use of yellowface.

"The tradition of white actors transforming themselves, playing whoever they want, crossing across race, painting themselves up, and doing all sorts of things like that is as deeply entrenched in them as our pain is in us," says Wong. In a message to white actors, he stated, ""You can't win when you have the yellowface on. You can't win when you take the yellowface off. You're in the wrong part."

As seen in the video, the panel that followed featured many leaders from the New York theatre scene, including some who have recently wrestled with the issue of racial impersonation.

David Wannen, Executive Director of the New York Gilbert and Sullivan Players, said, "Our eyes have been opened; we've been awakened to the need for change surrounding THE MIKADO. Our board of directors have committed to a new version including a new director--the first director to hold that title in 40 years--and an openness to working with a member of the Asian American community as a member of the creative team. That took a lot of internal work."

Randy Skinner, director of this season's Broadway revival of DAMES AT SEA, remarked on his process dealing with the Orientalist elements in the song "Singapore Sue." "We thought, 'why don't we just cut the number?' but that was not an option with the estates. We did get permission to re-examine the song and re-write any lyrics." Skinner also opined on the importance of reaching out to Asian and Asian American advisors to be part of the conversation.

In answering the question of the line between artistic freedom and cultural appropriation, theatre critic Alexis Soloski said, "I want [writers, directors, producers] to realize their work, but I also believe that if we don't take into account the prejudices that exist, consciously and unconsciously, surrounding gender, sexuality, race, that's not freedom. We have to be careful that we know why we are making choices and not fall back on knee-jerk 'that's just how it's always been done.'"

Playwright Lloyd Suh noted, "[Cultural appropriation] is not theoretical. It's emotionally painful. It's humiliating and demeaning and it hurts. It's easy to think about it in terms of trying to draw a line, in saying 'what can I get away with? Like, 'how many times can I punch you in the face--how far can I go--before I'm not allowed to do that anymore?' Why do you want to punch me in the face? Why do you want to appropriate, who is that for? What kind of conversation are you trying to have in the world and why does that involve how much you can take from us?"

Other panelists included Neil Pepe, Artistic Director of The Atlantic Theatre Company, Jim Nicola, Artistic Director of New York Theatre Workshop, Mia Katigbak, Artistic Producing Director of the National Asian American Theatre Company, independent director Nelson Eusebio and Chay Yew, Artistic Director of Victory Gardens Theatre in Chicago.

The audience had a chance to break into smaller groups and share their own perspectives and responses, followed by a Q&A with the panelists. Towards the end of the evening, members of AAPAC unveiled a Manifesto For Visibility, created in collaboration with other Asian Pacific American theatre artists, as seen in the video.

This forum launches a national initiative in coordination with regional partners in six other cities including San Francisco (California Shakespeare Theater, Crowded Fire, KulArts, San Jose Stage Company, Youth Speaks); Los Angeles (East West Players); Seattle (Cis Productions, Seattle Arts Council); Chicago (Silk Road Theatre, Victory Gardens Theater); Minneapolis (Mu Performing Arts); Boston (Theater Offensive); and Philadelphia (Asian Arts Initiative, Philadelphia Asian Performing Artists) who will all hold similar forums in the coming months.