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Posts Tagged Randy Reyes

Peace, Love and Understanding

After the performance of Flower Drum Song at Park Square Theatre on Thursday, February 16, 10 pm, there will be a Q&A about The Ghostlight Project, an ongoing commitment by theatre institutions and artists throughout the nation to work for social justice and equity.

Artists are bright lights in our communities (artwork by Rachel Awes - www.rachelawes.com) Photo by T. T. Cheng

Artists are bright lights in our communities
(artwork by Rachel Awes – www.rachelawes.com)
Photo by T. T. Cheng

Randy Reyes, the Artistic Director of Mu Performing Arts, is part of the national steering committee of the project, which declares our theatres as “brave spaces where all are welcome to be who they are and engage in debate and dissent–and leave inspired to take action.” In January, Park Square Theatre hosted one of several local gatherings to launch this nationwide initiative, making a strong pledge to be a light of diversity, inclusion and equity. As a symbol of welcome, ghostlights in Park Square’s outer vestibule and in the Boss lobby were turned on and will remain on.

The ritual of illuminating a theatre through the night with a ghostlight has a long tradition. As the single light in an otherwise darkened space, it serves as a source of safety. As a national, collective action, the Ghostlight Project aims to, in Reyes’ words, “create light for those who need it most and pledge ourselves to work that honors all and celebrates the unconquerable human spirit.”

The Ghostlight Project Post-Show Q&A — Thursday, February 16, 10 pm

Park Square Theatre’s Proscenium Stage

ALL ARE WELCOME TO PARTICIPATE

 

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Going Full Circle and Beyond

The circle is a universal symbol of unity, wholeness, inclusivity and cyclical movement. During both the first rehearsal and opening night of Flower Drum Song at Park Square Theatre, members of Mu Performing Arts reflected on how Mu itself has come full circle on its 25th anniversary. Its once newest core performers, such as Randy Reyes, Sherwin Resurreccion, Katie Bradley and Eric “Pogi” Sumangil, are now the elders as another generation of artists stream through. In fact, when Mu first staged Flower Drum Song about eight years ago, Sherwin had played the young man Ta and Randy his father, Wang. And just four years ago, Randy Reyes inherited the Artistic Director role from co-founder Rick Shiomi, who has since co-found a new company called Full Circle Theater.

First rehearsal of Flower Drum Song (Photo by T. T. Cheng)

First rehearsal of Flower Drum Song
(Photo by T. T. Cheng)

Recently I asked Rick Shiomi to go back down memory lane to Mu’s beginnings, then return us to where it is now and, in conjunction, where he is now. My first surprise on this journey was that then University of Minnesota graduate student Dong-il Lee, not Rick, had initiated the founding of Theater Mu (the organization’s original name).

“I actually came here from Canada for personal reasons,” Rick admitted, “and I didn’t think it was even possible to do. I only knew one or two Asian Americans acting in the Twin Cities. I thought it would be too monumental a task.” Yet Rick agreed to go along for the ride.

However, Dong-il graduated within a year and moved to the East coast for a teaching position and, later, back to South Korea. Rick suddenly found himself heading Mu as interim, and ultimately permanent, Artistic Director.  But why didn’t he just stop then and go on with his life?

“By now, I saw that my future would be in the Twin Cities,” Rick said. “I had already committed my life to Asian American theater, and there was nothing here. I could certainly have worked with another theater, like Mixed Blood, that would do maybe one Asian American play in five years. I preferred to put in the hard work to develop Mu instead.”

The work was, indeed, hard. Rick compared the first five to ten years to “digging trenches to lay a foundation.” People came and went as Mu gradually built its first major wave of core performers to take it to the next level. In its 2003/4 season, Mu reached a new high with an all-Asian American casting of the Sondheim musical Pacific Overtures at Park Square Theatre, followed in 2005/6 with its landmark production of Shakespeare’s A Midsummer Night’s Dream. Those were exciting times for Mu.

In Rick’s opinion, “Mu has completed one cycle and is now starting on another, almost like a spiral. There is a certain circular sensation, especially for the actors who have grown up and now play the elders, but it’s a different place and time and their roles have changed.”

Rick, too, has let go of a cycle to begin a new one. He and four other longtime stalwarts of the Twin Cities theater community–Martha B. Johnson, James A. Williams, Lara Trujillo and Stephanie Lein Walseth–founded Full Circle Theater in 2013. By doing so, they are going full circle in the sense of experiencing and implementing some of the same growth challenges and strategies faced by any startup, such as Mu in its younger days. However, this time around, they have all been “around the block” with collective knowledge to their advantage as well as a focus beyond Asian American theater. Listed as one of Full Circle’s core values is theater that “is multiracial and multicultural in its representation of life.”

Full Circle’s upcoming production, 365 Days/365 Plays by Suzan-Lori Parks: A 2017 Remix, will run at the Penumbra Theatre from May 26 to June 11. It will feature 46 of a collection of 365 plays written by Parks in 2002 (one play per day). In its 2007 premiere, 365 Days/365 Plays was lauded as “a national phenomenon….crossing ethnic, racial and economic boundaries.” Flower Drum Song patrons can take advantage of Full Circle’s special offer of $10 tickets by inputting the code FDS at brownpapertickets.com.

With regard to Flower Drum Song, Rick has strong memories of the powerful scene, in Mu’s earlier staging at the Ordway, between Ta and Linda Low–then played by Sherwin Resurreccion and Laurine Price, respectively–when she leaves to make it big in Hollywood. He also recalls the emotional father-son reconciliation dance between Randy and Sherwin as Wang and Ta. Another high point came when Sara Ochs, as Mei-Li, so movingly sang “Love, Look Away.”

“What were you feeling and thinking,” I asked, “as you watched Flower Drum Song to commemorate Mu’s 25th anniversary?”

“What a great evolution/revolution all of us have created!” Rick replied. “I felt great pride in the work of our veterans Sherwin and Katie, leading the cast, and Randy leading the company. And excited by the new talent coming!”

 

Martha B. Johnson, Rick Shiomi, David Henry Hwang and Stephanie Bertumen at opening night for Flower Drum Song (Photo by Connie Shaver)

Martha B. Johnson, Rick Shiomi, David Henry Hwang and Stephanie Bertumen at opening night of Flower Drum Song
(Photo by Connie Shaver)

 

Flower Drum Song – Park Square Theatre’s Proscenium Stage until February 19

 

Flower Drum Song: Highlights from Opening Night

Being an introvert, I don’t often relish attending highly social events, but this Friday’s opening night for Flower Drum Song was an exception to the rule. If you have been following the blog posts related to the musical, you can’t have missed how personally meaningful this production has been for its Asian American participants.  Here were some of my personal favorite highlights of the evening:

David Henry Hwang joined us for the opening night of Flower Drum Song (Photo by Connie Shaver)

David Henry Hwang joined us for the opening night of Flower Drum Song
(Photo by Connie Shaver)

1. Playwright David Henry Hwang not only attended the opening night performance of Flower Drum Song but also spoke during the pre-show reception as well as mingled during the post-show festivities.

Briana Belland and Meng Xiong were two of the Ensemble members in the cast (Photo by Connie Shaver)

Brianna Belland and Meng Xiong were two of the Ensemble members in the cast
(Photo by Connie Shaver)

2. The members of the Ensemble were amazing, playing multiple roles and singing and dancing their hearts out in such humorous numbers as “Fan Tan Fannie” and “Chop Suey” and, of course, the very emotional signature song “A Hundred Million Miracles.” Flower Drum Song could not have succeeded without them. The full Ensemble included Alice McGlave, Nicole Riebe, Ashley Kershaw, Kylee Brinkman, Brianna Belland, Michelle de Joya, Nikko Paul Raymo, Joseph Vang and Meng Xiong.

Katie Bradley played Madame Liang

Katie Bradley played Madame Rita Liang

 3. The biggest laugh resulted from a line delivered by Katie Bradley as Madame Rita Liang, a Chinese American talent agent, as she gave advice about how to handle the press to showgirl Linda Low: “They’re reporters. We don’t tell them the truth.”

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4. The ending when each cast member stepped forward to do that incredibly moving thing that you’ll want to see for yourself.

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5. The fact that the opening night performance preceded the beginning of the Lunar New Year, making the next day that much more special. The Proscenium Stage lobby was decorated with Chinese zodiac scarves that could also be displayed as wall hangings. They were created by artist and Park Square Theatre patron Jane Goodspeed, who had designed them as gifts to donors who donate $99 to sponsor nine students attending a matinee performance of Flower Drum Song.

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Flower Drum Song continues until February 19. As Mu’s Artistic Director Randy Reyes aptly puts it, “This story is for anyone whose family came to this country from somewhere else.” Don’t miss your opportunity to see this rich and moving musical.

A Hope for Peace

The set of Migra, created by 7/8th graders at my daughter's school  (Photo by T. T. Cheng)

The set of Migra, created by 7/8th graders at my daughter’s school
(Photo by T. T. Cheng)

Yesterday afternoon, I was a proud parent at Mixed Blood Theater, watching the play Migra, written by the 7/8th grade students of my daughter’s school. In the program, the Notes from Artistic Director (the English Language Arts instructor) explained:

This play marks the end of a semester of exploration for the students. We began the semester asking the question, “Who walked this land before me?….We followed that question with, “If my people weren’t Native American, when, how, and why did they arrive here?” Rather than a genealogical study, the exploration looked to literature, art, film, and nonfiction from the countries of students’ ancestral origins and reflected informally in journals and conversations as well as formally in essays. Students considered the past and the present and contemplated the impact of immigration and ancestry on their present day realities. Some students had not thought much about their ancestors, others had vast knowledge, and some had no choice but to constantly be considering their ancestry. While presidential race debates discussed current issues including immigration viewpoints, and our own city experienced the tragic loss of Philando Castille, these topics made their way into the students’ writing, and ultimately into Migra….The views expressed in the play are not intended to represent the ideals of the school as a whole, or for that matter be directive, but they are, like all good theatre, an attempt to encourage the viewer: to question, to discuss, and to feel joy, disgust, fear, and passion. We hope that you take away the beauty of the adolescent mind–and the power of talking about all things sour and sweet, just as these brave individuals show us is possible.

Then in the evening, I attended the second of a three-series talk on the African-American experience by Macalester Professor Duchess Harris, co-author of two books for 6th to 12th graders, Hidden Human Computers: The Black Women of NASA (Hidden Heroes) and Black Lives Matter (Special Reports).  These have been in-depth talks followed by audience Q&A, finally shedding light on hidden American history and its overlooked impact on America’s past and present. Notable about these events, which are open and free to the public at Roseville Public Library (final talk is on Thursday, February 2, at 7 pm), is that the room is packed with people hungry for a broadened perspective and an honest start of a dialogue about their and our narratives as Americans.

Hidden Human Computers: Duchess Harris on Vimeo: https://vimeo.com/195655453

Recently Park Square Theatre drew a crowd to the commemoration of The Ghostlight Project. This is an effort by theatres throughout the country to, according to Randy Reyes, Mu Performing Arts Director as well as a national steering committee member of the project, declare our theatres as “brave spaces where all are welcome to be who they are and engage in debate and dissent–and leave inspired to take action….Together, we will create light for those who need it most and pledge ourselves to work that honors all and celebrates the unconquerable human spirit.”

Attendees at The Ghostlight Project commemoration event posted their pledges (Photo by T. T. Cheng)

Attendees at The Ghostlight Project commemoration event posted their pledges
(Photo by T. T. Cheng)

Soon Park Square Theatre will also participate in the Coffee Sleeves Conversation Project with Coffee House Press, an internationally renowned independent publishing company and arts nonprofit in Minneapolis. Through its Books in Action programming, they have designed a unique way to create community discussions on race and the arts at local coffee shops and our theatre.

And as a parent, I am also proud of the fact that Park Square Theatre has a robust Education Program that opens the door to meaningful dialogue amongst our young people, many of whom are first-time theatre attendees. For instance, our on-line study guide for Flower Drum Song, currently on our Proscenium Stage until February 19, offers activities and resources for classrooms to consider “Stereotypes: Real, Perceived, or Debunked?,” “Charting the Immigrant Experience” and much more. For A Raisin in the Sun, which will return by popular demand next season, they did not shirk from topics of redlining and white privilege. Park Square’s study guides are, as our website describes, mindfully “created for teachers by teachers to introduce students to the world of the play” and, by extension, share and broaden their view of the world around them.

Educators met during the summer to create the study guide for Flower Drum Song (Photo by T. T. Cheng)

Educators volunteered their time during the summer to create the study guide for Flower Drum Song
(Photo by T. T. Cheng)

Today we see arts funding once again coming under attack. But I wonder, as I go to a variety of venues and events featuring writers, actors, dancers, visual arts, students, etc.–often trying to be as financially and publicly accessible as possible for its creators and audiences, do people overall actually support this push? Do they truly not believe in the value of the arts in society? Or, this time, are they grateful for the arts but being fed, once again, the message that adequate arts funding is superfluous to the well-being of our communities? Is it a message that comes from the expansive Heart, or from some place much smaller?

a hope for peace by artist Bob Schmitt of Laughing Waters Studio (Photo by Bob Schmitt)

a hope for peace by artist Bob Schmitt of Laughing Waters Studio, who’d created a logo for Theatre Mu, before it became Mu Performing Arts
(Photo by Bob Schmitt)

Flower Drum Song: Featuring Stephanie Bertumen

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As part of the cast of Flower Drum Song, Stephanie Bertumen plays Wu Mei-Li, a new immigrant from China who falls in love with Wang Ta, played by Wesley Mouri.

This was Stephanie’s answer to the question: “What is most meaningful for you about the role that you play in Flower Drum Song–whether it be your particular character role, your overall role of being part of the production, or both?”

My love of the arts largely began when I was a young girl watching Rodgers and Hammerstein (and other classic) movie musicals. As I imagined myself in the worlds of the characters, I sang, danced, and acted my little heart out; but I didn’t realize the gravity of the fact that I was always seeing primarily White actors – White actors on the small screen, on the big screen, and onstage.

 Also, as a young person, I didn’t know that I would eventually be exposed to a world where there would be people who wouldn’t see me as capable and worthy as I saw myself. As I did come to this realization, however, my dreams started to shrink back in apprehension and I began to push away the Asian part of myself — a part that I feared made me too “different” to belong. It was not until I moved to Minnesota and encountered other Asian performers that my view of the world (and my view of myself) exploded: “Wait, I can actually be myself here? Someone wants me just as I am?” And so I began to come out of hiding, so to speak. 

 If I hadn’t ever started on the journey to acknowledging and loving the Asian part of my identity (with the help and support of friends and mentors, especially my own brother Randy Reyes), I don’t think I would have really continued to blossom as an artist, or at least not in the same way; so I am so thankful to be on this road. Now, I’m having experiences that I had started to believe were impossible. It is because playwright David Henry Hwang dared to re-envision Flower Drum Song that this gorgeous, smart libretto exists! It is because of his dream that my dream has become reality. 

 I am deeply grateful that, in this case of this production, it isn’t an either/or scenario: EITHER beautiful music OR a moving story; EITHER an Asian character OR a three-dimensional character; EITHER the main character OR the Asian character. No, for each, this show gives me both. Just as I myself am both — Asian American — as well as everything else that I am. I am Asian American; I get to be front and center playing a beautifully-written, three-dimensional human being; AND, yes, I get to act and sing and dance to music written by Richard Rodgers and Oscar Hammerstein II. 

 I do belong – and I belong in a way that is more meaningful than I could have ever imagined, and I am forever thankful for that.

Stephanie Bertumen as Mei-Li and Wesley Mouri as Ta Photo by Connie Shaver

Stephanie Bertumen as Mei-Li and Wesley Mouri as Ta
Photo by Connie Shaver

 

Stephanie’s Background

Park Square Debut Representative Theatre Children’s Theatre Company: The Last Firefly; History Theatre: Complicated Fun; Backyard to Broadway Productions: Right, Wrong, or Bomb! A Dating Musical; Mu Performing Arts: Twelfth Night; Casting Spells Productions: Disenchanted!; Theatre L’Homme Dieu (produced by Bloomington Civic Theatre): The 25th Annual Putnam County Spelling Bee Training B.F.A., University of Minnesota/Guthrie Theater Actor Training Program

 

Flower Drum Song – Co-produced with Mu Performing Arts

Park Square Theatre’s Proscenium Stage – January 20 to February 19

#allarewelcome: Illuminating Brave Spaces January 19

Ghostlight on stage with caption Be a Light

Challenging times can cause many of us wonder where the light is in the world. If these days seem like that for you, the Ghostlight Project brings good news and the opportunity to illuminate our little corner of the country.

On January 19 at 5:30 pm hundreds of theatres across the U.S. will host outdoor gatherings for a collective action to shine some light — in the form of flashlights, cell phone lights, fairy lights, etc.— to celebrate our theatres as Brave Spaces.

Please join us at Park Square as several theatre companies including Mu Performing Arts, Girl Friday Productions, Sandbox Theatre  and Prime Productions gather under the Park Square marquee on West 7th Place to participate in  the project. Our event will include music, the opportunity to join with others, to light a light, make a personal pledge and gather for coffee and hot cocoa in the lobby.

Details are available on Park Square’s Ghostlight Project page For more about the nationwide initiative, visit the TheGhostlightProject.com.

Bring friends — and your light.

#bealight
#ghostlightproject
#allarewelcome

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