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New York Theatre's Ethnic Challenges (and Possible Renaissance)

Like every other journalist who covers theatre I am well aware that, categorically, Big Apple theatregoers tend to emerge like phoenixes from central casting ashes: well-heeled subscriber-types; matinee ladies; broke theatre students angling for whatever ticket concessions the show du jour offers; devoted/unemployed thespians armed with binoculars relegated to the nose bleed seats; and tourists, both national and international, who have saved up for Broadway and Off-Broadway the way families squirrel away cash for Disney World vacations.

Ethnic variety in theatregoers, however, is limited. For the most part, African Americans have had the most opportunities to buck the ubiquitous Caucasian roadblocks thanks to works and revivals by such celebrated black playwrights as Pulitzer Prize winners August Wilson, Suzan-Lori Parks and Lynn Nottage, and Lorraine Hansberry; musicals like The Color Purple (returning to Broadway this fall), The Wiz and Passing Strange), and “white” works recast with African American actors – like 2008’s Cat on a Hot Tin Roof and the upcoming Gin Game – both starring James Earl Jones.

And while we’re on the subject, much can be said for box office star power – i.e., Denzel Washington in pretty much anything from Julius Caesar to A Raisin in the Sun; Audra McDonald, whose stage resume runs from color-blind (Master Class; 110 in the Shade) to Porgy and Bess and Lady Day at Emerson's Bar and Grill – the fact of the matter is, ethnic, while vital and fiscally viable – equals slim pickings.

And don’t get me started on the dearth of Hispanic and Asian productions to be found anywhere in the Big Apple except Off-Off-Broadway (mostly during short-lived theatre festivals). Fortunately, the performances Muses have blessed us with Lin-Manuel Miranda, who’s racially eclectic Off-Broadway blockbuster musical, Hamilton, has just launched Broadway previews for an 8/6 opening), while another musical bound to add spice – and an influx of Hispanic theatregoer -- On Your Feet! The Story of Emilio & Gloria Estefan, is taking over Broadway’s 1,611-seat Marquis Theatre come October 5th. Big names and ticket-sale optimism – not an accident, I assure you.

Which brings us to the much-neglected Asian contingent. And again, there is hope, not only from Lincoln Center’s radiant revival of The King and I, but this fall as well, thanks to George Takei (Mr. Sulu from Star Trek/activist/social media icon/familiar TV presence) makes his Broadway debut in Allegiance, a new musical inspired by Takai’s childhood experiences set in part in one of the infamous WWII internment camps where Japanese Americans were segregated. The cast features Tony-winner Lea Salonga (Miss Saigon) and Telly Leung, whose national touring credits include two other musicals with Asian storylines: Flower Drum Song and Pacific Overtures.

SAYONARA

However, before Allegiance hits the boards, there’s Sayonara – another musical addressing anti-Asian prejudice during the 1940s and early ‘50s, in this case, within the U.S. military stationed in Japan post WWII. Based on the James Michener novel and 1957 film starring Marlon Brando and Red Buttons.

Currently playing at Off-Broadway’s Clurman Theatre (410 W. 42nd Street), this Pan Asian Repertory Theatre production is imperfect: the set, aside from a charmingly rendered Japanese bridge, are rather sad, and the western costumes, including military-wear, are unflattering in the extreme.

What the show lacks visually, however, it makes up for on other fronts.

The script and score depict two inter-racial romances against a backdrop of bigotry born of military constraints at a time in history when marriage between American servicemen and Japanese women was condemned. [Justin R.G. Holcomb as Colonel Craford does a fine job of embodying the venomous intolerance that prevailed.]

The plotline zeroes in on Major Lloyd “Ace” Gruver” (Morgan McCann), son of a general who’s tentatively engaged to another general’s (Scott Klavan) daughter (Jennifer Piaceniti). A former unapologetic bigot, Ace becomes hopelessly smitten with Hana-Ogi (Ya Han Chang), the leading member of a troupe of performers known as “Takarazuka” girls, and is aided in his courtship by Private Joe Kelly (Edward Tolve), already scandalously bound to the charmingly unassuming Katsumi (Natsuko Hirano).

Without going into details, I will tell you that there are more than a few shining elements to this bittersweet storyline. Vocally, with only one or two exceptions, the cast is outstanding – as are the women’s numbers, culled from traditional Japanese dances by Rumi Oyama. Indeed the Japanese details are what shine the brightest, from the women’s flowing kimonos to the music behind the Takarazuka performances.

Adding to the show’s authenticity is Ako, who plays Teruko-San, den mother to the Takarazuka girls and herself a former multi-award-winning member of the world-famous Takarazuka Revue Company.

Sayonara’s limited run ends on July 26. For tickets visit telecharge.com or call 212-239-6200, panasianrep.org

About the Author

City Guide Theatre Editor Griffin Miller moved to New York to pursue an acting/writing career in the 1980s after graduating magna cum laude from Case Western Reserve University in Cleveland, Ohio. Since then, she has written for The New York Times, For the Bride, Hotels, and a number of other publications, mostly in the areas of travel and performance arts. An active member of The New York Travel Writers Association, she is also a playwright and award-winning collage artist. In addition, she sits on the board of The Lewis Carroll Society of North America. Griffin is married to Richard Sandomir, a reporter for The New York Times.

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