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SPECIAL FEATURE INDIE FILMS COMMENTARY INTERVIEWS RESOURCES BUSINESS INFO MEDIA INFO
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It's OK to be Wrong and/or It's OK to be Hwang Presentations of idiosyncratic history pageants with a sense of humor and musicality A Creative Soul, Successful Playwright, Screenwriter and Librettist with All the Work He can Handle
David's plays have provided one viable option to prompt/motivate Asian/Asian Pacific Americans who sadly don't know and/or have learned at a late stage the need to discover their past heritage that they (ideally) should have known for a long time - along with helping non-Asians acquiring a better understanding of the many unique cultural tapestries that interwoven within these many Asian/Asian Pacific American communities. His efforts are to be complimented and supported - whether or not you agree or disagree with the artistic results. This section of the interview will highlight his journey to share these invaluable stories to the general public.
DAVID HENRY HWANG: I think "Dance and the Railroad" has been staged a fair amount in APA theatres, but it is a complicated work to produce, demanding actors with a very specific expertise. That said, I do think a new generation would enjoy seeing it! US ASIANS: Outside of Welly Yang's (of NYC's "2nd Generation Theater Group) and John Woo/Chow Yun-Fat's upcoming film project, isn't it ironic that one of the major achievements of the West (laying the tracks for the Transcontinental Pacific Railroad) for Chinese Americans hasn't been explored more often? DAVID HENRY HWANG: It's certainly a great subject for a film, and I think it's only a matter of time before we see one. In fairness, we haven't seen a film about the building of the Railroad from the Irish side, either. As you probably know, I wrote the first few drafts of "Battle of Ono," as my first screenwriting job, back when the legendary HK director King Hu was attached to it. Perhaps, after 25+ years, this project will finally get made! US ASIANS: There's a greater sadness recognizing that the owners of the Transcontinental Railroad didn't want any of the Chinese laborers in the pictures that were taken, especially noting that in the 2005 GM Transportation commercial takes place at the meeting of the railroads with all the executives/laborers in the commercial are white. Why do you think that this "slight" is allowed and/or addressed by any APA organizations - could it be that many within the Asian/Asian Pacific American communities don't know the truth?!?!? DAVID HENRY HWANG: Quite possibly. Americans aren't so good with history in general, including APAs.
DAVID HENRY HWANG: I think "Dance and the Railroad" would have to be substantially reconceived to serve as a satisfactory action vehicle. That said, I would love to try my hand at adapting it! US ASIANS: Do you find it ironic that with the current immigration patterns of the Chinese/Asian communities creating large group of people that are sorting out their respective pasts while confronting new identifies and uncertain futures in America, the issues described and debated within your production are surprisingly more relevant?
US ASIANS: With the ongoing interest in musicals in theater, combined with Hollywood's fast-growing interest in Asian theater from India, China, South Korea, Hong Kong and Japan - what would be the obstacles in bringing your play that creates a mixture of Eastern and Western theater while incorporating the nonrealistic modes of Chinese Opera?
US ASIANS: Do you long and/or seek collaborative relationships with your actors such as what happened with John Lone and Tzi Ma in "The Dance and the Railroad?" How did this relationship help seamlessly integrate the Eastern and Western theater elements? What was the creative motivation of utilizing Chinese opera techniques within this production - could it be your hope to form an authentic Asian American format? DAVID HENRY HWANG: John and Tzi, and their expertise in Chinese opera and dance forms, were instrumental in the conception and development of this show. I was, in fact, consciously trying to develop a new, Asian American form. I do like making work for specific actors, and have several ideas for shows in the future built around certain performers I admire.
US ASIANS:
Do you find it ironic that the ideas and issues (affluent immigrant families living hyphenated lives) expressed in your 1981 production Family Devotions has even greater significance in 2005?
DAVID HENRY HWANG: It reflects the extraordinary 180-degree shift over the past few decades in some of the ways Asians are perceived in America.
DAVID HENRY HWANG: I frankly feel that the play is probably one of the least "finished" of my works. If I had the time and inclination, I'd give it a rewrite! US ASIANS: Do you find it ironic and/or tragic that your play examines a Chinese American family through the lens of a television sitcom and still it is a very rare occurrence - with Margaret Cho's "All American Girl" being the only example? DAVID HENRY HWANG: It was an impressive feat to actually get "All American Girl" on a network schedule. It's a shame the writing/producing end wasn't more skillfully handled, but it's incredibly difficult to make a good anything!
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