Support your favorite bowler in Ma-Yi’s June 19 Bowl-a-Thon

mayibowlathon june19



Ma-Yi is having its first ever Bowl-A-Thon Fundraiser for our upcoming season! We need YOUR help to support new, bold programming by our brilliant Writers Lab when you SPONSOR A BOWLER


Our upcoming season showcases the work of Jason Kim in KPOP, and Diana Oh’s {my lingerie play}. These are both large scale projects and we need your support to be able to pay our artists.


We need to recruit as many Bowlers and Sponsors as possible. If you’re interested in signing up to bowl, or to sponsor a bowler, click BOWL FOR MA-YI


Monday, June 19th, 2017 from about 7-9 pm at Frames New York City, 550 9th Avenue

CAN’T make it?

Remote bowling options available! Even if you’re all the way in Brooklyn!More info at or reach out to  Or if you just want to donate a dollar amount click HERE!


Holla at

 or call 212-971-4862 x103 with any other questions!

More info at 


Ma-Yi Writers Lab Members Make their Mark this Season!

Ma-Yi offers heartfelt congratulations to our Writers Lab Members for their numerous accomplishments and recognitions. Ma-Yi offers home base and support to over 40 Asian American playwrights. We are proud to be the primary incubator of new works by Asian American playwrights including: 

Don Nguyen

Don Nguyen‘s play Hello, From the Children of Planet Earth to premiere at The Playwrights Realm Jan/Feb 2018, a comedy about conception and deep-space travel. Don is just returning from a residency with American Conservatory Theater’s New Strands Festival (a partnership with Ma-Yi) where he workshopped and presented a reading of his play, The Man from Saigon.

Board Member and former Ma-Yi Executive Director, Jorge Ortoll with Don Nguyen at A.C.T. /New Strands Festival, San Francisco.

Board Member and former Ma-Yi Executive Director, Jorge Ortoll with Don Nguyen at A.C.T. /New Strands Festival, San Francisco.

Michael Lew


Susan Soon He Stanton


Michael Lew  (Co-Director of Ma-Yi Writers Lab) and Susan Soon He Stanton are the recipients of Lark’s Venturous Playwright’s Fellowships. Michael will develop Teenage Dick, a reimagining of Richard III that follows a junior in high school with cerebral palsy who will do anything to fit in. Michael and his wife, Rehana Lew Mirza are Resident Playwrights of Ma-Yi.

Susan will work on Today Is My Birthday, about a writer whose creativity is unfurled after she moves out of New York City, so she creates an alter-ego for a radio bit.

Lauren Yee

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Lauren Yee‘s Cambodian Rock Band to premiere at South Coast Repertory next season. This world premiere  (March 4-25, 2018) uses the music of real-life rock band Dengue Fever, to tell the story of the fallout from the Khmer Rouge.

Lauren was also a resident of the New Strands Festival in San Francisco recently presenting her play, The Great Leap. Below Lauren is pictured below (right) with Ma-Yi board member and former Executive Director, Jorge Ortoll, and fellow New Strands Festival residents Dustin Chinn and Don Nguyen, and Labbie Dipika Guha.


Hansol Jung

Hansol Jung

Hansol Jung‘s “Wild Goose Dreams” to premiere at La Jolla Playhouse next season, September 5 – October 1, 2017, a play about a North Korean defector who has left her family behind and a lonely South Korean father who start an unlikely online romance as they each attempt to allay their fears and alienation.

Rehana Lew Mirza


Rehana Lew Mirza is an HBO Access semifinalist. One of 30 writers selected to advance to the semi-final round of the 2017  Fellowship, which pairs diverse, emerging storytellers with HBO and CineMax creative executives who shepherd them through the pilot development and production process over a 10-month period.

Clarence Coo


Clarence Coo is one of ten recipients of the 2017 Whiting Awards and a whopping $50,000 cash prize intended to provide writers with the opportunity to develop new work or works in progress on a full time basis.


Jason Kim

Ma-Yi Theater Writers Lab Member Jason Kim

Jason Kim‘s “KPOP”, an immersive new musical, to premiere at Ars NovaMa-Yi Theater Company, and Woodshed Collective in September 2017.



Diana Oh


Diana Oh‘s {My Lingerie Play} to premiere at Rattlestick Playwrights Theater and Ma-Yi Theater in the Fall of 2017. {My Lingerie Play}: 2017: Installation 9/10: THE FINAL INSTALLATION, a concert-event premiering Sept 9th

As we enter our 29th Season, Ma-Yi anticipates great things to emerge from our Writers Lab and these gifted playwrights.  (more…)

Ma-Yi BOWL-A-THON June 19th seeks striking bowlers!


mayibowlathon june19

Ma-Yi’s First Ever BOWL-A-THON fundraiser is scheduled for June 19th to bolster our upcoming season which includes {my lingerie play}, an interactive performance concert, and KPOP, a full blown immersive musical. We need to recruit as many bowlers as possible to make this happen.  IT’S SUPER EASY! Here’s how it works:

1.) Choose a cool bowling name and sign up to bowl here.

2.) Tell all your friends your new name and ask them for sponsorship (Ahhhh! Don’t panic! We will provide you with a beautifully written email appeal you can easily send out!)

3.) Let your sponsor friends know that they can pledge as little as $.10 cents per point, or as much as they’d like (this is where you find out who truly believes in your bowling skillz…)

4.) We go bowling! (Your shoes and game are paid for, duh. Also will provide light food and bev!)

5.) Afterwards, WE email your sponsors your score along with a link to fulfill their pledge.



If you like bowling, and want to represent us with your skills on the day of this event, there is still time to sign up HERE.

In either case, your support, now more than ever, ensures our voices and productions continue to thrive. Contact Chris Ignacio for more information



Ma-Yi Gala Promises Great Entertainment and Live Auction April 24th


The Ma-Yi Theater Company 28th Anniversary GALA will be held on Monday, April 24th, 6PM at 360 Tribeca


Over 300 attending will be treated to premium cocktails and magician, Mark Mitton, followed by a gourmet dinner featuring a live musical performance by Broadway Barkada and vocalist Kea Chan, and Comedian Joel Kim Booster.  This year’s event is hosted by trans super-model Geena Rocero of Gender Proud and  Paolo Montalban,  best known for the Disney film, Rodgers & Hammerstein’s Cinderella, as Prince Christopher (and known to insiders from his role in Mayi’s The Romance of Magno Rubio). The event honors Elizabeth Roxas-Dobrish, legendary prima ballerina of Ballet Philippines and Alvin Ailey Dance Company, and Frank and Lolita Savage, a remarkable couple that combine exquisite artistry with cultural advocacy and business acumen to inspire and help new generations  of youth achieve their goals.

In addition to the traditional silent auction, featuring restaurant and travel gift certificates and jewelry this year. a LIVE auction is featured, putting items like tickets to Hamilton and other hard-  to – gets up for the highest bidders. Our sponsors and auction donors have outdone themselves this year, and we hope you’ll consider attending to fulfill Ma-Yi’s mission of continuing to produce the groundbreaking works of The Ma-Yi Writers Lab, the largest collective of Asian American playwrights ever assembled!

Ma-Yi is busy working on the upcoming fall production of KPOP in association with ARS NOVA and Woodshed Collective with a book by Lab Member Jason Kim, and not soon after Lab Member Diana Oh’s (my lingerie play) in association with Rattlestick Productions opens. This season promises to be the most memorable and successful yet. Please consider helping us continue the almost three decade tradition of bringing quality Asian American written plays to the world by attending this important and festive benefit.

If you’re unable to attend, but believe in supporting forward thinking Asian American playwrights and their work, we are grateful for even the smallest donations.

To learn more about this important fundraiser click here  or email us



Below see a sample of the special silent and live auction items being offered to attendees this year:

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ma-yitheaterauctiongala 27 ma-yitheaterauctiongala 28

ma-yitheaterauctiongala0 4 ma-yitheaterauctiongala0 5 ma-yitheaterauctiongala 13

Three Sixty-Tribeca / 10 Debrosses Street / New York, NY 10013

Dustin H. Chinn awarded Berkeley Rep Summer Residency

Dustin Chinn HeadshotMa-Yi Writers Lab Member, Dustin H Chinn has been awarded a summer playwright residency at Ground Floor at Berkeley Rep in June of this year.

He will be concentrating on his work, Colonialism is Terrible, But Pho is Delicious, a “meditation on ownership and authorship in modern food culture. It’s a triptych that spans the evolution of Vietnamese noodles, which are indisputably better on the West Coast than in New York”.

Ground Floor at Berkeley Rep Lab gives residents the opportunity to bring a specific work where they can present and interact with other artists, staff, board to help them identify where the project is in its development path, and to move it to the next stage, whatever that stage may be. According to past residents, the residency encourages works in the early development and the flexibility and self determination of schedule. Collaborators are often invited to attend as well,  making this lab unique and, to some, revolutionary.

A native of Seattle, in 2015, Dustin was awarded a commission from the Ensemble Studio Theatre/Alfred P. Sloan Foundation Project to write about Herschel, an infamous sea lion who terrorized the waters of Seattle’s Ballard Locks in the mid ‘80s. Full-length plays include SNOWFLAKES, THE RISE AND FALL OF THE UNITED STATES OF ASIAN AMERICA, SHARKSUCKER, ASIAN WOMEN IN SPACE and I AM NAKAMURA. more

World Premiere of QUEEN by Madhuri Shekar April 14th

Ma-Yi Writers Lab Member

Following the recent SPRING LABFEST reading of one of our newest Ma-Yi Writers Lab Members works, Madhuri Shekar’s play, QUEEN will premiere April 14 – May 14, 2017 at Victory Gardens Theater, 2433 N. Lincoln Avenue. 

The play centers on PhD candidates Sanam and Ariel, who have spent years exhaustively researching vanishing bee populations across the globe. As the two are finally about to publish a career-defining paper, Sanam stumbles upon a miscalculation. What appears to be a small error could cause catastrophic damage to their reputations, careers, and close friendship. Now, Sanam is confronted with an impossible choice: look the other way or stand by her principles and accept the consequences.

From Broadway World’s recent article, Victory Garden’s Artistic Director Chay Yew says:
“The current conversation around climate change, the disappearance of bees, and our nation’s response to environmental protection continues to be challenging on a daily basis…Playwright Madhuri Shekar has kept this dialogue alive and urgent in the world premiere of Queen. With Madhuri’s signature wit and her uncanny ability to weave a complex yet remarkably insightful story.”

tumblr_omxzsd2BKW1qcwfdlo1_500Madhuri Shekar is a playwright based in New York. Her plays include ‘In Love and Warcraft’, ‘A Nice Indian Boy’, ‘Queen’ and ‘Antigone, presented by the girls of St. Catherine’s’.  She co-created the Shakespearean web series ‘Titus and Dronicus’ (

For a full and updated schedule of performances, special events, post-show discussions and presentations centered on performances of Queen and tickets HERE

More about QUEEN World Premiere:

Broadway World

Time Out

Chicago Sun Times














Diversity for Dummies

Originally Published in HOWLROUND, March 25, 2017

The first thing to say about this “Quick Start” manual is that I’m a dummy myself. In all the years I’ve grappled with diversity, the one constant has been recalibration. What was diverse ten years ago is privileged today, and today’s diversity models will become obsolete in the coming years. Historically disenfranchised groups are just now finding their voices after decades, even centuries, of silence. Diversity requires periodic check-ins, assessment, and retuning.

“I think it’s fair to say that the theatre community is committed to the ideals of diversity. This guide will focus on implementation, which can be trickier. And while every exercise in diversity must include gender, physical abilities, and age (to name just a few), this guide will focus on ethnic diversity.”

Here are a few ways you can check on your theatre’s diversity smarts.

It’s not really about numbers—but look at them anyway.

Diversity is not a numbers game, but a quick look at your digits can be telling. How many people of color work in your back office? How many artists of color perform on your stages? Divide those numbers by your total employees, and the total number of artists you employed for the season. What number do you get?

Compare that number to your community’s demographics. Don’t use your ticket subscriber base, use the population of the geographic area in which you operate. Don’t gerrymander or re-district your sample area. Is your diversity percentage a close approximation of your area’s ethnic diversity? If not, why not?

Here’s a sample comparison between New York City’s 2010 ethnic demographics and a hypothetical theatre company’s organizational and season programming numbers. The total columns at the bottom and the far right have a story to tell. It may not be the full story, but it deserves close investigation.

If your theatre has been around ten or twenty years, take a look back and see how your organization and programming lines up with the demographic changes in your community over time. That may tell another story.

Don’t lump all peoples of color into one category. One ethnic group is not a surrogate for the other. In other words, just because you hired four black actors for the season, you’re not off the hook from hiring performers of other ethnicities.

Here’s a link to the US Census Bureau, where you can look up your city’s data.

Who’s in charge?

Let’s look at agency, and the power to make decisions.

Look at your organization’s hierarchy. Who are the top decision-makers? Who has the power to advance a play into production? For many theatre organizations, one person holds this power.

Who are the other gatekeepers in your organization? This includes your literary managers, casting directors, and associate producers. Oftentimes, they are the sentries that give or deny access to your theatre. Is diversity a part of their operational objectives? Are they empowered to open your theatre’s doors to artists of color?

Putting managers of color in these positions is important—as important as providing them with the training and work environment to succeed.

White men run a majority of theatres in the US, and that needs to change. Not because white men are incapable of empathy or because they don’t have a sense for what’s right or wrong—we need diverse leaders because it drives innovation, adaptability, and organizational smarts. Diverse thinking is crucial in navigating a world in flux, and ultimately, in how the theatre responds to its changing environs.

Who’s on stage?

I have heard Artistic Directors and Managing Directors boast of how diverse their organization is. “Our back office is a veritable Rainbow Coalition!”

But wait. Aren’t you running a theatre? How diverse are the faces you put on stage? What opportunities are there to diversity your casting practices?

Are you color conscious when you choose a play? How white is Thornton Wilder’s Grover’s Corner? What about Shakespeare’s Elsinore? How about Tobias and Agnes’s household in A Delicate Balance? Is ethnicity a marker of historical accuracy? There are many arguments for and against “authenticity,” which we won’t parse here. What’s important is that you’re aware of the implications of your decisions and how they affect who gets on stage.

This might be a good time to touch on the implicit canard in the term “colorblind casting.” It is not meant to provide cover for casting white actors in roles written for performers or color. It is not meant to allow a theatre to cast a white actor as Martin Luther King, Jr., by invoking the what’s good for the goose argument, or the “if we’re truly after equality, then any actor can play any role.” Why not? Because colorblind casting is intended to correct a gross inequity in American theatre, where more than 75 percent of all roles go to white actors. Calling on the goose/gander equation doesn’t work because inequality is the current norm. A tit for tat proposal only works when all parties are on equal footing, so that for every tit, the corresponding tat is intended to rebalance the equation.

Who’s watching?

Do you have a subscriber base? How does it break down ethnically? Why? Does your pricing exclude certain communities? How about your marketing outreach? What has shaped your audience make-up over time?

Here’s a big hurdle for some theatres. When the audience watching is overwhelmingly white, why should a theatre care about choosing plays that are not? For the majority of theatres that find themselves in this position, there’s a good chance they’ve already proven to themselves that their audiences are delighted by diverse programming. Theatre audiences are voyeurs at heart, and relish being able to look into lives other than their own.

But there’s a more important and compelling reason to present a multiplicity of perspectives to our audiences: empathy. Forces that underscore differences and divisions shape our world today. Theatre can propose a compelling alternative by putting a human face on “the other,” and stressing the truism that we are more alike than we are different. If we do this often enough, theatre can be an agent for change.

Note that I inserted a caveat in that last sentence. “If we do this often enough…” One-offs won’t do it. I can’t tell you how many times I’ve heard this refrain, “We did an Asian play, but Asian audiences didn’t come.” You can’t expect to mobilize a community that you’ve ignored in the past. You have to engage, and engage again, and again. And again. You have to earn its trust.

This is true for audiences and communities of all colors.

It’s going to cost you.


Diversity requires dedicated resources. You have to invest in it.

As a business proposition, it’s a no-brainer. According to the US Census, just “over half—50.2 percent—of US babies younger than one year old were racial or ethnic minorities. In sheer numbers, there were 1,995,102 minority babies compared with 1,982,936 non-Hispanic white infants.”

This is what drove Google to increase its workforce diversity initiative budget from $115 million in 2014, to $150 million in 2015.

No theatre has $150 million to spend on a diversity initiative, but a close and honest look at your organization will likely reveal practices that should be made more inclusive. But let’s talk about the scary stuff: Box office/Earned Revenue.

Theatres are terrified of losing income because they took a chance on a play their audiences are not familiar with, or “can’t relate to.” A sea of empty seats is a scary sight, but as I said previously, you can’t expect them to come if you’ve never put in the work. It’s also wrongheaded to put up a play featuring Asian American actors and assume the Asian American community will come rushing to your doors. Don’t blame the community if they don’t know you.

This is where the investment opportunities come in.

Put more muscle in your outreach programs. Consider going to communities of color and presenting work there. Not everyone can come to you. Make the first move, and keep making moves. Earning trust takes time and tenacity.

Prepare for the possibility of reduced box office revenue. This may not happen. In some cases, the opposite could be true—a box office bonanza. But there are risks in choosing unknown artists—that is, artists not familiar to your theatre patrons. These are the risks you have to take, not once, but multiple times until your audiences no longer think of diversity as a concession, and begin to accept it as the norm.

Cast a wider net. Diversity is not low-hanging fruit that you can pick and enjoy without much effort. You have to work at it. Sometimes you won’t get enough actors of color to respond to you casting call. Maybe no plays by writers of color crossed your desk for consideration this season. Don’t give up. Go out and get them. Call your colleagues and ask for referrals. Partner with community organizations to get the word out. Make noise and let the world know you want it.

Last word.

This guide is meant to stop theatres from paying lip service to diversity. Giving a playwright of color five workshops without ever producing the play may earn you the heterogeneity badge, but it falls way short of making your theatre an exemplar of diversity.

You have to try harder than that.


ACT Launches New Strands Residency with 3 Lab Members



at_ja14_American-Conservatory-Strand-Theater_SOMLauren Yee, Don Nguyen, andDustin Chinn from Ma-Yi Writers Lab to Participate


The New Strands Residency gives American playwrights the opportunity to create and develop new works in residence at A.C.T.’s state-of-the-art Strand Theater

SAN FRANCISCO (March 28, 2017)—Today, American Conservatory Theater (A.C.T.)’s Associate Artistic Director Andy Donald announced the first projects to be chosen for A.C.T.’s inaugural New Strands Residency program. Three playwrights/plays from New York City’s acclaimed Ma-Yi Theater Company will participate. They include: The Great Leap by Lauren Yee, The Man from Saigon by Don Nguyen, and Snowflakes, or Rare White People by Dustin Chinn. The New Strands Residency gives emerging and established American playwrights the opportunity to create and develop new works in residence at A.C.T.’s state-of-the-art Strand Theater, located in the heart of San Francisco’s Central Market neighborhood.

“When we put the call out to the Ma-Yi Writers Lab for the inaugural year of this program, we were overwhelmed by the amount of spectacular new work that came in from its membership,” says Donald. “These are all writers who are zeroed in on today’s American culture––its contradictions, its divisive politics, its future—so choosing just three was an enviable challenge. We could not be more thrilled to share Lauren, Don, and Dustin’s searing, often hilarious, deeply personal, and poignant work and watch it continue to grow with this esteemed group of directors and our San Francisco audience.”

Each year, A.C.T. will partner with a nationally recognized new-work incubator to select three playwrights who will spend a week in San Francisco. This year’s partner theater company is the Drama Desk and Obie Award–winning not-for-profit Ma-Yi Theater Company. Based in New York City, Ma-Yi is one of the country’s leading incubators of new work shaping the national discourse about what it means to be Asian American today.

Over the course of their residency, the three playwrights will participate in a reading of their work, develop and workshop their plays-in-progress with directors and a shared ensemble of actors, and sit on various panel discussions. The New Strands Residency culminates with a free public presentation of their work during A.C.T.’s annual New Strands Festival, now in its second year, taking place May 19–21, 2017. The complete lineup for the New Strands Festival will be announced in early April 2017.

The three selected playwrights/plays from Ma-Yi Theater Company for the 2017 New Strands Residency are:


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The Great Leap 

by Lauren Yee

Directed by Lisa Peterson— When an American college basketball team travels to Beijing for a “friendship” game in the post-Cultural Revolution 1980s, both countries try to tease out the politics behind this newly popular sport. Cultures clash as the Chinese coach tries to pick up moves from the Americans and Chinese American player Manford spies on his opponents. Inspired by events in the playwright’s father’s life.

Ma-Yi Theater Company Writers Lab Member, Don Nguyen

The Man from Saigon 

by Don Nguyen

 Directed by Hal Brooks— As Saigon nears collapse in 1975, a South Vietnamese intelligence agent forges a complicated friendship with Richard Armitage, a charismatic US officer who would later become George W. Bush’s deputy secretary of state. A political thriller based on the story of the playwright’s father.

Dustin Chinn

Snowflakes, Or Rare White People 

by Dustin H Chinn

Directed by Mina Morita— In a non-dystopian future, the dwindling white American population is protected by the federal government. Two of the last White Americans are brought to Nueva New York’s Museum of Natural History but are “freed” by a disgruntled activist. Is America ready for their return?

The New Strands Festival features new theatrical pieces, works in progress, and readings, as well as experimental work by innovative artists across different disciplines, including music, animation, and more. Devoted to supporting local, national, and international artists in the creation and completion of original theater, the New Strands Festival enables artists to connect and communities to experience theatrical projects as they take shape, all under one roof at A.C.T.’s Strand Theater.

The inaugural New Strands Residency with Ma-Yi Theater Company is supported by a Building Demand Grant from the Doris Duke Charitable Foundation and the new A.C.T. Asian stARTup initiative to bring together Asian/Asian American artists and tech workers in the Bay Area.

The New Strands Festival is made possible by The William and Flora Hewlett Foundation Fund for New Works, Theatre Forward, and the Priscilla and Keith Geeslin New Strands Fund.

READ MORE about the New Strands Residency Program or A.C.T.’s New Play Commissions.

Mia Katigbak Awarded Distinguished Achievement Fellowship from The William & Eva Fox Foundation and TCG.

Mia Katigbak

Ma-Yi Theater offers heartfelt congratulations and continued success to Mia Katigbak, recipient of the Distingushed Achievement Fellowship from The William & Eva Fox Foundation and Theatre Communications Group (TCG). This award supports actors with 20 years or more of experience who have amassed a substantial body of work with grants that allow them to pursue continued growth and sustain the longevity of their careers and to adapt to physical changes in casting and as an actor later in their career.

Recently appearing in Ma-Yi’s rock music adaptation, Peer Gynt and The Norwegian Hapa Band as Ose (Peers mother) and other singing and musical roles in the recently opened play, our patrons will remember Mia’s many key roles in Ma-Yi productions, including House Rules, American Hwangap, Watcher, Last of the Suns, Middle Finger and Flipzoids.

Mia’s Fox/TCG Fellowship award grant will fund a series of intergenerational master classes at Ma-Yi Theater with a small group of advanced-level Asian American actors doing text analysis and scene work, working on a diverse repertory that will include classic and new plays that Ma-Yi and NAATCO continue to develop and produce.

Mia is a co-founder and artistic producing director of the award-winning company NAATCO (National Asian American Theatre Company) and founding director of CAATA (Consortium of Asian American Theaters and Artists). In addition to her many contributions to Ma-Yi productions, Mia is the 2016 recipient of the Lilly Award for Trailblazing, an Obie Award for Performance, the Lucille Lortel Award through League of Professional Theatre Women, and a Charles Bowden Actor. Her recent New York appearances include, Dear Elizabeth (Women’s Project); Awake and Sing! (NAATCO, Obie Award); Scenes From a Marriage (NYTW); I’ll Never Love Again (Bushwick Starr). Mia received her BA from Barnard College and her MA at Columbia University.

Ma-Yi 28th Annual Gala

Ma-Yi Theater Company requests the pleasure of your presence

at the

28th Anniversary Gala Benefit

in appreciation and gratefulness of our playwrights and honorees


at 6:00 pm on Monday, April 24, 2017

Three Sixty-Tribeca / 10 Debrosses Street / New York, NY 10013

Silent Auction / Premium Beverages / Live Music / Fine Dining / Festive Attire RSVP 4/12/17.


April 24, 2017, 10 Debrosses St, Tribeca THREE SIXTY

This year’s Outstanding Honorees are Elizabeth Roxas Dobrish, legendary prima ballerina of Ballet Philippines and Alvin Ailey Dance Company, and Frank and Lolita Valderrama Savage, an outstanding couple whose knowledge and love for the arts and business make theirs an extraordinary union.

For more information about this event click here.


On Stage
Ma-Yi Theater Company 520 Eighth Avenue, Suite 309 New York, NY 10018 212.971.4862 info [at]