The Vancouver Asian Canadian Theatre is truly a hidden gem in the city of Vancouver. They are a non profit organization based in Vancouver and are an ethnically diverse theatre company who strive to support and bring awareness to the talented ANA community.
Some of VACT's goals include:
To provide opportunities for Asian-Canadian actors in artistic and significant roles
To reclaim the Asian stereotypes portrayed in mainstream media
To stage productions that provide non-stereotypical roles
To showcase Asian-Canadian cultural themes and stories
To represent the hyphenated Asians on stage in a contemporary setting
Interestingly enough the next production for VACT is the stage production of FLOWER DRUM SONG. This was extremely exciting to me as I had recently discovered and watched Flower Drum Song and I am ecstatic that there is going be a live production of it in my own city!
Luckily I was able to meet with the Artistic Producer Joyce Lam and have created a video summary of our conversation below.
As well, I contacted the director of VACT's Flower Drum song, Rick Tae and asked him a few questions as well. They are below, enjoy!
Rick Tae
1. Where were you born? Tell us a little about your own personal history and how you became involved in the fine art and media industry.
I was born in Hong Kong, grew up in Singapore, studying in a British international school, then off to boarding school/university in St. Louis, Detroit and Pittsburgh in the U.S. I started doing plays and musicals back in high school, but it wasn't until my 3rd year in university that I decided to switch from Managerial Economics major to a BFA in Theatre Arts. I was always "math and science" oriented growing up, but was tired of applying "right and wrong, black and white" principals to real life. It was time to apply shades of gray and color to my world.
2. Did you have any Asian idols growing up? If yes, who was it and why? If no, what are your thoughts on why you did not have one.
No. Unfortunately none whatsoever. I don't do martial arts and there were no well known North American Asian actors or even artists for that matter who were known for their CRAFT as opposed to their kitschy caricatured work. The craft of Asian artists from Asia is of a different style that I enjoyed watching, but could never fully personally embrace either.
3. Presently, do you think there is a shortage of Asians in the industry? Why do you think this is and what do you think should be done to change this?
I don't think there is a shortage of Asians wanting to be in the industry. Wanting and actually working in the industry are two different matters. To be able to work as independent artists, there is a shortage of good writers and producers to kickstart the products. And then... there is a shortage of good writers and producers because there isn't enough of a demographic buying the business. Hence, the approach should really be to make sure that Asian influenced product get a rebranding of sorts to be more commercial, and/or Asians wanting to get more experience should work in making sure they are relevant in the mainstream to first get their foot in the door, before trying to survive as "artists".
4. There have been a lot of anti- Asian sentiments in the past – do you feel that the past has shaped the media industry today?
Of course. Vietnam war, Korean war, the Japanese in WW2, Red China, all common things associated with Asians for the average middle American. The media industry is a visual industry, no doubt about it. But until we create something valuable and forward thinking that's appealing to the market for the future, pretending the past doesn't exist will never work. The common phrase is "how can somebody NOT think of a pink elephant?". It's there. Just forward think, but creating positive imagery.
5. What was it about Flower Drum Song that propelled your interest in directing it at VACT?
The fact that it has an entire Asian cast. The fact that it IS politically incorrect for modern times, BUT yet endearingly honest in its attempt to bring a particular slice of culture to the mainstream audience of the 1950's.
6. Because it has now approximately been half a century since the release of the book, play and movie, what are some similarities and differences to immigration to the Americas back then and now?
I think the Western dream is still a similarity. There is a belief amongst all immigrants that they are heading towards and building a better life for themselves. Fortunately, the difference is, nowadays, that there can be more access to understanding the whole concept of immigration, so that people tend to make more informed decisions, at least, for the most part. The other difference also is, the types of people in the last couple of decades who immigrate, have also encompassed a wider spectrum of class, financial situations and educational backgrounds.
7. Further, what are some similarities and differences to the portrayal of Asians back then such as in the book, play, and film compared to the present day?
The book certainly is more close to home in its depiction of the emotion behind an Asian American's struggles. That, I believe, hasn't quite changed at present, which really speaks for its universality and authenticity. The musical and the movie to follow can certainly take credit for bringing the issues into mainstream, regardless of the sugar-coating, stereotyping factors.
What is different are those politically incorrect views nowadays, and also just the sheer growth of the immigrant population since then, allows for more community building and support across the land, that extends beyond just the few square blocks of the Chinatown of yesteryear.
8. Have there been any struggles to adapting the play to make it more relatable and contemporary to audiences today?
I have chosen to pick up the pace into more of a sitcom style for a more MTV-generation audience. I have added elements of the movie and the book to give more layers and twists to the characters to make them seem more 3 dimensional. I also decided to, instead of shy away from the racism, sexism, classism etc... to accentuate them instead, so in essence, satirizing the obvious differences between the then and the now.
