“Life is meaningless without art.” 
- Karen Finley

“Above all, you must remain open and fresh and alive to any new idea.”
- Laurence Olivier

“The body does not have memory.  It is memory.” 
- Jerzy Grotowski

“In everything, without doubt, truth has the advantage over imitation.”
- Cicero

“The actor must constantly remember that he is on the stage for the sake of the public.”
- Johann Wolfgang von Goethe

“One wishes to know something but the answer is in a form of being more aware – of being open to a richer level of experience.” 
- Peter Brook

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Articles

Washington, D.C.'s Studio Theatre

San Francisco Ballet

Grand Ball in the Belle Epoch - Edwardian Period Style Salon Workshop

Keegan Theatre

Pan Asian Repertory Theatre Celebrates its 39th Anniversary

MetroStage Theatre

Swine Palace Theatre

Asolo Repertory Theatre

Ontological-Hysteric Theatre

Amelia Community Theatre

Discovering Lunt & Fontanne

Harlem Repertory Theatre

Santa Fe Playhouse

Opera Colorado

National Hispanic Cultural Center

Red Eagle Soaring Native Youth Theatre

Lorraine Hansberry Theatre

Coatlicue Theater Company

London's Finborough Theatre

New Repertory Theatre in Boston

The Work of Yat Malmgren: Christopher Fettes’ New Book “A Peopled Labyrinth”

Terry Knickerbocker Studio in New York City

“How do we re-establish a culture of caring?  There are many things that we can and do. The arts can help. Becoming educated – but having a good education doesn’t necessarily mean that a person knows how to be a “caring” person. It’s time to re-define what “being human” means. What is it that makes us different from animals? Mainly, it’s when we accept the discipline of “being human.” When we genuinely care about each other.”
- Rita Fredricks

 “I don’t mind what happens.”
- Krishnamurti

“Every part of the earth is sacred to my people; every shining pine needle, every sandy shore, every mist in the dark woods, every meadow, every humming insect…”
- Chief Seattle

“Speak only the truth and do right always. You are what you say…and what you say needs to be honest, forthright, and of your own personal belief.  Without truth you cannot achieve inner balance – balance within yourself, with other beings, with Mother Earth, and with the Creator.”
- Chief Joseph

Oh Eagle, come with wings
Outspread in sunny skies.
Oh Eagle, come and bring us peace,
thy gentle peace.
Oh Eagle, come and give new life
to us who pray.
Remember the circle of the sky, the
stars, and the brown eagle.
the great life of the Sun,
the young within the nest,
Remember the sacredness of things.”
- Pawnee prayer

“And above all,
watch with glittering eyes
the whole world
around you
because the greatest secrets
are always are hidden
in the most unlikely places.
Those who don’t believe
in magic
will never find it.”
- Roald Dahl

“What I am really saying is you don’t need to do anything, because if you see yourself in the correct way, you are all as much extraordinary phenomena of nature as trees, clouds, the patterns in running water, the flickering of fire, the arrangement of the stars, and the form of a galaxy. You are all just like that, and there is nothing wrong with you at all.”
- Alan Watts

A few thoughts:
Be brave enough to start a conversation that matters.
Silence is one of the great arts of conversation.
The quieter you become, the more you can hear

My To Do list for today:
Count my blessings
Practice kindness
Let go of what I can’t control
Be productive yet calm
Just breathe

“TUNN-KA-SHE-LA UN-SHE- UN-LA-PEA YE/YO HEA-CHEL TOE-KA-TA-KI-YAH WO- UN-SHE-LA, WE-CHO-ZA-KNEE, NA WE-CHO--KNEE- UN UN-KNEE- PEA- KTAE”
(“Grandfather, give us your reverence and understandings so, that we may live onward with all of creation in the fullness of compassion and caring; for the wholeness of well-being of all created, in an eternal life, now and forever. “) A Healing Lakota Prayer

 

 

 

 

 

Ronald Rand in Let It Be Art

Pan Asian Repertory Theatre Celebrates its 39th Anniversary

Tisa Chang and Daniel Dae Kim

The Pan Asian Repertory Theatre in New York City recently celebrated their 39th year anniversary, having staged over one-hundred productions, including over thirty world premieres, regional premieres and adaptations, with a memorable Gala for Vibrancy, Innovation and Community Service at the Copacabana. Tisa Chang, Founding Artistic Producing Director welcomed everyone, and Ron Nakahara read congratulatory words from Daniel Dae Kim, Honorary Gala Co-Chair. Award-winning actress Tina Chen was presented with the Legacy Award by famed actress Katherine Houghton, and Karen K. Narasaki received the Advocacy Award from Josie J. Thomas.

Tina Chen in "Empress of China"

Tina Chen, an Emmy and Golden Globe nominee, appeared opposite Robert Redford in “Three Days of the Condor” and Charlton Heston in “The Hawaiians,” guest starring on numerous shows opposite Anthony Quinn, Burt Reynolds, Wayne Rogers, and David Carradine. She has played many leading roles in the theatre including David Henry Hwang’s “Family Devotions,” “The Joy Luck Club,” “The Love Suicide at Schofield Barracks,” “The Shanghai Gesture,” and “Empress of China” She has also directed a number of plays, including Lucy Liu’s New York stage debut in “Fairy Bones.” She wrote the music for the holiday song, “This Tree,” with lyrics by Ruth Wolff, which premiered with the Hong Kong Children’s Choir at its Silver Jubilee. While working as an actor, Tina simultaneously worked as a research technologist in the Serology & Genetics department at the New York Blood Center. An honorary advisor for the Pan Asian Repertory Theatre, Ms. Chen is on the National Council of the Aspen Music Festival & School and volunteers for Lighthouse International as a reader for the sight impaired.

No No Boy

Karen K. Narasaki is a national civil and human rights leader, and was appointed by President Obama to serve as a member of the U.S. Commission on Civil Rights in 2014. Immediate past president and executive director of the Asian American Justice Center, she was also the Washington Representative for the Japanese American Citizens League. She currently chairs the Asian American Diversity Advisory Council for Comcast/NBCU.

Tina Chen and Ronald Rand

Pan Asian Repertory Theatre, founded 39 years ago by Tisa Chang and key actors, Pan Asian Repertory Theatre came into being while Ms. Chang was working as an actress in 1977 on Broadway in “The Basic Training of Pavlo Hummel,” opposite Al Pacino. She recognized the need to create a company devoted to Asian American works performed by Asian American artists.

Saronaya

Tisa Chang, Founding Artistic Producing Director shared with us her vision: “From the beginning, I had a dream that Asian American artists should follow their artistic aspirations to wherever it would lead them, even to reaching the professional zenith in the American Theatre. I dreamt that an Asian American actor could portray leading roles unlimited by stereotype and ethnic barriers. That Asian American artists, too, could be Clytemnestra, a Blanche Dubois, the Manchu Empress Dowager. If this concept was too premature for the theatrical mainstream to accept, too provocative to sway prevailing preconceptions, then she would create and produce works, independently, to provide a forum for Asian American artistic expressiveness.”

“It was not so much a matter of proving to the outside world what Asian American artists are capable of, but rather, an affirmation that Asian American artists have the right of access to participate meaningfully in the world arena of the performing arts. “To be an artist is to be blessed.  Performance is an act of giving, of releasing energies which will never be the same but may return to us, reconstituted, to begin another cycle of nourishment. Pan Asian Repertory Theatre was founded to nurture and support those who have dedicated their life’s pursuit to, and have made sacrifices to stay in, the living theatre.”

Jean-Pierre Stewart, left, and Marcus Ho in Three Trees

“An acting ensemble of artists united by professional commitment, and shaped by cultural heritage, who share and celebrate Asian traditions of rhythm and movement, would become the springboard to forging a repertoire of new Asian American works. Plays which reflect the evolution of Asians in America – our secrets, struggles, and celebrations – expressed in a myriad of artistic modes and in a newfound common language: English.”

“Pan Asian Repertory Theatre has always prized artistic integrity above other considerations. While the act of creation is intensely private and often lonely, no artist creates in a vacuum. The new challenge confronting us is how we can express our true inner voices in context with a changing world of new economic realities and growing community needs. We must rise to the challenges of leadership within our community on artistic, social, and educational issues.”

Early seasons at Pan Asian Rep were dominated by new works from Wakako Yamauchi, translations of Cao Yu, Goldoni, an intercultural version of “A Midsummer Night’s Dream,” premieres including Ernest Abuba’s “An American Story,” “Flowers and Household Gods” by Momoko Iko, and Edward Sakamoto’s “Yellow Is My Favorite Color.” 

L-R: Ron Nakahara, Director; Tisa Chang, Pan Asian Repertory Artistic Director; Ken Narasaki, Playwright

During the 1980’s, their productions included “Yellow Fever,” “Gashiram Kotwal by Vijay Tendulkar, “Shogun Macbeth,” adapted by John Briggs. With the support and encouragement from the Ford Foundation, nine actors were chosen to be a part of their Senior Artists Program: Ernest Abuba, Raul Aranas, Michael Chin, Mel Duane Gionson, Kati Kuroda, Donald Li, Ron Nakahara, Natsuko Ohama, and Norris Shimabuku.

Shogun Macbeth

In the 1990’s Pan Asian Rep brought to audiences “Noiresque: The Fallen Angel,” “The Three Sisters,” Ernest Abuba’s “Cambodia Agonistes” with music by Louis Stewart, “Rita’s Resources,” “Shanghai Lil’s” by Lilah Kan with music by Louis Stewart, Elizabeth Wong’s “Letters to A Student Revolutionary,” “The Joy Luck Club” by Susan Kim adapted from the novel by Amy Tan with Tina Chen, “Carry The Tiger to The Mountain” by Cherylene Lee, and Jon Patrick’s “The Teahouse of the August Moon.”

Shogun Macbeth

From the very start of the beginning of the 21st century, Pan Asian Repertory Theatre has continued mounting world premieres and exciting productions including Alexander Woo’s “Forbidden City Blues,” “Goy Vey! Adventures of a Dim Sun in Search of His Wanton Father,” by Richard Chang, Ernest Abuba’s “Kwatz: The Tibetan Project,” “China Doll” by Elizabeth Wong, C.Y. Lee’s “The Fan Tan King” with music by Doug Lackey,” “The Joy Luck Club” by Susan Kim adapted from the novel by Amy Tan with Tina Chen, “Dojoji: The Man Inside the Bell,” and in cooperation with The Institute for Vietnamese Culture & Education (IVCE), the North American premiere of “The Missing Woman,” written and directed by Nguyen Thi Minh Ngoc with music by Tran Vuong Thach and HAI Phuong.

Pan Asian Rep’s productions more recently included Jeremy Tiang’s “A Dream of Red Pavilions” adapted from the novel by Cap Zueqing, directed by Tisa Chang and Lu Yu; and this season, “No-No Boy,” adapted from Jon Okada’s novel by Ken Narasaki, directed by Ron Nakahara. After a critically-acclaimed run in New York City, “No-No Boy” will be performed in Washington, D.C. with a cast including Leanne Cabrera, Don Castro, Chris Doi, Glenn Kubota, Karen Tsen Lee, Claro de los Reyes, Shigeko Sara Suga, Hansel Tan, Tony Vo, and Scott Watanabe. For info: Pan Asian Repertory Theatre 520 8th Ave, NYC 10018, (212)-868-4030, info@panasianrep.org, www.panasianrep.org



"It is a law of life that man cannot live for himself alone. Extreme individualism is insanity. The world's problems are also our personal problems. Health is achieved through maintaining our personal truth in a balanced relation of love to the rest of the world. No expression is more emblematic of this relation than the creative act which we call art. No art by its very constitution typifies the social nature of that creative act more than the theatre. The theatre, to be fully understood and appreciated, must be seen as a manifestation of this process of interchange between society and the individual. It must be judged as a continuous development of groups of individuals within society, a development which becomes richer, acquires greater force and value as it grows with the society in which it originates. Only in this way can the theatre nourish us.  - Harold Clurman

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