Using three different plays—M. Butterfly, Iphigenia Crash Land Falls on the Neon Shell That Was Once Her Heart, and QPH—playwright Massi Monfiletto examines theatre’s revolutionary potential.

Yan Chen talks with poet, performer, and playwright Kit Yan about the intersections of genre and intersections of identity in his work.

Dragon Lady, written and performed by Sara Porkalob, brings bring race, female stories, and intersectionality into the American theatre conversation.

DC based playwright Annalisa Dias interviews fellow The Welders collective member Deb Sivigny on the world premiere of her new play, Hello My Name Is....

Director Carol Ann Tan explores her reaction to the question of whether it's easier for her to get work because she's Asian.

Writer and performer Kelly Tsai shares the process of devising Ai Weiwei: The Seed, which is based on the art and writings of activist-artist Ai Weiwei.

Rick Shiomi discusses the Philadelphia Asian Theater Project, sharing his process working with local theatre companies and organizations to promote Asian American theatre artists.

Director Lavina Jadhwani shares her experience as an Asian American director, advocating the need for more spaces and opportunities for Asian American theatre artists to collaborate together. 

Playwright Cherry Lou Sy discusses Vineyard Theatre’s production of Indecent, reflecting on the culture of fear and the queer artists who have influenced her.

Matt DiCintio explores the orientalism in Ringling Bros. and Barnum & Bailey Circus.

Nelson T. Eusebio III addresses the argument that the “best” actor must always be cast in a role, regardless of race.

Director Desdemona Chiang provides an overview of Asian American discrimination and cultural appropriation in the US and argues that there is no way to divorce The Mikado from this problematic history. 

Victor Maog interviews Leah Nanako Winkler on her response to the controversy around NYGASP's The Mikado.

Playwright Rehana Lew Mirza argues that those who defend producing The Mikado using yellowface on the basis of its “historical significance” are supporting centuries of imperialism and oppression.

Chris Garza covers the Mu Performing Arts production Eric Sharp’s play, Middle Brother which tells the story of an adoptee searching for his roots in Korea.

I was inspired to believe in the power of the arts to mobilize people and sway emotions and opinions and build community in ways that petitions and protests couldn’t. I decided that I could use my skills to pro-actively organize through and for the arts, and became an intern at the Painted Bride and have been with Asian Arts Initiative since then as it has grown into an independent multi-disciplinary community arts center.

Producer Jane Jung offers compelling insight on the history and necessity of Asian American Theatre as a form of activism and expression to combat exotification and other-ing.

Home is not a shared skin tone, language, religion, location, orientation, or political sensibility, though those all play a small role. It’s a sense of history, of being known thoroughly, not just for who you are, but for who you were and who you will be; not just the good, but also the occasionally ugly. It’s the place where people want the best for me, even as I sometimes drive them crazy. It’s the place where I'm not thinking about you or about me, but about us, the house, the whole thing.

In this installment, Mike Lew discusses the Ma-Yi Writers Lab, the fraught practice of yellow face, and what equity for people of color actually looks like.

Victor Maog examines the efforts of Asian American theatremakers to create spaces and push out meaningful narratives.

The term “collaborative” for me conjures up the idea of a loose group of artists with a shared Asian American identity and purpose, working together to produce a wide range of projects, from workshops, readings and short performances to full productions. If this process is successful, I believe it would be possible that within a three to five year period, there could be a significant Asian American presence in the Philadelphia theater community and a real demand for their work.

W.M. Akers looks at David Henry Hwang's Kung Fu, a bio-play about the life and career of Bruce Lee

We chose to do "Yellow Face" because of the meaningful questions it raises about the parameters of identity. We chose to do "Yellow Face" because of the revealing and resonant glimpse it gives at immigrant families in the United States; because of its multi-layered examination of the “American Dream”; because of the uproarious and irreverent way it uses humor to expose darker themes. We chose to do "Yellow Face" because clearly, it’s a Jewish play!