MAKE JORGE DANCE!

MA-YI THEATER COMPANY
Jorge Ortoll, Board Member, Former Executive Director, Ma-Yi Theater Company.

I want to see Jorge DANCE!

Dear Friend,
Last year, I asked you to make me smile. This year, I’m asking you to make me dance.

As you well know, I served as Ma-Yi Theater’s Executive Director from 1990 through 2017, after which I joined Ma-Yi’s Board of Directors full time, in charge of individual giving. That is why I write to you now.

Ma-Yi Theater had a banner year in 2018, producing critically acclaimed productions of Michael Lew’s “Teenage Dick,” at The Public Theater, and most recently, Orlando Pabotoy’s “Sesar,” and Lloyd Suh’s “The Chinese Lady,” that the New York Times raved about and called “extraordinary.”

We’re hard at work on our next plays “Fruiting Bodies,” by Samantha Chanse, and Kristine Haruna Lee’s “Suicide Forest,” a collaboration with Brooklyn’s hippest theater, The Bushwick Starr. Both of these plays promise to introduce audiences to unfamiliar worlds, and spark conversations that are necessary and timely for our current times. I’m writing to you to ask for your support.

Your tax-deductible donation will help Ma-Yi Theater continue to champion new, Asian American voices, and increase our community’s visibility in American Theater.

This is what will make me dance!

O.K. , Jorge!

A note from Producing Artistic Director, Ralph B. Peña:
FriendI don’t know about you, but I’d pay to get Jorge to dance. We’ll post a video of this and share it with all of you. I echo Jorge’s request. Help us make Asian American theater artists more visible on New York stages. Thank you!

HERE’S WHAT’S HAPPENING! Works from Ma-Yi Writers Lab Members Hansol Jung “Wild Goose Dreams” at The Public Theater and Damon Chua “The Emperor’s Nightingale” at Pan Asian Rep and MORE this year:

MA-YI THEATER COMPANY

NOVEMBER

PREVIEWS FRIDAY!
The Emperor’s Nightingale
by Damon Chua 
Get Tickets to “THE EMPEROR’S NIGHTINGALE”
November 25th – December 16th
Pan Asian Repertory Theatre launches its new educational initiative with the New York Premiere of The Emperor’s Nightingale by Ma-Yi Writers Lab Member, Damon Chua, directed by Chongren Fan. This production emphasizes the importance of leadership guided by a moral compass, through the story about two rival teen brothers competing for the throne as an adaptation of Hans Christian Andersen’s story.
Get Tickets to “THE EMPEROR’S NIGHTINGALE”
Through December 16 Wild Goose Dreamsby Hansol Jung at The Public Theater
Tickets to “WILD GOOSE DREAMS”
Our Writer’s Lab Member Hansol Jung‘s fascinating and unforgettable new play “WILD GOOSE DREAMS”  at The Public Theaterin a co-production with La Jolla Playhouse, where it had a critically-acclaimed run last season, after its initial run in Public Studio. Tony nominee Leigh Silverman (Violet, Chinglish, The Outer Space) directs this strikingly original play with music, about two people from two cultures forced to choose between family and freedom.

“HANSOL JUNG is a writer of industrious imagination with a poet’s gift”. – BEN BRANTLEY, The New York Times

Tickets to “WILD GOOSE DREAMS”
“SsingSsing”
Sunday, December 9, 2018, 8:00 PM
Get Tickets to SsingSsing December 9 @8PM
Authentic Korean traditional vocals with rock music, combined with an extravagant visual style and stage manners, SsingSsing is what happens when you cross 1970’s era David Bowie or B-52s with Korean shamanic rock.  SsingSsing have been making waves around the world, bringing glam rock and funk elements together with a wildly charismatic theatrical twist.

Presented by the Korean Cultural Center New York, Brooklyn Bowl, and Eulpion Sounds as part of KCCNY’s Korean Culture Day 2018 Program. This performance is supported by the Korean Foundation for International Cultural Exchange as part of Traveling Korean Arts Program, Brooklyn Bowl
61 Wythe Avenue, Brooklyn, NY, 11249

Get Tickets to ‘SsingSsing’ December 9 @8PM
“Zombie Asian Moms”
November 29 – December 09, 2018
Get Tickets to ‘Zombie Asian Moms’
La Mama Experimental Theatre Club presents Amerasian punk rock comedy duo Slanty Eyed Mama put a new spin on the haunting lore and digital rice cookers of Asian Moms. This world premiere show features original songs, sketch, standup,  electric violin, video and spoken word. Based on oral history interviews with Asian Moms.
Get Tickets to ‘Zombie Asian Moms’
Next Up at Ma-Yi:
The Buswick Starr production of SUICIDE FOREST in association with Ma-Yi Theater Company running Feb 27 through March 26, 2019
In 1990’s Japan, the journeys of a teenage girl and Salaryman collide as they are confronted with life or death decisions in a world where identity and one’s self-worth is dominated by shame and masochism.Suicide Forest is a bilingual nightmare play that excavates the Japanese American consciousness and examines the struggles of emotional, psychic, and social suicide through the playwright’s lived stories.

@suicideforestplay #suicideforestBWS

Lloyd Suh’s “The Chinese Lady” Opens At Theatre Row

photography by Carol Rosegg

On November 10th, 2018, Ma-Yi Theater Company was proud to present the opening of Ma-Yi  Lab Member Lloyd Suh’s THE CHINESE LADY, at Theater Row. NEW YORK THEATRE GUIDE‘s Nishka Jain writes, “I was so invested in Atong and Afong Moy’s journey that I was left wanting to hear more about their lives, as the playwright moved from their journey to the historical events. I found myself wanting Afong Moy’s personal journey through history more than the history itself. I also found a deep connection with Afong’s experience of being an immigrant with my own, perhaps that is what drew me so close to her, and had me wanting to know more about her struggles as someone who is also from outside.

MA-YI PATRONS RECEIVE TICKETS AT PERCENT DISCOUNT HERE or Limited RUSH tickets are available at Theatre Row Box Office One Hour Before Performance for $22.25.


 socialroseggCHINESE_Page_04

“Perhaps I should hire a fourteen year old white American girl to come with me to China, and display her in a room with a raised bed, shoes on her feet in the home, eating with a fork! Perhaps I can tour her throughout the country and let the Chinese look at her and study her, put her on display for the education and edification of the Chinese curiosity!”

MA-YI PATRONS RECEIVE TICKETS AT PERCENT DISCOUNT HERE or Limited RUSH tickets are available at Theatre Row Box Office One Hour Before Performance for $22.25.

 socialroseggCHINESE_Page_05

“Both Shannon Tyo and Daniel K. Isaac are amazing in their delivery. They steal your heart with their innocence and portrayal of two extra ordinary human beings as Afong Moy and Atung.
The writing is witty, and engaging. Ralph B. Peña‘s direction is superb, and so is the design team. There is a sense of calm while the storm rages in the story, I wonder if that was because of the music, the lighting design or the writing. But everything feels connected in a surreal sort of a way.

Afong Moy, might not have fulfilled her intention of educating, and connecting the world in her life, but The Chinese Lady sure has the promise and potential do so.

If you see only one show this season, watch The Chinese Lady.”

Nishka Jain  NEW YORK THEATRE GUIDEMA-YI PATRONS RECEIVE TICKETS AT PERCENT DISCOUNT HERE or Limited RUSH tickets are available at Theatre Row Box Office One Hour Before Performance for $22.25.

socialroseggCHINESE_Page_08 socialroseggCHINESE_Page_09

“I am the first Chinese American woman. I am the first Chinese woman you have ever seen. I am the first Chinese from nobility, the first educated Chinese, the first high-born, the first with bound feet, the first the first the first. And so you see, this gives me a great responsibility.”

socialroseggCHINESE_Page_10socialroseggCHINESE_Page_06

CONGRATULATIONS TO THE FOLLOWING:

 

 

lloyd_suh.jpg__2304x1536_q85_crop_subsampling-2_upscale

LLOYD SUH

Lloyd Suh is the author of Charles Francis Chan, Jr...; American HwangapThe Wong Kids in the Secret of the Space Chupacabra Go!Jesus in India and others; produced with Ma-Yi, The Play Company, Ensemble Studio Theare, Magic Theatre, Denver Center and more, including internationally at the Cultural Center of The Philippines in Manila, and with PCPA in Seoul, Korea. He has received support from the NEA, Mellon Foundation, NYFA, NYSCA, Jerome, TCG, The Roe Green Award from Cleveland Play House and NYCT’s Helen Merill Award. He is an alum of EST’s Youngblood and the Soho Rep Writer Director Lab, and from 2005-2010 served as Artistic Director of Second Generation and Co-Director of the Ma-Yi Writers Lab. He has served since 2011 as Director of Artistic Programs at The Lark, and since 2016 as a member of the Dramatists Guild Council.

 

RBP-headshot

RAPLH B. PEÑA

Ralph B. Peña is the current Artistic Director of Ma-Yi Theater Company.

Recent directing credits include Among the DeadHouse Rules (Ma-Yi) The Orphan of Zhao (Fordham Theatre), Macho Dancer: A Musical (Cultural Center of the Philippines), Livin’ La Vida Imelda (Ma-Yi), Lloyd Suh’s The Wong Kids in the Secret of the Space Chupacabra GO! (Cultural Center of the Philippines, Children’s Theater Co. and Ma-Yi, Off Broadway Alliance Award), Julia Specht’s Down Cleghorn, Joshua Conkel’s Curmudgeons in Love (EST Marathon), Mike Lew’s microcrisis(Youngblood, Ma-Yi), and House/Boy (Dublin and Singapore Theater Festivals). His theater work has been seen at The NYSF/Public Theater, Long Wharf Theater, Laguna Playhouse, NAATCO, Second Generation, Victory Gardens, and LaMama ETC, among others. He received an Obie Award for his work on The Romance of Magno Rubio. Ralph is a member of the Ensemble Studio Theater. This is for Damien, always and forever.

LFP_5733+copy

Daniel K. Isaac (Atung) is an actor and writer born and raised in Southern California, currently based in New York City. You can currently see him on the small screen as ‘Ben Kim’ in Showtime’s “Billions.”Isaac co-wrote and stars in the short film/pilot presentation, “According To My Mother.” The project was selected for IFP Film Week and the inaugural Sundance New Voices Lab and was an Official Selection at ITVFest, Newfest, Outfest Fusion, Outfest, CAAMfest, SeriesFest (where it was awarded Best Actress), and New York Television Festival (Best Drama and Best Actor). “According To My Mother” is currently in development to become a digital series on First Look Media’s new platform, TOPIC. Isaac is a member of Page 73’s 2018 Interstate 73 Writers Group, Ensemble Studio Theatre’s Youngblood, and a Lambda Literary Playwriting Fellow. Training: UCSD, BADA.

He recently appeared as William Inge in the Off-Broadway production of Philip Dawkin’s The Gentleman Caller, produced by Abingdon Theatre at The Cherry Lane.  Select NYC: Sagittarius Ponderosa (NAATCO), Underland (59E59), La Divina Caricatura (La MaMa, Under the Radar & St. Ann’s Warehouse), Anna Nicole the Opera (BAM). Select Regional: The Ballad of Little Jo (Two River Theater), Miss Electricity (La Jolla Playhouse). Film/TV: MONEY MONSTER (dir. Jodie Foster), “The Jim Gaffigan Show” (TV LAND), “Search Party” (TBS), “Crashing” (HBO), “The Following” (FOX), “Person of Interest” (CBS), “Believe” (NBC, pilot), TOO BIG TO FAIL (HBO).  DanielKIsaac.com

Shannon295final 2

Shannon Tyo (Afong Moy) Off-Broadway credits include Kentucky, Bikeman: A 9/11 Play, Dear Edwina. Favorite regional credits include The White Snake at the Old Globe, San Diego; Miss Saigon at the Pioneer Theatre Co, Music Theatre of Wichita and Cape Fear Regional; The 25th Annual Putnam County Spelling Beeat Northern Stage, Tuacahn PAC and Pioneer Theatre Co.; and Broadway Bounty Hunter at Barrington Stage. BFA Syracuse University.   shannon-tyo.com

JUNGHYUN GEORGIA LEE (Set and Costume Designer) is a Korean-born, NY-based set and costume designer. She designed for Ma-Yi, Soho Rep, The Play Co., Guthrie Theater, Huntington Theatre Company, Cincinnati Playhouse in the Park, Playmakers Rep, The Juilliard School, Dallas Theater Center, Indiana Rep, Milwaukee Rep, American Players Theater, Syracuse Stage, Humana Festival, Center Stage (Baltimore), Cedar Lake Contemporary Ballet and National Theater in Seoul, Korea. She is a member of New Neighborhood. MFA, Yale School of Drama. junghyunleedesign.com

FABIAN OBISPO (Sound Designer/Composer) MaYi: Teenage Dick, House Rules, The Square, No Foreigners Beyond This Point. Off- Broadway: The Public, MTC, MCC, CSC, Atlantic Theatre Company, Vineyard Theatre, The New Group, NYTW, TFANA, Primary Stages among others. Regional: Arena Stage, Shakespeare Theatre Company, Kennedy Center, ACT, Goodman, Guthrie, OSF, Cleveland Playhouse, Seattle Repertory Theatre, Huntington Theatre Company, Hartford Stage, Barrington Stage, Asolo Repertory Theatre, Indiana Repertory Theatre, Westport Country Playhouse, Playmakers Repertory Company and Cincinnati Playhouse to name a few.

OLIVER WASON (Lighting Designer) Previously with Ma-Yi: Among the Dead, House Rules. Recent work: peerless (Yale Rep, Barrington Stage); Accidental Death of an Anarchist (Berkeley Rep, Yale Rep); Sagittarius Ponderosa (NAATCO); Stones in His Pockets (Shanghai Dramatic Arts Center); Little Shop of Horrors, Bells Are Ringing, A Little Night Music (Berkshire Theater Festival); Dido and Aeneas, Lucia di Lammermoor (Heartbeat Opera); Cosi Fan Tutte (Loft Opera); Empty the House (Curtis). MFA Yale. oliverwason.com

GEOFF BORONDA (THE CHINESE LADY, Production Stage Manager; SESAR, Assistant Stage Manager) Credits include: New York: Ain’t No Mo’, Mobile Unit: Romeo & Juliet, Mobile Unit: The Comedy of Errors, Buzzer, Ping Pong, Under the Radar Festival, The Urban Retreat, The Great Immensity, Fortress of Solitude (The Public Theater); The Undertaking (The Civilians); generations (Soho Rep). Regional: The Chinese Lady, Typhoid Mary (Barrington Stage Company); Shakespeare in Love, Jazz (Baltimore Center Stage); A View from the Bridge (Center Theatre Group); Hamlet, A Doctor in Spite of Himself (Yale Repertory Theatre); Appropriate (Westport Country Playhouse). Education: MFA Stage Management from the Yale School of Drama.

RACHAEL GASS (SESAR – Production Stage Manager; THE CHINESE LADY – Assistant Stage Manager) Broadway: Cirque Du Soleil Paramour, Motown (2016). Off Broadway credits include Neurosis (DR2), Illyria (The Public), Ernest Shackleton Loves Me (Tony Kiser Theatre), First Daughter Suite (The Public), Signature Plays (Signature Theatre), A Walk in the Woods (Keen Company). BFA from UNCSA.

ALLISON QUEEN (Production Manager) is a graduate of The University of Oklahoma. Most recently she served as Production Manager for the Off-Broadway production The Mad Ones and One Thousand Nights and One Day. She interned with Aurora Productions where she had a chance to assist on many Broadway shows including Anastasia, Six Degrees of Separation, The Present, and Holiday Inn. Allison spent 8 years stage managing professionally before crossing into production management. She would like to thank her family for their never-ending love and support!

ERIN MCCOY (THE CHINESE LADY – Assistant Stage Manager) Ma-Yi Theatre: The Chinese Lady, Broadway: Bernhardt/Hamlet, Off-Broadway: (Manhattan Theater Club): Sugar In Our Wounds (The Public Theater): Ain’t No Mo,Tiny Beautiful Things, Dry Powder, Buzzer, Fidelis, Under the Radar Festival, Public Works Twelfth Night, Shakespeare in the Park The Taming of the Shrew, The Tempest (Baltimore Center Stage): Shakespeare in Love, Jazz (Westport County Playhouse): Appropriate. Education: Otterbein University.

JULIANNE BOYD (THE CHINESE LADY -Producing Artistic Director, Barrington Stage Company) co-founded Barrington Stage Company in January 1995. She has directed many productions at BSC. Last summer, Ms. Boyd directed the acclaimed production of Company starring Aaron Tveit. In 2016, she directed two world premieres: Christopher Demos-Brown’s American Son, which won the Laurents-Hatcher Award for Best New Play of 2016 by an emerging playwright, and the musical Broadway Bounty Hunter by Joe Iconis, Jason SweetTooth Williams and Lance Rubin. Other productions include the world premieres of Mark St. Germain’s Best of Enemies, Dancing Lessons and Dr. Ruth, All the Way, and the critically acclaimed revival of Goldman and Sondheim’s Follies. In 1997, she directed BSC’s smash hit production of Cabaret, which won six Boston Theater Critics Awards and transferred to the Hasty Pudding Theatre in Cambridge for an extended run.Boyd conceived and directed the Broadway musical Eubie!, a show based on the music of Eubie Blake which starred Gregory Hines and garnered three Tony nominations. She also coconceived and directed (with Joan Micklin Silver) the award-winning Off Broadway musical revue A…My Name Is Alice (Outer Critics’ Award) and its sequel A…My Name Is Still Alice. Over the past thirty-five years she has worked extensively in New York and regional theatres.

JORGE Z. ORTOLL (Former Executive Director of Ma-Yi Theater Company, Board Member and Senior Advisor) assumed the position of Executive Director for Ma-Yi in 1991, and up through 2004, produced all of its productions and oversaw its steady growth and respect in the industry and communities it serves. He has served as panelist for the Nancy Quinn Fund of the Alliance of Resident Theatres in New York, and has represented the United States in the bi-annual conventions of ITI (International Theater Institute of UNESCO) since 2002. He holds a B.A. degree in Economics and Accounting from Holy Cross College and an M.B.A. degree from Columbia University.

SARAH HANLON (Ma-Yi Theater Production Assistant) is a world traveler performing in shows such as the national tour of Jesus Christ Superstar, regional productions of Les Miserables, Showboat, Man of La Mancha and her family’s favorite, Pocahontas. Much love to Chris and Mochi. For Mom.

SEAN DALEY (Ma-Yi Theater Production Intern) is a member of LSA (Linguistic Society of America) focusing on South Korean phonetics and phonology and is producing a book on diction in Korean for non-native speakers on stage and in song. He is a performer of Korean contemporary musical theatre. Playwright: Noblesse Oblige (Manhattan Rep), Assistant Director: Family Dynamics (Hudson Guild), Manhattan School of Music, Classical Voice. Current CUNY, B.A. in Linguistics and Theatre.

Production Stage Manager (THE CHINESE LADY)—Geoff Boronda

Asst. Stage Manager (THE CHINESE LADY)—Rachael Gass

Asst. Stage Manager (THE CHINESE LADY) —Erin McCoy

Dramaturge (THE CHINESE LADY)—Rebecca Weiss

Production Manager—Allison Queen

Asst. Production Manager—Christy Perez

Asst. Set/Costume Designer—Aram Kim

Asst. Sound Designer—Jorge Olivo

Master Electrician—Stephen Cornelius

Associate Lighting Designer (SESAR)—Alex deNevers

Assistant Lighting Designer (SESAR)—Xander Coleman

Associate Lighting Designer (THE CHINESE LADY)—Keithlyn B Parkman

Sound Board Operator—German Martinez

Light Board Operator—Gianna Rini

Technical Director—Courtney Kupferschmidt

Props Coordinator—Mackenzie Trowbridge

Wardrobe Supervisor—Bill Nguyen

Run Crew—Miranda Thompson

Run Crew (THE CHINESE LADY) —Emily Lin

Production Associate.—Sarah Hanlon

House Manager—Sean Daley

Promotion and Production Videographer—Jon Burkland, Zanni Productions

 MA-YI PATRONS RECEIVE TICKETS AT PERCENT DISCOUNT HERE or Limited RUSH tickets are available at Theatre Row Box Office One Hour Before Performance for $22.25.

Lloyd Suh’s “The Chinese Lady” Begins Previews November 7

CHINESLANDY956x500_v2-01_1

Some shows are already sold out for THE CHINESE LADY, the first Chinese woman to step foot in the United States in 1834. There are several ways to get discount tickets for a limited time:1. Previews are on sale for $26.25 for November 7-9 using the code TRMOCAPRE when you call  212-947-8844 or by clicking the link below:

20% off Preview Show Tickets for “THE CHINESE LADY” 11/7-11/9

2. Regular shows are on sale for $34.25 from November 11-18 using the code TRMOCAREG when you call  212-947-8844 or by clicking the link below:

20% off Regular Show Tickets for “THE CHINESE LADY” 11/11-11/18

3. Rush Tickets are available at the box office, one hour before curtain time.Theatre Row, 410 W. 42nd Street.4. There are also some discounted tickets avilable at TODAYTIX

chineseBARRsocial_Page_08

“This is one of the finest works presented by Barrington Stage this year.”
Berkshire Bright Focus

“an exceptionally engaging world premiere at Barrington Stage Company…acted with abundant humor and even more compassion….Suh explores Moy’s story in an unusual, intellectually bracing way that explodes theater conventions.” Albany Times Union

“a fascinating piece of theater and history, beautifully and bravely told.”
In the Spotlight

chineseBARRsocial_Page_02

“It will touch your heart, fill your mind and have you remembering this brave woman who learns about life in a world that does not accept her.”
Berkshire On Stage

“A riveting and poetic 90-minute world premiere of historic interest and pointed political observations.”
CurtainUP

socialcreativesCHINESE_Page_06

Shannon Tyo (Afong Moy) Off-Broadway credits include Kentucky, Bikeman: A 9/11 Play, Dear Edwina. Favorite regional credits include The White Snake at the Old Globe, San Diego; Miss Saigon at the Pioneer Theatre Co, Music Theatre of Wichita and Cape Fear Regional; The 25th Annual Putnam County Spelling Beeat Northern Stage, Tuacahn PAC and Pioneer Theatre Co.; and Broadway Bounty Hunter at Barrington Stage. BFA Syracuse University

Set and Costumes designed by Junghyun Georgia Lee. Lighting design by Oliver Wason. Sound design by Fabian Obispo. Production Stage Manager is Geoff Boronda.

chinesesocialawards_Page_2

Daniel K. Isaac (Atung) is an actor and writer born and raised in Southern California, currently based in New York City. You can currently see him on the small screen as ‘Ben Kim’ in Showtime’s “Billions.”Isaac co-wrote and stars in the short film/pilot presentation, “According To My Mother.” The project was selected for IFP Film Week and the inaugural Sundance New Voices Lab and was an Official Selection at ITVFest, Newfest, Outfest Fusion, Outfest, CAAMfest, SeriesFest (where it was awarded Best Actress), and New York Television Festival (Best Drama and Best Actor). “According To My Mother” is currently in development to become a digital series on First Look Media’s new platform, TOPIC. Isaac is a member of Page 73’s 2018 Interstate 73 Writers Group, Ensemble Studio Theatre’s Youngblood, and a Lambda Literary Playwriting Fellow. Training: UCSD, BADA. www.AccordingToMyMother.com

He recently appeared as William Inge in the Off-Broadway production of Philip Dawkin’s The Gentleman Caller, produced by Abingdon Theatre at The Cherry Lane.  Select NYC: Sagittarius Ponderosa (NAATCO), Underland (59E59), La Divina Caricatura (La MaMa, Under the Radar & St. Ann’s Warehouse), Anna Nicole the Opera (BAM). Select Regional: The Ballad of Little Jo (Two River Theater), Miss Electricity (La Jolla Playhouse). Film/TV: MONEY MONSTER (dir. Jodie Foster), “The Jim Gaffigan Show” (TV LAND), “Search Party” (TBS), “Crashing” (HBO), “The Following” (FOX), “Person of Interest” (CBS), “Believe” (NBC, pilot), TOO BIG TO FAIL (HBO).  www.DanielKIsaac.com

chinesesocialawards_Page_3

Fabian Obispo is our Sound Designer for SESAR and THE CHINESE LADY. Fabian is a long-time Ma-Yi Theater collaborator. He has designed sound and composed original music for many Ma-Yi productions including “Caucasian Chalk Circle,” Portrait of the Artist,” “Flipzoids,” “Mother Courage,” and “Among The Dead,” to name a few. He is currently working on a new musical with Jessica Hagedorn that Ma-Yi Theater will premiere in 2019.

chinesesocialawards_Page_5

Playwright Lloyd Suh is the author of Charles Francis Chan Jr’s Exotic Oriental Murder Mystery, American Hwangap, The Wong Kids in the Secret of the Space Chupacabra Go!, Jesus in India, Great Wall Story, and others, produced with Ma-Yi, Magic Theatre, Ensemble Studio Theatre, The Play Company, La Mama, Denver Center Theatre Company, ArtsEmerson, The Guthrie Theatre with Mu Performing Arts, East West Players, and internationally at the Cultural Center of the Philippines in Manila, and with PCPA in Seoul, Korea. He has received support from the NEA Arena Stage New Play Development program, the Andrew W. Mellon Launching New Plays Into the Repertoire initiative via the Lark, NYFA, NYSCA, Jerome Foundation, TCG, and Dramatists Guild, and has been a recipient of the Roe Green Award from Cleveland Playhouse, the Lilah Kan Red Socks Award, and the Helen Merrill Award. His plays have been published by Samuel French, Playscripts, Smith & Kraus, Duke University Press and American Theater magazine. He is an alum of Youngblood and the Soho Rep Writer/Director Lab, and from 2005-2010 served as Artistic Director of Second Generation and Co-Director of the Ma-Yi Writers Lab. He currently serves on the Dramatists Guild Council and has since 2011 served as Director of Artistic Programs at The Lark.

socialcreativesCHINESE_Page_04

Director Ralph B. Peña is the current Artistic Director of Ma-Yi Theater Company. Recent directing credits include Among the DeadHouse Rules (Ma-Yi) The Orphan of Zhao (Fordham Theatre), Macho Dancer: A Musical (Cultural Center of the Philippines), Livin’ La Vida Imelda (Ma-Yi), Lloyd Suh’s The Wong Kids in the Secret of the Space Chupacabra GO! (Cultural Center of the Philippines, Children’s Theater Co. and Ma-Yi, Off Broadway Alliance Award), Julia Specht’s Down Cleghorn, Joshua Conkel’s Curmudgeons in Love (EST Marathon), Mike Lew’s microcrisis(Youngblood, Ma-Yi), and House/Boy (Dublin and Singapore Theater Festivals). His theater work has been seen at The NYSF/Public Theater, Long Wharf Theater, Laguna Playhouse, NAATCO, Second Generation, Victory Gardens, and LaMama ETC, among others. He received an Obie Award for his work on The Romance of Magno Rubio. Ralph is a member of the Ensemble Studio Theater. This is for Damien, always and forever.

socialcreativesCHINESE_Page_13

In 1834, at 14 years of age, Afong Moy, the first Chinese woman in America, was put on display by The Carnes Brothers for a curious American public at $50 cents a head. By “1848, Afong Moy shared an exhibition space in New York with Tom Thumb, then under contract with P. T. Barnum. Like so many popular acts in antebellum America, Moy had apparently drifted into the orbit of the Great Showman himself.” —The Chinese Lady and China for the Ladies, Race, Gender, and Public Exhibition in Jacksonian America, by Prof. John Haddad

socialcreativesCHINESE_Page_02

Don’t miss this incredible telling of America’s first Chinese woman at Theatre Row Nov 7-18th. Get Discount Tickets Below:

1. Previews are on sale for $26.25 for November 7-9 using the code TRMOCAPRE when you call  212-947-8844 or by clicking the link below:

20% off Preview Show Tickets for “THE CHINESE LADY” 11/7-11/9

2. Regular shows are on sale for $34.25 from November 11-18 using the code TRMOCAREG when you call  212-947-8844 or by clicking the link below:

20% off Regular Show Tickets for “THE CHINESE LADY” 11/11-11/18

3. Rush Tickets are available at the box office, one hour before curtain time.Theatre Row, 410 W. 42nd Street.4. There are also some discounted tickets avilable at TODAYTIX

Reviews for Orlando Pabotoy’s “Sesar”

See what the media is saying about the Ma-Yi Season Opener, SESAR.

SESARpromoREVIEWS_Page_01

 

GET DISCOUNT TICKETS HERE

SESARpromoREVIEWS_Page_09

New York Theatre Guide

“Portraying both father and son, as well as a variety of other Shakespearean and contemporary characters, Pabotoy displays impressive linguistic and physical skills. He rails in pantomime against the winds of a hurricane, magically shrinks to boy-size then grows to manhood and back again. He speaks, or hypnotically whispers or sings, not only in modern and Shakespearean English, but also in Fijian and Visayan. Director Richard Feldman and his production team build the atmosphere around him via vivid screen projections on the stark white walls of designer Junghyun Georgia Lee’s set, quick blackouts that speed up time, then an extended blackout where it is easy to believe there are two actors on stage conversing. And yes, having staged a show entirely in a bathroom, Feldman could not resist an homage to the shower scene in Psycho. It’s a small film tutorial in a production full of lessons, both specific (Fijian and Phillipino history) and universal (“Regret was Caesar’s revenge. Which eventually made Brutus want to die. Regret is a storm. A great one.”). Pabotoy & company will be teaching these truths through November 1. Lend them your ears.”

Stage Biz

Sesar is the piece all solo shows want to be when they grow up. Although, Orlando Pabotoy plays so many characters if feels like there is a huge cast peopling the stage in this astounding production.

Ma-Yi - Sesar_selects-19

Theaterscene.net 

“Musical interludes, crashing thunder and battle noises are adeptly depicted by sound designer Fabian Obispo. Oliver Wason’s striking lighting design veers from realism to fantasy with its fluctuations. Stylized footage of the Philippines, hurricanes, and news broadcasts are the chief features of Dan Scully’s mesmerizing projection design.

Filled with sentiment, Sesar is an uplifting and engaging experience.”

 

 

 

 

The Front Row Center 

“Last season, the Ma-Yi Theater Company sent Richard III to high school in their tragicomedy hit, Teenage Dick. In Sesar, they send Julius Caesar to the bathroom. But where the halls of Richard’s school were fraught with peril, this loo, in a house in Fiji of all places, is a sanctuary. It is where a 14-year-old from the Philippines, who has been “seduced” by Shakespeare’s language, can have some privacy in a crowded house. Having borrowed a copy of Julius Caesar from the library, this lad spends his free time memorizing Cassius’s famous “The fault is not in our stars,” soliloquy. “

Ma-Yi - Sesar_selects-11

 

 

Lighting&Sound America

“As Pabotoy concludes, his Shakespearean encounter with his father would reverberate down through the years: “I would recite that speech of Cassius in front of my history class. I would recite it at an audition for the Shakespeare Theatre in DC. I would recite it at the Juilliard School. I would recite it in a bathroom in a theatre on the island of New York City. Ten minutes; ten minutes and they may be hooked.”

SESARpromoREVIEWS_Page_07

Theaterscene.net 

“Director Richard Feldman’s consummate staging combines guiding Pabotoy’s performance with the technical elements into a stimulating production. Junghyun Georgia Lee’s awesome gleaming white cavernous bathroom set adds an epic dimension to the presentation. There is also a delectably colorful twist for the finale. Ms. Lee’s costume design includes a snappy outfit for Pabotoy and neat accessories.”

Photo Flash: Ma-Yi Presents World Premiere Of Orlando Pabotoy’s SESAR

44526674_10156103254782695_3600484828132147200_o Oct. 22, 2018 

PHOTO GALLERY BY LIA CHANG (BACKSTAGE WITH LIA CHANG)

Ma-Yi Theater Company is presenting the World Premiere of SESAR, written by and performed by Orlando Pabotoy who previously acted with Ma-Yi, in his playwrighting debut, October 20 – November 1, 2018. Helmed by Richard Feldman, SESAR is now in previews for a Wednesday, October 24 opening night on Theatre Row at The Beckett (410 W 42nd St). Tickets can be purchased by calling 212-239-6200; or online.

ABOUT “SESAR”
After watching an excerpt of “Julius Caesar” on television, a 14-year Filipino boy locks himself in the only family bathroom to dive head-first into the world of ancient Rome, determined to make sense of Shakespeare’s famous tragedy. The boy’s father, a former town mayor now exiled because of his democratic beliefs, joins his son in the bathroom, and using his own experiences, teaches him real-life lessons about power, love, and loss.

With Set and Costume Design by Junghyun Georgia Lee, Lighting Design by Oliver Wason, Sound Design by Fabian Obispo, Projection Design by Dan Scully and Rachael Gass as Production Stage Manager.

LINK TO ARTICLE

More photos from Lia Chang

44646653_10156103254882695_3994324528787357696_o

TICKETS ARE DISCOUNTED FOR A LIMITED TIME

Preview of SESAR  
with code: TRMOCAPRE ON OCTOBER 23rd
LINK BELOW or enter code at:
www.telechargeoffers.com or call 212-947-8844.
TRMOCAPRE $26.25 Previews of SESAR and THE CHINESE LADY
 Regular Performances of SESAR
with code: TRMOCAREG OCTOBER 25 – NOVEMBER 1
This discount is also available on TODAY TIX for a Limited Time
TRMOCAREG $34.25 SESAR and THE CHINESE LADY

MEET “THE CHINESE LADY” AND HER INTERPRETER

 

Inspired by the true story of the first Chinese female to step foot in America, THE CHINESE LADY is a tale of dark poetic whimsy and a unique portrait of the United States as seen through the eyes of a young Chinese woman. In 1834, Afong Moy is brought from China to America and put on display as THE CHINESE LADY for a paying public hungry for the exotic mysteries of the East.

But who is looking at whom?

“Though Afong Moy did not speak English, visitors could communicate with her because she was accompanied by her interpreter—a Chinese man named “Atung.” Since audience members wondered about her life in China, the practice of foot binding… her impressions of New York, Atung fielded such questions and translated them for Afong Moy. Atung also made sure Moy did not remain seated for long; every few minutes, he would say a few words in Chinese, prompting Moy to rise from her chair and hobble with difficulty across the room before returning to her seat.” —An excerpt from, “The Chinese Lady and China for the Ladies Race, Gender, and Public Exhibition in Jacksonian America”. With permission By Prof. John Haddad

TICKETS for “THE CHINESE LADY” 11/7 – 11/18 THEATRE ROW

Shannon Tyo is “Afong Moy”

 

Shannon is an actor, singer, writer, and musician based in New York City. She was born in Seoul, South Korea, and adopted into her family at three months old. Shannon was raised in Rochester, New York, and attended Syracuse University for Musical Theater. Shannon has been recently seen in NYC productions of Kentucky (EST), Bikeman (Tribeca PAC),  and Dear Edwina (DR2),See more at  shannon-tyo.comfrom the Barrington Stage Production of THE CHINESE LADY:
“Ralph B. Peña’s perfectly paced direction is the narrative of a character based on the country’s first female Chinese immigrant who tours the country hoping to bridge the gap between East and West. What’s really going on, though, is a story of horrific betrayal by her American producers and, in fact, the betrayal of Chinese immigrants by America itself. Suh’s poetic writing and Shannon Tyo’s superlatively subtle acting make the history come to life in a profoundly moving way.” —J. Peter Bergman, The Berkshire Edge

Daniel K. Isaac is “Atung”

 

Daniel’s Off Broadway Credits include, The Gentleman Caller (Abingdon), Sagittarius Ponderosa (NAATCO), Underland (59E59), Anna Nicole the Opera (BAM). Daniel can be seen in current episodes of Showtime’s “Billions”. Daniel began writing several years ago in order to share conversations he had with his ultra-conservative, uber-Christian, Korean immigrant, single mother:  According To My Mother.        
See more at DanielKIsaac.com
TICKETS for “THE CHINESE LADY” 11/7 – 11/18 THEATRE ROW

 


 

10/25 READING / DISCUSSION OF “THE CHINESE LADY AT MOCA

 at the MUSEUM OF CHINESE IN AMERICA
ON THURSDAY, OCTOBER 25, 2018 AT 6:30 PM 

Learn more about America’s first female Chinese immigrant, Afong Moy, and her interpreter. The Museum of Chinese in America (MOCA) and Ma-Yi Theater Company will present an excerpt from the play, THE CHINESE LADY, which is performing on Theatre Row from November 7 through November 18, 2017. After the reading, there will be a post talk-back discussion with the writer and creatives.

$10 ADMISSION. MOCA MEMBERS FREE. 
215 Centre Street New York, NY 10013            855-955-MOCA             MOCAnyc.org
10/25 READING / DISCUSSION OF “THE CHINESE LADY AT MOCA 

v

TICKETS for “THE CHINESE LADY” 11/7 – 11/18 THEATRE ROW

“SESAR” PREVIEWS OCT 20

 

GET A QUICK LOOK AT “SESAR” WITH DIRECTOR RICHARD FELDMAN AND PLAYWRIGHT / PERFORMER ORLANDO PABOTOY.
 
TICKETS for SESAR 10/20-11/1 THEATRE ROW

 

October 26 and 27
From our friends at Leviathan Lab, in association with The Tank:

 

In 2016, Leviathan originally explored the immigration crisis in our Living Room: Immigrant series. In 2018, the crisis has continued to escalate worldwide. Here in the U.S., between 45’s abhorrent zero-tolerance immigration policies that have led to the separation of families and the imprisonment of immigrant children in internment camps; and his racist dog whistles that denigrate black and brown people, there is more to explore and bring to light than ever.All bar proceeds from the event will go toward supporting Immigrant Families Together, a network of Americans committed to rapid response unification of families separated by the ‘zero tolerance’ policy.
TICKETS FOR “THE WALL- Immigration in the Time of 45″

REHEARSALS BEGIN, “Sesar” and “THE CHINESE LADY”

 In Orlando Pabotoy’s play SESAR, a father and his 14-years old son, who is fascinated by the verse and power of poetry in Shakespeare’s “Julius Caesar,” try to make sense of the play. Using his own experiences as a former town mayor, a father teaches his son about ambition, betrayal, and love.
REHEARSALS BEGIN:
WATCH THE INTERVIEW WITH SESAR DIRECTOR RICHARD FELDMAN AND PLAYWRIGHT / PERFORMER ORLANDO PABOTOY.
SESAR
The father and son in SESAR come from the island province of Bohol, in the center of the Philippine archipelago. In SESAR there are passages spoken in Boholano, the local dialect used on the island. Don’t worry, most of the play is in English and you won’t get lost. In this clip, Orlando teaches Richard how to count in Boholano. Give it a try:

TICKETS for SESAR 10/20-11/1

THE CHINESE LADY
Next up at Theatre Row is Lloyd Suh’s THE CHINESE LADY, inspired by the true story of the first Chinese female to step foot in America, A tale of dark poetic whimsy and a unique portrait of the United  States as seen through the eyes of a young Chinese woman. In 1834, Afong Moy is brought from China to America and put on display as THE CHINESE LADY for a paying public hungry for the exotic mysteries of the East.But who is looking at whom?

TICKETS for THE CHINESE LADY 11/7-11/18

TICKETS for SESAR 10/20-11/1

Meet The Designers for “SESAR” and “THE CHINESE LADY”

TICKETS for THE CHINESE LADY 11/7-11/18

TICKETS for SESAR 10/20-11/1

MEET OUR AMAZING DESIGN TEAM
Georgia Junghyun Lee, Fabian Obispo, Oliver Wason and Dan Scully make up the design team behind SESAR and THE CHINESE LADY at Theatre Row.
Orlando Pabotoy writes and performs his one-person play SESAR, directed by Richard Feldman. SESAR plays from October 20 to November 1, 2018. Next is Lloyd Suh‘s THE CHINESE LADY, a co-production with Barrington Stage Company, directed by Ralph B. Peña, and featuring Shannon Tyo (“Bright Half Life”) and Daniel K. Isaac (Showtime’s “Billions”). THE CHINESE LADY plays from November 7 to 18, 2018.
Junghyun Georgia Lee is our set and costume designer for SESAR and THE CHINESE LADY. A graduate of the Yale School of Drama, Georgia was born in Korea, and works out of New York. She previously designed costumes of Ma-Yi Theater’s productions of “American Hwangap,” and “Teenage Dick.”  Her designs have also been featured at The Play Co., Guthrie Theater, and Huntington Theatre Company, to name just a few. Read more about her here: junghyunleedesign.com
Oliver Wason is our lighting designer for both plays as well. Another graduate of the Yale School of Drama, Oliver has previously designed shows at Ma-Yi Theater, incuding “House/Rules,” “Among the Dead,” and “Peer Gynt and The Norwegian Hapa Band.” Read more about Oliver at oliverwason.com
Fabian Obispo is our Sound Designer for SESAR and THE CHINESE LADY. Fabian is a long-time Ma-Yi Theater collaborator. He has designed sound and composed original music for many Ma-Yi productions including “Caucasian Chalk Circle,” Portrait of the Artist,” “Flipzoids,” “Mother Courage,” and “Among The Dead,” to name a few. He is currently working on a new musical with Jessica Hagedorn that Ma-Yi Theater will premiere in 2019.
Dan Scully is our Projection Designer for SESAR. Dan is a Brooklyn-based projection designer with a background in performance and computer technology. His more recent works include “If/Then” (National Tour), “Rocky”(Broadway), “Jedermann” (Salzburger Festspeile), “Another Night” (Alvin Ailey/ADT), “The Orchestra Moves!” (Carnegie Hall), and “When The Wolves Came In” (Kyle Abraham/Abraham.In.Motion). Read more about Dan at danscully.com

TICKETS for SESAR 10/20-11/1

TICKETS for THE CHINESE LADY 11/7-11/18

Diversity for Dummies Part Two: Why The Best Intentions Sometimes Fail

 Diversity for Dummies Part Two

Why The Best Intentions Sometimes Fail

An essay by Ralph B. Peña, Producing Artistic Director, Ma-Yi Theater Company —  from HOWLROUND THEATRE COMMONS

“A request for more diversity isn’t really a plea to embrace stimulating heterogeneity. It’s a plea to embrace minimal decency.”

 

Noah Berlatsky wrote those two sentences in the Los Angeles Times in 2017. The words tug at the heart. Who can argue against embracing minimal decency—being more mindful of others? Didn’t our own mothers drill as much into our little heads? But what is most striking in Mr. Berlatsky’s statement isn’t the altruism implied by the word “embrace,” it’s the power dynamic embedded in the word “plea.” It’s an accurate description of how the mandate of diversity has played out, with those on the outside pleading to be let in, hoping those on the inside has some reserve of minimal decency. Forget getting embraced.That’s messed up. It’s also at the core of why many diversity initiatives go wrong. When the disenfranchised have to make appeals to be let in, it only reinforces the prevailing power structures. It’s a concession by the gatekeepers that their current practice of homogeneity is no longer acceptable. And while that may be true, it inevitably discounts the value that diversity brings to the organization. It’s not only about making space for others who don’t look and think like you, it’s how everyone at the table recognizes the change as an opportunity to be better.

Put Diversity at the Heart of the Creative Process

Some theatres look at diversity as an imposition, or worse, something necessary in order to avoid attracting the attention of the liberal police. We’ve seen theatres make corrections mid-season, changing casts, or swapping out plays for more politically correct options. When it’s done after the fact, it comes off as reactive, a “concession.” It’s not fair to those who might be affected, especially for artists who lose jobs because of the decision. It also puts the replacements in an awkward position, knowing their opportunity comes at the cost of others losing theirs. Diversity shouldn’t be a zero-sum game. One way to avoid this is to begin every project from a place of inclusion.

Diversity should not be an imposition, an afterthought, or a means to raise your chances for getting a grant. It should be at the heart of your creative endeavors.

 

Some theatres around the country, like the Public Theater in New York, now make “radical inclusion” part of their mission statement. I first came across this term at the 2007 World Social Forum in Nairobi, Kenya. “Inclusion to the point of discomfort,” was how it was first explained to me. For a theatre company, what might that mean? In the years since Nairobi, I start every process by asking myself a question: who’s not in the room and why? This applies to both artists and audience. The answers are often uncomfortable but eye-opening.Many of you will recognize this scenario. A director has found the perfect cast, with a knockout creative team. Everyone is thrilled, except for one pesky uber-liberal staff member who points out that the whole of the enterprise is blindingly white, and almost entirely male. Whoops. After a moment of self-flagellation for the oversight, and to the relief of the theatre’s suddenly concerned leadership, the director agrees to recast one role and change one designer. A press release announces the theatre’s now diverse creative team, and a box of wine is passed around to celebrate. Meanwhile, back in the rehearsal room, everyone has their game face on quietly justifying in their minds the new Asian cast member’s role in the court of Louis XIV.Okay. That’s probably an extreme example. There are times when casting for diversity’s sake can be a liability.The point is, diversity should not be an imposition, an afterthought, or a means to raise your chances for getting a grant. It should be at the heart of your creative endeavors.“At the where of my what now?” you ask.Go back to how it all started. Who decided to put up a play about the court of Louis XIV? What led to the greenlighting of this project? Who were the decision-makers? Who chose the director? How was it cast? Who was allowed to audition? Was diversity an intrinsic part of the process, at every juncture? Was it a clearly stated goal that everyone heard and understood?
Many theatres think of themselves as diverse, and consider diversity a given in everything they do. That’s not always true. As an artistic director of color, for a theatre company dedicated to Asian American artists, I still have to step back and consider my own areas of improvement. Have I fostered an environment of inclusion? For example, what did we do to make sure we reached out to the disabled and transgender communities? What kinds of faces and bodies are represented on stage? Do they have agency in telling their stories?The answers will not always be ideal. There will be mistakes, and outright failures. What you do with those missteps, how you bring all the stakeholders in the room to address the challenges is what keeps diversity beating at the heart of your organization. Diversity is about and made up of people. It lives and breathes.

Diversity is Not Just an Ideal—It’s Also About Real People and Their Feelings

 

One of the most ignored aspects of diversity in the workplace is the psychological and emotional churn that comes with change, especially when it involves recalibrating the power levers.Let’s be clear. Diversity is not only about bringing in people of varying ethnicities, gender, or physical abilities. It’s about putting them in positions of power. And because we’re dealing with people, there are likely plenty of feelings involved. Allowing emotions to fester, unaddressed, leads to plenty of resentments and dysfunction.

It’s not enough to require your employees to attend a day-long seminar on bias identification. You have to make it part of your daily work life. Talk about it. That’s easier said than done. Ask yourself about what scares people when talking about diversity? Some worry that feelings will get hurt, or they want to avoid trouble so shutting up is the best course. You’ll get different answers. What’s important is making space for every individual to feel valued, and heard.

Studies suggest that pitching diversity as a “must-do, or-else” directive makes people defensive. No one wants to be told they are biased, so avoid negative messaging around diversity practice. Instead, invite people to participate. When they show up, it’s because they’re personally invested in the process, and they chose to be a part of it.

Diversity is not only about bringing in people of varying ethnicities, gender, or physical abilities. It’s about putting them in positions of power.

 

Break the Habit

How’s this for a mission statement? “We aim to provide a welcoming, non-confrontational place where audiences can relax and enjoy worlds that do not differ from their own.”I don’t know about you, but this is not how I want to experience art. In fact, there are probably zero theatres that have this for a mission statement. And yet, many practice this type of “safe” programming, unwilling to disturb the status quo, reluctant to alienate a steady subscriber base, or, unable to conceive of the court of Louis VI peopled by actors of color.

“But there are times when casting for diversity’s sake can be a liability.”

I don’t mean to pull a “gotcha,” moment, but if you agreed with my previous statement, then we need to talk. The court of Louis XIV can be diverse; it can have Asian, Latinx, and Native American actors in it. It’s theatre, and using the “authenticity” excuse to cast only white actors is a form of bias. That’s right, for the most part, authenticity is code for bias. It’s used to exclude people that don’t belong…and in most cases, it’s used against artists of color.

I can already hear a voice saying, “If authenticity is not a thing, then white actors should be able to do August Wilson plays.”

Go directly to jail. Do not pass Go.

We don’t live in a world where all things are equal. Artists of color, artists with disabilities, and transgender artists have far, far fewer opportunities to work. Diversity initiatives in the theatre are meant to increase those opportunities. One way to do that is to put them in all plays. That is what’s meant by break the habit. Make a conscious decision to put diversity on your stages, every time.

Read the full article HERE and leave comments.

 OCTOBER 9, 2018  https://howlround.com/diversity-dummies-part-two

About the Author:
Ralph B. Peña is a founding member and the current Producing Artistic Director of Ma-Yi Theatre Company, a leading professional Off-Broadway theater based in New York City focused on developing and producing new works by Asian American playwrights. Recent directing credits include: the world premieres of Lloyd Suh’s The Chinese Lady, Hansol Jung’s Among the Dead and A.Rey Pamatmat’s House Rules for Ma-Yi;  a new translation of The Orphan of Zhao, for Fordham Theater; Nicolas Pichay’s Macho Dancer: A Musical for The Virgin Labfest 11; Lloyd Suh’s “The Wong Kids in the Secret of the Space Chupacabra Go (Off Broadway Alliance Award),  Joshua Conkel’s Curmudgeons in Love (EST Marathon), and Mike Lew’s microcrisis (Youngblood, Ma-Yi). Ralph is the recipient of an Obie Award for his work on The Romance of Magno Rubio, and is a member of The Ensemble Studio Theater, and The Ma-Yi Writers Lab.

Categories

On Stage
The Labbies
Ma-Yi Theater Company 520 Eighth Avenue, Suite 309 New York, NY 10018 212.971.4862 info [at] ma-yitheatre.org