From the May 2004 Theatre Puget Sound Newsletter
Pork Filled Players (PFP) was formed in late1997 by Roger along with Ellen Williams and Wally Glenn after they split from the group OPM. Some of PFP's past shows include Dirty Laundry: Airing Out the Family Hamper, Crouching Elves Hidden Packages, and Goin’ Steady: The Musical?!.
Their next show: Red, Pork and Blue: the politics of the "other white" meat opens May 7 and plays through May 22 Friday and Saturday nights at 8:00 p.m. at the Odd Duck Studio.
I asked Roger Tang, Artistic Director of the Pork Filled Players, a few questions about his views on Asian Americans in theatre, sketch comedy and how TPS has helped our community.
When did you first get interested in theatre?
When I was in college, there was a dorm tradition of putting on musicals: acting, dancing, the orchestra, the works. I got involved in my dorm's musical, putting on an Asian American version of Promises, Promises. Now, what kept me involved is that the next year, one of my dorm-mates and fellow staff members was a fellow named Dave Hwang. We ended up putting on a play he had written, F.O.B.--a show he later submitted to Joe Papp and won an Obie with the next year. He added a middle name, and won a Tony for M. Butterfly as David Henry Hwang nine years later.
How have you seen Asian Americans represented in theatre?
To a certain extent, Asian Americans are often still an afterthought in theatre, cast more for "diversity's" sake than for ability--a few Asian and black faces get thrown in the chorus and as walk-ons so the theatre can be PC. Often when an Asian actor has the chops for a major role, a director can manage to talk themselves out of using him/her, because they don't look or "feel" right.
To be fair, Asian American actors who have all the tools are vastly outnumbered by the really good white actors. But tools unused are tools that will rust away---use 'em or lose 'em. And often the only way to use your chops is to create your own theatre and vehicles to get on stage. Hence, PFP and other Asian American groups like SIS Productions.
How has that changed in the past 20-30 years?
Well, it used to be that Asians didn't get ANY parts--the stage was entirely white 30-40 years ago. And what few roles were extremely stereotyped: geishas, houseboys, etc At least now there are SOME parts. And we're gradually seeing SOME color-blind casting get done, though not as much as I think there should be. Asian actors are getting SOME consideration for roles that aren't written to be Asian. As well, the Equity stages like the Rep will also occasionally produce Asian-themed plays, so we'll see some Asian faces on stage there. What's a little disappointing, however, is that it's taken so long to get even this far. I remember people swearing up and down 15-20 years ago that they were casting solely on ability, etc, etc etc, when it was clear that they weren't practicing what they were preaching.
I suppose this means that theatre folks should be constantly questioning themselves about their art. It's all too easy to get complacent and allow unconscious biases to make decisions for them.
Why sketch comedy?
Why a duck?
The early years of Asian American theatre was spent in reclaiming our history and voice...and a lot of that history was rather ugly. Too, folks wanted to be taken seriously as Asian Americans; some artists felt doing the ha-ha and the yuk-yuks would get in the way of that.
Of course, it IS about a decade or three later-- and it's high time we use our WHOLE voice. Often times, the point we want to make is best done via humor.
As well, our audience isn't JUST Asian Americans--it's everyone. Humor is a good way of expressing our Asian American identity while also showing that we simply aren't about bashing whitey--we'll bash anyone if it gets a laugh. (Though I guess we'll leave John Ashcroft alone--the gallstones are doing our job for us)
What is the difference between sketch comedy and "serious" theatre?
About ninety minutes per piece.
Seriously, sketch is ultra-condensed theatre, even shorter than the ten-minute play. For each sketch/scene, you get in and get out in under four minutes (preferably under three). You knit together a number of these sketches to form an evening full of entertainment, arranging them through similarities in theme, character and style. You trade depth of study (in character and in theme) for a more free-wheeling approach, connecting a wider array of approaches and insights to a subject to make your point.
At least, that's how I do it. Bald Faced Lie and Kazoo probably do things entirely differently.
In Seattle, we have PFP, SIS, NWAAT , is this unique or are there other U.S. cities where Asian Americans have as strong a presence in the arts community?
Repertory Actors Theatre is [also] sorta there as a multicultural theatre (it's a place where Asian Americans are cast in a lot of roles, because an Asian American runs it) and OPM is off again now on again. It's not a unique trend, as most of the major cities such as NYC, SF, LA and Chicago have multiple Asian American theatre companies. I suppose you can't be taken seriously as a theatre city without multiple Asian American companies It's a trend I saw occurring in the mid 90s, stemming first from demographics--there were now enough Asian Americans to staff more than one theatre per city. It's also a sign of artistic maturity; no one company can be the entire voice of the Asian American community of a city, so new companies form and evolve to carry the new messages of the new voices.
Tell me about your upcoming show : Red, Pork and Blue: the politics of the "other white" meat. Why politics?
Why politics? Well, politics is an easy target; never want to work harder than you need to.
Besides, in a very real way, this is going back to our roots. Asian American theatre began as a grassroots effort to express the political concerns and aspirations of the Asian American movement in the 60s and 70s. Politics and art are one. So it's continuing the grand tradition of Asian American theatre.
How has TPS helped to shape the artists' community in Seattle?
TPS has been a focal point for the artistic community. Its been able to be an effective collective voice for theatre artists to the outside world while at the same time helping them to develop as artists and as business entities. Can't separate the business from art, either.
Email oink@porkfilled.com