As the pre-eminent Asian-American theatre troupe on the west coast of the United States, East West Players will be embarking upon its 38th season entitled "Politics of Passion." Amongst the slate of productions being put on stage will be a re-interpretation of David Henry Hwang's seminal stage classic "M. Butterfly," Philip Kan Gotanda's adaptation of "Hedda Gabler," "The Wind Cries Mary," an original work called "Masha No Home" and the Steven Sondheim musical "Passion." The directing efforts for "Passion" will be helmed by Tim Dang. Aside from being a critically acclaimed stage director, Dang has acted as the Producing Artistic Director for EWP for the last 10 years. On August 16th of this year, EWP will commemorate Dang's creative guidance.
APA recently had the opportunity to sit down and speak with Dang about his role with East West Players, his thoughts on the politics of culture and the future direction of the theatre. Like many Asian-American actors of his generation, Dang was inspired by the flickering image of young George Takei on the original Star Trek television series. "I always wondered why you don't see a lot [of Asians] in television or film... I was going to be a math major… for some reason, something just made me switch and check a different category." Soon after completing his bachelor degree at the University of Southern California, Dang quickly became a staple actor at EWP where he found a creative environment that allowed him to flourish. Dang admitted that nearly all performers enjoy having command over an audience's emotions. It is that same feeling of empowerment that would ultimately prove to be a driving impetus for his progression to becoming a stage director. He says "I think there's just a little more empowering when you find yourself on the other side of the stage." His directing efforts eventually led to two Ovation Awards for "Sweeney Todd" (1995) and "Pacific Overtures" (1998).
It is not a coincidence that both of these works were musicals, as Dang expects to tackle yet another stage work involving the disciplines of dancing, singing, and acting (the arena of the triple threat). When asked about his choice and reasons to take on Sondheim's "Passion," Dang believes that it bucks conventional mainstream ideas and stereotypes of Asians two-fold. First, its themes of intense love and passion are things that are unfortunately not often associated with Asians. Secondly, on the creative front, it exhibits the kind of talent apparent in the Asian-American community. Like EWP produced works, "Passion" intends to be a piece that hopes to change the accepted mainstream perceptions of Asians. More to the point, Dang predicts "I have a feeling it will be a little uncomfortable for a lot of people, but I think it will break down some barriers."
Dang believes that EWP has set itself apart from other creative venues and in many ways has become the standard bearer for the continuing development of young talent. East West Players began in 1965 with eleven actors who felt the discriminatory and ignorant sting of the entertainment industry, thereby limiting their artistic endeavors and careers. In setting out to become a fully independent theatre that would allow them to play more challenging roles, EWP began to develop original stories within the Asian and Asian-American context. This would prove to be, as Dang says, "the beginning of the Asian-American voice." The theatre's desire is to constantly foster new voices. Needless to say, this objective has become a successful formula as EWP has arguably produced some of the most important names to come out of the Asian-American theatre scene in the last forty years.
When confronted with a question all too familiar within the Asian-American arts community regarding the pigeonholing of actors by affiliating too strongly with such groups like EWP, Dang's response was that many elder statesman (him included) within the community hope that there will come a time in the future when such organizations like EWP do not become a necessity but simply an option of choice. He boldly states "perhaps in the future, there won't be any need for EWP…our mission is to not exist." This statement may perhaps be a disastrous principle of thinking but it speaks volumes of what EWP stands for. Yet Dang realistically admits "[but] during my lifetime…there is this need for EWP now."
As for the future, Dang explains that it is his hope that East West Players works toward its 40th anniversary by revisiting and reworking past works that have graced the EWP stage. Moreover, he believes that EWP will continually mentor and be a home for new voices and artists with fresh perspectives. He speaks of the new generation of people from mixed race backgrounds who have yet had the opportunity to have their voices heard. He is eagerly awaiting the "next David Henry Hwang to walk through the door."