New Filipino American theater group mounts health care horror drama

By WALTER ANG
Nov. 25, 2021 | USA.Inquirer.net 

SAN FRANCISCO — The latest buzz is that there is a new Filipino American theater company in town and its inaugural production is fully created by Fil-Ams, telling the story of Fil-Ams. 

Cofounding co-artistic directors of
Filipino American theater group The Chikahan Company.
From left: Ely Orquiza, Krystle Piamonte and Alan Quismorio.

The Chikahan Company's appellation is based on chika, the Filipino slang for gossip or latest conversation topic. Chikahan is the chit-chat that ensues.

Cofounded by co-artistic directors Ely Orquiza, Krystle Piamonte and Alan Quismorio, the theater group "invites audiences and artists to conversations about the perceptions and issues of the Filipinx experience, to dispel what's not entirely true and to present authenticity as a way to introduce our languages, culture, history, and stories into the mainstream."

"We use the term 'Filipinx' to refer to the Fil-Am community at large to be inclusive of as many people as possible," explains Orquiza. "We believe it's important for all members of our community to feel equally included and represented. Filipinx is simply a term we choose to use and is not meant to deny, subtract, erase, or change anyone who prefers to identify as Filipino or Filipina."

Horror drama

"The Act of Care" is a horror drama where Filipino nurse Olivia must deal with a high-strung Filipino American floor supervisor and three Filipino mythological creatures as an unexplainable virus infects her patients and her friend.

The work explores "the humanity and inhumanity of the American Healthcare System." It is written by Fil-Am playwrights Lauren Andrei Garcia and Conrad Panganiban.

The cast features Rae Yuen, Lynie Abadilla, and Louel Señores.

Collaborators include movement director Brian Batugo, set designer Noa Batle, lighting designer Spenser Matubang, sound designer Josh Icban, costume designer Mia Jue and mask designer champoy.

It's complicated

The cofounders had been meaning to set up shop for a while now. The pandemic catalyzed their intentions. "We acknowledge the increasingly complex work dynamics and the cultural changes happening in the theater especially in the last year," says Ely Orquiza.

"Each of the co-artistic directors offer varying degrees of expertise and perspectives, and all of us believe it is the most effective way of operation especially as an emerging theater company."

Orquiza is the Director of New Works and Development at Gritty City Repertory. He directing work has been see at American Conservatory Theater, University of California Berkeley, Academy of Arts University, Playground, and Theatre Rhinoceros.

Krystle Piamonte has acted with multiple Bay Area theater companies including San Francisco Playhouse, Z Space, Ferocious Lotus, Playground, TheatreWorks Silicon Valley and TheatreFirst. She was a longtime company member of Sinag-tala Filipino Theatre and Performing Arts Association in Sacramento, including taking on Resident Choreographer and Assistant Director responsibilities.

Alan Quismorio was co-artistic director of Asian American Theatre Company in the late 2000s and artistic director of Filipino American theater group Bindlestiff Studio in the early 2010s (where all three cofounders of ChikaCo have had several collaborations). He helped create emerging playwrights program  AlchemySF.

He adds, "Each of the co-Artistic Directors have overlapping responsibilities and unique roles. As working theater artists in the Bay Area, we find this model best to create a healthy support system."

Urgent

The pandemic also steered the group's storytelling direction. "The COVID-19 pandemic and its devastating impact on Filipino nurses in the United States was influential in our selection of the subject matter for our inaugural production. [One study says] nearly a third of COVID-19 nurses casualties in the US are Filipinos.

"As artists, we sensed an urgency to uplift their voices and their stories on the stage and our playwrights were receptive. They were also willing to consider new ideas and find fresher, more relevant and engaging ways to tell this uniquely Filipinx story."

The artistic directors had considered potential Fil-Am playwrights "who've had positive impact and influence in the Bay Area community as an artist."

"The three of us have seen and been moved by the works Conrad has done in the past and Lauren's unique voice and promise as a playwright. Since this is our first year producing new works, we were stirred by the idea of bringing these two brilliant minds together."

This production is staged a part of PlayGround's Innovators Showcase, having been originally commissioned by The Chikahan Company under the PlayGround's Innovator Incubator program. Funding also provided by Theatre Bay Area's Cash Grant.

"The Act of Care" runs Nov. 19 to 21 at Potrero Stage, 1695 18th St., San Francisco. Visit Chikahancompany.com.

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https://usa.inquirer.net/87454/new-fil-am-theater-group-mounts-health-care-horror-drama

Filipino Americans spelling and singing bees hit the stage in SF

By WALTER ANG
Oct. 7, 2021 | USA.Inquirer.net

SAN FRANCISCO — Filipino American Jepoy Ramos is starring as one of the contestants in the musical comedy "The 25th Annual Putnam County Spelling Bee." The production opens Landmark Musical Theatre's 2021-22 season. 

Fil-Ams in the cast (from left):
Vanity Olaires, Johann Santos, John Charles Quimpo,
Jepoy Ramos and Eriette Atanante.
Photo by Jeff Ramos

The show features six "mid-pubescents" portrayed by adult actors vying for the spelling championship of a lifetime. As the contenders spell their way to the top, they also candidly disclose hilarious and touching stories from their home lives. Audience members are usually asked to be part of the competition as well.

Fil-Am actor Jose Llana originated the character of Chip Tolentino when the musical was first staged in the mid-2000s. The character was not originally developed with any ethnicity in mind, though Llana worked with the show's creators to turn the character into a Filipino American.

Ramos is not the only Fil-Am in the show, which employs two sets of casts, with Ramos in the Betta cast, performing at different dates.

Fil-Ams in the Alpha cast include Eriette Atanante, Vanity Olaires, John Charles Quimpo and Johann Santos.

Music and lyrics are by William Finn with a book by Rachel Sheinkin. The original Off-Broadway production won the Drama Desk Award for Outsanding Book of a Musical and the Lucille Lortel Award for Outstanding Musical. The Broadway production won the Tony Award for Best Book of  Musical.

Stage work

Ramos' credits include "Mamma Mia" and "The Full Monty" with Hillbarn Theatre, "In The Heights" with Custom Made Theatre Company, "The Wedding Singer" with Bay Area Musicals, and "Cabaret" and "You're A Good Man, Charlie Brown" with Pacifica Spindrift Players.

He has also performed with Fil-Am theater group Bindlestiff Studios.

"Aside from acting on stage, I also do a lot of work behind the stage. Recently I produced and directed 'Commemoration,' a musical by Fil-Am Steve Dorado." Ramos also recently wrote the short play "Spinto."

Inspired

Born in the Philippines, Ramos moved to the U.S. in 2007. "I started late in theater," he says.

Jepoy Ramos stars in "The 25th Annual Putnam County Spelling Bee."

In the early 2000s, Ramos saw a non-Disney musical adaptation of "The Little Mermaid" by Triumphant People's Evangelistic Theater Society (Trumpets), a local Manila theater company. He also caught the Manila leg of the touring production of "Miss Saigon" and was able to watch Lea Salonga herself portraying the titular role.

"I was amazed by the magic of theater, so I enrolled in Trumpets' theater workshop." He also joined Ateneo Blue Repertory, one of the theater groups at his college, "to learn and develop my skills."

Nevertheless, he seems to have caught up. "I got hit by the theater bug and have been doing it ever since then!"

Ramos considers it an honor to be on stage with "my fellow Pinoys" because it "allows us to showcase not only our talents but also inspire the future generations who watch us."

"That it's okay for brown-skinned folks like us to take space on stage and tell stories from our perspective from characters that were previously only thought to be exclusive to the Caucasian community."

"The 25th Annual Putnam County Spelling Bee" runs Oct. 9 to Nov. 7 at Children's Creativity Museum Theater, 221 4th Street, San Francisco. Visit Landmarkmusicals.com.

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https://usa.inquirer.net/84408/fil-ams-in-spelling-and-singing-bees-hit-the-stage-in-sf 

Filipino Americans find joy in LA's 'Pass the Mic' theater fest

By WALTER ANG
Sept. 30, 2021 | USA.Inquirer.net

LOS ANGELES — Filipino American theater makers are a moving force in this year's Pass the Mic Festival as it focuses on Asian American and Pacific Islander voices.

Filipino American theater artists in
"Pass the Mic" theater festival includes (from left)
playwright Nicholas-Pilapil and directors Rodney To,
Nelson Eusebio III, Gaven Trinidad and Jennifer Chang.

Out of the five short plays that will be showcased, four are directed by Fil-Ams with one written by a Fil-Am with a Fil-Am cast.

Jennifer Chang directs "For Us All"; Nelson Eusebio III, "Hindi"; Gaven Trinidad, "Broken English." Iama Theater associate artistic director Rodney To directs "I've No Regrets" written by Nicholas Pilapil. Cast includes Alexander Fox, Lydia Gaston and Giselle Tongi. Other Fil-Ams included in the festival include Eileen Eusebio.

Leadership

Rodney To was named Iama Theater's associate artistic director last year. "It was an honor. On some level, all the work I've been doing in the arts as an actor, director, producer, etc., has led me to this position," he says.

"I know why I'm here. I am confident that my work-life experience more than qualifies me for the job, but more than that, I am excited to bring my perspective as a person of color to the administrative and producing arm of a company as dynamic and impactful as Iama.

"I look forward to pushing for even more diversity in all areas of their work, introducing them to marginalized artists and stories and also . serving as a leader in ensuring the work is reflected not just in the shows we produce, but also that it becomes embedded in the DNA of Iama."

Laboratory

Nicholas Pilapil was offered the director position of the theater company's Under 30 Playwrights Lab also last year. He went to work right away helping select the 2021-22 writing group. "The biggest responsibility is to be a mentor to these young writers," he says.

The lab was what provided the space and opportunity for Pilapil and To to begin an artistic collaboration. When Pilapil was in the writing lab's inaugural batch, his directing partner was To, who then brought in Fil-Am actor George Salazar to work on Pilapil's play.

"My plays before then typically explored a general Asian American experience. Rodney and George inspired me to make the main character in `The Bottoming Process' Filipino." They asked me, "Why isn't he Filipino?" So, I actually rewrote a lot of the character's trajectory to reflect a Filipino experience."

Pilapil recounts his time learning in the lab as one of his favorite experiences as a playwright. In addition to the support from the theater and from artistic director Stefanie Black, he says the opportunity to work fellow Fil-Am theater makers "inspired me to start exploring my relationship to my Filipino identity and figuring out how I can put that into my work as a playwright."

Relationships

Pilapil believes that while theater can "address issues that plague us, like Asian Hate" he wants to ensure that the focus in his works remain on "the people, not the issues."

In "I've No Regrets," while the main character is a hate crime survivor, it serves as jumping off point for other topics. "The story is about her relationship with her grandson. And him learning about what it means to be Filipino and how being Filipino shapes you as an American."

He relishes the opportunity to once again work with Fil-Am theater makers. "I love it! I've never worked on a play with all Fil-Ams in the room. I feel lucky. I feel grateful that Iama made it happen without compromise."

His Fil-Am collaborators' support allowed him to "focus and hone in on just the Filipino-ness of the work without having to think about how a white audience will interpret it or think about what can I change to make a white audience understand."

"The audience will either not understand or just recognize the intention and love behind the delivery of the language."

Joy

"When I'm with Filipinos, I always feel like the least Filipino person in the room. I don't understand or speak Tagalog, I'm not accustomed to many of the traditions. Even growing up, my family teased me for being `too white.'

"I was scared that the cast would see that my Tagalog was translated by Google. They didn't. But what I loved about working with this team is that the actors added all those little gestures and intricacies that are unspoken but are part of speaking Tagalog."

He adds, "I didn't have to explain myself, I didn't have to justify my experiences, I didn't have to make myself small. Being with this group really brought me so much joy."

Iama Theater's Pass the Mic Festival is on Oct. 9. Recorded version viewable until Oct. 24. Visit IamaTheatre.com.

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https://usa.inquirer.net/83812/fil-ams-find-joy-in-las-pass-the-mic-theater-fest

The Talented Mr. DelaCruz

By WALTER ANG
Sept. 29, 2021 | PositivelyFilipino.com 

How many actors are able to say that they've played the protagonist, the protagonist's nemesis, and the show's antagonist in a single play or musical? 

Marc delaCruz. Photo by Frank Louis

Marc delaCruz is the first Filipino American to play the titular character of the runaway hip-hop musical "Hamilton." He's also the first Fil-Am actor to play two other crucial roles in the show. 

Created by Lin Manuel Miranda (who also co-wrote songs for the Disney animated film "Moana" and is an actor in the Disney film "Mary Poppins Returns"), the multi-awarded show is about the life of Alexander Hamilton, a statesman, one of the Founding Fathers of the U.S., as well as the founder of the nation's financial system.

For readers who are not familiar with either the theater industry or U.S. history, this synopsis will surely sound very dry and boring. But merely think of the opposite feeling, multiplied by the thousands, to imagine the phenomenal buzz that this hit musical has created. 

Breaking Molds

The musical broke the mold with its choice of musical genres, which had not been traditionally or usually heard in "mainstream" works, as well as its decision to consciously cast actors of color for its dramatis personae. The latter move may baffle readers who assume that the Broadway community or US theater industry as a whole is open to diversity; but it was and still is actually a very bold and rare occurrence. 

"Hamilton" grew into a behemoth. Before the COVID-19 pandemic restricted indoor, congregate activities, in addition to its Broadway production, "Hamilton" had two national touring productions and shows in Chicago, San Francisco, and Puerto Rico. Simultaneously. 

And while theaters remained closed, to tide theater lovers over in the meantime, a videorecorded version of the show was launched on the Disney Plus streaming service last year. 

Awestruck 

It's against this competitive landscape that theater actors vie to be selected to become part of the enterprise. Therefore, it's no small feat to play the main role of this show, let alone two other equally important players. 

DelaCruz backstage at "Hamilton."

DelaCruz also plays King George, the British monarch whom the revolutionaries rebel against, and he also essays Aaron Burr, Hamilton's ideological foil.  

Broadway, the popular theater district in New York, has opened again after more than a year's suspension due to the pandemic and DelaCruz is part of a sizeable industry that is returning to its profession. 

DelaCruz was first interviewed for this profile just a few days before Broadway was shut down last year. He had just debuted as Aaron Burr, writing in a Facebook post, "Yo, `Hamilton' never ceases to amaze and astonish. It is such a privilege to be a member of this company. I had my first go rounds as Aaron Burr and what I remember most is the love, smiles, hugs, laughter and support coming from everyone both onstage and off. 

"I can't adequately describe how lucky I feel to have a shot at helping tell this story from yet another angle alongside the most caring and uplifting family of theater folk. I'm awestruck and humbled." 

Stretched 

He recalled his journey with the show. At the time, he was part of the ensemble playing Man 5, which includes the roles of Philip Schuyler, James Reynolds and the doctor. "And I understudied Alexander Hamilton, Aaron Burr, King George and John Laurens/Philip Hamilton (two characters played by one actor)." 

"It has been a nothing short of a dream. Experiencing the show from different angles has given me such appreciation for its genius in how it was written and put together. 

"I've been challenged and stretched in every possible way. It's been exhilarating. It's a gift to work on one show for an extended period of time, especially one as complex as this, because it gives you the opportunity to keep diving deeper into the material. I don't think I'll ever stop having new thoughts or revelations about the show." 

Understudies and standbys take over roles in case the originally assigned actor is unable to perform. 

As the musical reopens its curtains to audiences, DelaCruz will no longer be in the ensemble. Instead, he is now the standby for all these major characters, with two new roles to boot: Marquis de Lafayette/Thomas Jefferson (also two characters played by one actor).  

You never know, if they ever make a one-person version of the musical in the future, DelaCruz would be a shoe-in to perform it. 

Complicated

DelaCruz, whose father is Filipino, was born in Hilo, Hawaii. He grew up in Seattle and trained in dance while he was taking up international studies at the University of Washington. He was in college when he was cast in his first professional production, "The Fantasticks," with the Northwest Asian American Theater Company. 

Marc delaCruz. Photo by Mari Uchida.

After some time acting for Seattle theater groups, he went on to be in productions such as the national tour of "Disney's High School Musical" and in the world premiere cast of "Allegiance" at San Diego's Old Globe Theatre alongside Lea Salonga before making his Broadway debut in the musical "If/Then," which starred Idina Menzel. 

The opportunity to play the three arguably most popular characters (the male ones anyway) in the musical is something DelaCruz does not take for granted. 

"It's so interesting and such an incredible challenge! These three characters see the world through completely different eyes and it has been a joy trying to get into their heads and understand why they do the things they do."

His approach is not to paint broad strokes in bringing them to life. "I try not to view any character as a villain, good guy or bad guy, but rather as individuals who come from very different backgrounds, determined to achieve their goals. 

"They are all flawed humans with limitations and that is what makes the show so dynamic, especially when placed within the historical context. Truthfully portraying these very different characters requires a lot of digging and putting my own assumptions aside about who they are in the interest of getting at their humanity."

In fact, the chance to embody Aaron Burr enabled him more ways to access Alexander Hamilton.  

"These two men had a very complicated relationship and diving into Burr's psyche gives me so much insight into Hamilton's point of view and how he is perceived by Burr. 

"The process of learning Burr has helped me further specify how and why Hamilton does what he does and says what he says. I haven't changed my performance completely but understanding Burr gives me so many new layers to play with when I play Ham."

Loved Ones 

With all the work that has to go into preparing for the show, DelaCruz falls back on his work family and his real family.

Prior to the pandemic, his family would travel all the way to New York to catch DelaCruz every time he debuted in a new role. 

"Especially my parents who have to come all the way from Hawaii.  I'm grateful that my family is so supportive. They are very proud of me. Both my brother and sister have remarked that they saw me act in the show in ways they had never seen before and at times they can't believe it's me up there. It's very cool to be able to share this whole experience with my family."

"Marc delaCruz could act out all of `Hamilton' by himself one day"

Inspiration

Meanwhile "the family at the Rodgers Theatre operates with love and care. Whenever there is a debut of any kind, a new actor joins the company and performs for the first time or a company member goes on for a new role for the first time, the company gathers in the basement at places and extends their hands in support.  

"It's a beautiful way to uplift the company member and remind them that they are not alone and that, though a debut may be daunting and full of nervousness and anxiety, the entire company has their back. For me, it's a beautiful reminder that this show can never happen without the work and cooperation of every single person in the building."

But at the end of the day, it is the audience that make stage work meaningful for performers. 

"So many folks travel from all over the world to see the show, fans know every word, young people studying theater stick around to meet us because they aspire to do what we do, it blows me away every time. It is a constant reminder of not only how popular the show is but what an impact it continues to have on people. I'm so proud to be part of something that bring such joy to so many. 

"I am particularly touched by Asian American audience members who make a point to tell me how much it means to them to see me onstage. A few young Asian Americans have said that seeing me onstage in a show as big as `Hamilton' gives them hope that they can achieve their dreams too. I can't describe how humbling this is and how it fuels and inspires me every day. This is more than a job, it's a real opportunity to lift others up. I'm not sure I'll ever be part of something quite like this again."

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https://www.positivelyfilipino.com/magazine/the-talented-mr-delacruz 

Filipino American Justin Huertas' comics-inspired musical, 'Lizard Boy,' to roll out in Silicon Valley

By WALTER ANG
Sept. 22, 2021 | USA.Inquirer.net

SAN FRANCISCO — Filipino American composer, librettist and actor Justin Huertas' indie folk-rock musical "Lizard Boy" will kick off TheatreWorks Silicon Valley's 51st season. 

Filipino American librettist, composer, musician and actor Justin Huertas (left)
plays the title character in "Lizard Boy."

Huertas found inspiration for "Lizard Boy" from his lifetime love of comic books. Huertas grew up feeling left out whenever he watched his favorite character Spider-Man and many other caped crusaders played by primarily white actors.

Growing up being unable to see a superhero who is Filipino American like himself, he was inspired to create "Lizard Boy," establishing the representation that had been lacking.

Over a million

First staged in 2015, the musical introduces audiences to Trevor, a sweet and insecure recluse in Seattle whose skin is covered in lizard scales, as he goes on a first date that turns into a mythological journey where he must deal with unlocking his powers, self-acceptance and saving the world.

"Lizard Boy" was commissioned by Seattle Repertory Theatre and was a hit at the Seattle awards season. It underwent further development in a staging in San Diego and staged readings in New York.

Huertas' other credits include the music, lyrics and book of "The Last World Octopus Wrestling Champion," a pop-rock musical about a Filipino American family whose matriarch is a wrestler of octopi, and the music and lyrics of a musical adaptation of "Howl's Moving Castle."

The musical's soundtrack on Spotify surpassed one million streams in March of 2020. "It was a wild moment for us. We hadn't been on stage for years, and we couldn't believe that people continued to find our little show," says Huertas.

"It means our fans have been telling their friends to listen to us, and then those friends tell their friends. The fact that people love us so much that they want to share our music is just magical to me."

Quadruple

The original cast, of which Huertas is a part, will reprise their roles at the TheatreWorks staging.

Librettist, composer, actor Justin Huertas.

Huertas plays the titular character and all three actors are quadruple threats as they act, sing, do movement and play musical instruments such as cello, guitar, piano, ukulele and kazoo.

"The cast has always been the same three people: me, Kiki deLohr Helland and Bill Williams. I look forward to when we can start folding more actors into more productions. I honestly can't wait for us to release this to high schools and colleges."

New superpowers

Huertas appreciates the opportunity to revisit the first musical he ever created. "I was 24 when I started writing it, and I'm 34 now. A lot of emotional and intellectual growth happens in that time.

"Not only 10 years of time but also going from your 20s to your 30s. Ten years ago, I was writing a story about coming of age, love, and identity, but the fact is we're constantly coming of age. Or at least I am!

"Thirty four-year-old Justin has such a new point of view on all of those things, and I'm really excited that I get to infuse this new 'Lizard Boy' with my emotional growth from over the years. It will be different for folks who've seen us before. Plus, there are new superpowers!"

"I'm so grateful to get to do this show again. Because I'm so busy working on other projects, I never get to travel. I love having the opportunity to travel with 'Lizard Boy.' My dream in life is to be able to share my stories around the world."

"Lizard Boy" runs Oct. 6-31 at Mountain View Center for the Performing Arts, 500 Castro St., Mountain View. Visit TheatreWorks.org.

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https://usa.inquirer.net/83171/fil-ams-comics-inspired-musical-lizard-boy-to-roll-out-in-silicon-valley

Filipino American artists to be showcased in 2021 Texas Biennial

By WALTER ANG
Aug. 26, 2021 | USA.Inquirer.net

SAN ANTONIO, Texas — A group of Filipino American artists' works will be showcased at this year's Texas Biennial.

"Mumu" by Jacqueline Poisot,
20 x 17 inches framed, digital painting.

Titled "A New Landscape, A Possible Horizon," the biennial launches in September and will be held across several Texas museums featuring exhibitions, programs and public art in San Antonio and Houston.

When visual artist Matt Manalo applied, he was one out of 850 applicants whose work was chosen to be included. "The jurors asked me if I wanted to include the Filipinx Artists of Houston (FxAH)," he says, referring to the group of Fil-Am artists he founded.

"I said yes. It will be my first time being a part of the Biennial so I thought, might as well bring everyone with me." Exhibiting at the biennial are 28 members of the collective. Their works will be featured at the McNay Art Museum.

A free opening reception will be held on Sept. 2 at arts and events complex Silver Street Studios on Edwards Street.

Themes

Organized by art nonprofit Big Medium, the biennial is intended to be a survey of contemporary art in Texas.

The curators of the biennial said in a statement that the seven-month endeavor is "spread across San Antonio and Houston in order to realize a diversity of practices and explore a vast landscape of disciplines, themes, and historical events relevant to both Texas and contemporary global discourse.

"Principal themes of the project-the mutable histories contained within objects and people, activism and issues of racial and social justice, and narratives unique to the history and land of Texas-are examined in multiple creative disciplines and across multiple sites."

Collective

Manalo founded the collective "because of the need for a creative community among Filipinos living in Houston."

"Kagustuhan o Pangangailangan" by Zeus Paredes,
24 x 36 inches, acrylic on Canvas.

"The group was founded in 2019 by me with the help of Bridget Bray, Asia Society Texas Center's curator and director of exhibitions.

"'Filipinx' is a term we use to identify the Filipino American experience. We use the "x" to include different identities, stories, skill-level, ages, traumas, etc.

"We don't have officers because we believe in collective leadership and respect each other's capacity for labor. Everyone takes responsibilities according to their desire and ability to successfully execute a project within the collective."

Since its founding, the group has organized activities such as film showings, book signings and discussions, art exhibits and panel discussions.

Composition

With a current pool of 78 members, the collective is composed of artists who are self-taught as well as academically trained.

Among the exhibiting artists for the biennial, the most seasoned artist is 68-year-old Zeus Paredes and the newest blood is 18-year-old Jacqueline Poisot.

The group is a cross-section of the rich breadth of Filipino American identity, with close to 20 biracial members as well as members who are LGBT (lesbian, gay, bisexual, trans).

It also harbors a wide swath of the many talents Fil-Ams have to offer. In addition to the visual artists, there are writers, poets, photographers, filmmakers, musicians and performance artists.

The visual artists' works range from pieces as grand as 40 by 60 inches to as intimate as 8 by 10 inches using mediums from acrylic to gesso on surfaces from canvas to vellum. There is also a light projection piece and a mixed media installation that spans 20 feet.

"The group was excited when I told them the news that FxAH would be part of the biennial," says Manalo.

"It will be everyone's first time. Excited siyempre! It is a big deal for everyone in the art community in Texas."

Visit Fxahouston.org.

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https://usa.inquirer.net/81221/fil-am-artists-to-be-showcased-in-2021-texas-biennial

Prolific Filipino American writer Cecilia Manguerra Brainard re-releases her short stories

By WALTER ANG
Aug. 11, 2021 | USA.Inquirer.net

LOS ANGELES — Prolific author and publisher Filipino American Cecilia Manguerra Brainard is releasing a new anthology, Selected Short Stories, which collects 39 of her previously published short works. 

Selected Short Stories and The Newspaper Widow by Cecilia Brainard.

In addition, she is also re-issuing her mystery novel The Newspaper Widow. Both titles are published in the U.S. by Philippine American Literary House. In the Philippines, the two titles are published by University of Santo Tomas Publishing House.

The reason for coming out with this collection was a matter of providing access. "Some of the stories are from earlier anthologies that are out of print or hard to find," explains Brainard. "I have met many teachers and students looking for these books."

"Many of these stories are part of their curriculum. My Philippine publisher encouraged me to do a collection that included the strongest stories."

Range

Selected Short Stories, the cover of which features a work created by noted Filipino artist Felix Mago Miguel, includes her popular works such as "Flip Gothic" and "Romeo" including recent pieces like "The Syrian Doctor in Paris."

The oldest piece in the collection is "Woman with Horns." Set just after the tumultuous Philippine-American War, widow Agustina Macaraig, who is rumored to have horns, encounters a doctor from New York sent to "the islands" to help stop a cholera epidemic. She heals the doctor in other ways.

The most recent work is "Melisande in Paris," whose protagonist is a featured character from one of Brainard's novels. Set in Paris, there is also a doctor involved in this story. Brainard explains that this episode helps explain how the title character ends up in The Newspaper Widow.

The novel, also set during the American occupation of the Philippines, begins with the discovery of a dead priest in a creek. In order to clear her son's name and free him from prison, Ines Maceda and her French friend have to solve the crime. She also has to run her recently deceased husband's newspaper business while she's at it.

Inspiration

Real life and real individuals are rich sources of prompts for Brainard's work. The occupation of Ines Maceda was inspired by none other than her maternal great-grandmother. "Remedios Diosomito Lopez was said to be the first woman publisher in the Philippines." 

Filipino American author Cecilia Manguerra Brainard.

Although now based in Log Angeles, Brainard grew up in the port city of Cebu, which inspired her to create her mythical setting, Ubec. The setting, "which echoes the Santo Niño Church, triangular Spanish fort, and old buildings and streets of the real Cebu," appears in all three of her novels and other works.

She moved to the U.S. to do graduate work in filmmaking and later focused on writing, which "suits her individualistic personality better."

Nurturing

"It is difficult to calculate how long it takes to write any novel because it's a stop-and-go process, at least for me. It's a different process from writing non-fiction that can be outlined.

"I wrote a draft of The Newspaper Widow during National Novel Writing Month (which challenges writers to produce 50,000 words of a novel in November). Then I spent maybe another three to four years tinkering with it."

In addition to The Newspaper Widow, Brainard's other novels include When the Rainbow Goddess Wept and Magdalena.

"I don't have a regular schedule as some writers have; I have family and many other projects going on like art and gardening, among others.

"I need to place myself in a master workshop so that I am able to carve out the time to write.  When I'm in that workshop and I'm told I have to submit 10 pages next week, I will do it."

When Brainard is not busy crafting her own pieces, she is hard at work nurturing other voices. She edits fiction and nonfiction anthologies of works by Filipino American writers.

Editing credits include Fiction by Filipinos in America, Contemporary Fiction by Filipinos in America, Growing Up Filipino: Stories for Young Adults, and Growing Up Filipino II: More Stories for Young Adults.

Visit Palh-books.blogspot.com.

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https://usa.inquirer.net/80089/prolific-writer-cecilia-manguerra-brainard-re-releases-her-short-stories

Filipino American playwright Thelma de Castro spins multimedia nature play

By WALTER ANG
Aug. 4, 2021 | USA.Inquirer.net

SAN DIEGO, California — Filipino American playwright Thelma de Castro has devised a play revolving around one of San Diego's nature landmarks while providing audiences a multipart, multimedia experience.

Filipino American playwright Thelma de Castro (far right)
with her fellow theater makers in "The TAG Project." 

Upon registering for "The TAG Project," audience members will receive a Welcome Letter with a Mystery Object in the mail. Prior to the performance, dates, maps and interviews will be released throughout August.

The production features short video plays set beside the mouth of the San Diego River as it meets Ocean Beach. Audience members may opt to visit the site and watch the plays on mobile devices.

Audience members will be encouraged to share their own nature stories through social media comments, photos, videos, and even their own plays.

The production is presented by Playwrights Project, a theater education nonprofit.  Other Filipino Americans involved in the production include voice actor Taylor Wycoff and actor Ali Nelson.

Nature

"I've lived in San Diego most of my life but I had never spent time at the estuary," says De Castro. "I ended up stuck there because my son is a surfer and I was his ride. As I killed time while he surfed, I walked and discovered the mouth of the San Diego River.

"It's been a long pandemic and he surfs a lot, so I've been able to visit the estuary over many seasons. The water fluctuates with the tides and time of year . It's an area of transience for people and wildlife. Some people live there illegally in RVs or vans. Others travel through. It's a fascinating place."

De Castro is currently a Teaching Artist at Donovan State Prison for Playwrights Project. She has been a dramaturg for Plays by Young Writers Festival. Credits with Filipino American elements include "Rain Forest" (suicide prevention play in Filipinx community), "The Fire in Me: A Theatrical Exploration of Domestic Violence in San Diego's Filipino community," and "Halo-Halo-Mixed Together Stories from San Diego's Filipino American Community."

Stories

De Castro has written four short plays for the August 17 performance titled "TAG."

In "Blank Tags," Osprey shares a story of longing and belonging about his old yellow cat. In "Tree Tag Part One," a stressed-out soccer mom seeks solace from a tree.  In "The Tree," a tree talks about choreographing the dance of the estuary. In "Tree Tag Part Two," a traveler and her dog find sustenance and comfort from the tree.

The August 24 performance, titled "You're It!," will feature the short plays of five other playwrights. Talkback sessions will follow each performance.

Inspiration

De Castro developed the idea for this production from workshops and classes she has been taking with different artists.

The format of the production was from a prompt to find new ways to deliver stories from a workshop on non-traditional theater.

The theme of nature was inspired from Sarah Greenman's Creative Alchemy Cycle, a workshop revolving around the seasons and nature. "During the pandemic . many people focused on creative pursuits and were able to spend more time in nature and realize its importance to our health. I'm particularly interested in the barriers to engaging with nature that people of color experience."

The idea for incorporating mystery objects into the production sprung from her own experiences in the workshop. "We received seasonal bundles. It's as fun as it sounds! Honey, dried apples, pinecones, flowers, and other ephemera."

De Castro wanted to help give audiences the "props" to piece the elements together. "The TAG Project is about the details. It asks people to stop and pay attention. Here's a letter. Here's a Mystery Object. What does it mean?

"The estuary is a very overlooked area, but if you stop and look around, there is beauty. I could tell people about the estuary, but if I connect them to it through a story that takes place there, they're drawn in."

This program is made possible by The William Male Foundation, a Rising Arts Leaders of San Diego Virgil Yalong Quick Grant, the California Arts Council, and the City of San Diego Commission for Arts & Culture.

Visit Playwrightsproject.org.

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https://usa.inquirer.net/79537/fil-am-writer-spins-multimedia-nature-play

Filipino American Sean San Jose named artistic director of San Francisco’s Magic Theatre

By WALTER ANG
July 21, 2012 | USA.Inquirer.net

SAN FRANCISCO — Filipino American actor, director and playwright Sean San Jose has been named artistic director of Magic Theatre.

Sean San Jose

San Jose previously cofounded multicultural theater company Campo Santo in 1996. As the group's Program Director, he helped develop, produce, and premiere new works.

He has also served as Program Director of arts organization Intersection for the Arts, overseeing productions of theater, dance, and interdisciplinary performances.

Plays he has written include a new "updated translation" of William Shakespeare's "Coriolanus" for the Oregon Shakespeare Festival and "Presenting . The Monstress," an adaptation of one of Fil-Am fictionist Lysley Tenorio's short stories.

San Jose is also a board director of Theatre Communications Group, a nationwide nonprofit that supports theaters, and he teaches at University of California-Berkeley.

Homecoming

It is a homecoming of sorts for San Jose since Magic Theatre is where he first saw a play and eventually joined a production that made him eligible to join Actors' Equity, the union for professional actors. Afterward, he performed there for several seasons.

A native of San Francisco, he was exposed to different artists and opportunities at Magic Theatre and received mentorship from fellow theater makers.

"It's impacted me in so many ways. I 'unofficially' trained there under two fabulous women, previous artistic directors Mame Hunt and Loretta Greco," he says.

The lessons he learned in theater-making were applied at Campo Santo; it was at Magic that he'd met some of his cofounders.

"Magic's influence on me has never left," he says. To be back and be tasked to now take the wheel, so to speak, "feels exciting and great." San Jose speaks of feeling fulfilled at being able to collaborate with both Campo Santo, which he will still be involved with, and with Magic Theatre.

Nurtured

One instrumental experience he had with Magic Theatre was Mame Hunt's support and nurturing of one of his very early-and personal-works.

"This was [a time before] we were called 'people of color.' I was at a younger age. It was an invaluable gift of empowering someone."

In 1996, San Jose conceived and staged "Pieces of the Quilt" at Magic, a project that collected vignettes from various playwrights about the AIDS epidemic.

The work was conceived to memorialize his mother's death in 1994 due to the condition. His father died soon after of the same cause. It was also because of her passing that he dropped his father's surname, Blackman, and began using her surname to honor her memory.

"I grew up here in San Francisco so we saw the AIDS epidemic all around us. At that time, people weren't seeing the human beings who passed away, all people could see was shame. On top of it all, I'm double Catholic, I'm Puerto Rican and Filipino, so no one was talking about it in my family. My lola was broken up about it but couldn't utter any words about it. For me emotionally, I wanted do something to respond to it, to show the human face of AIDS."

San Jose had originally conceptualized it to be performed during off-nights. Hunt disapproved his proposal because she wanted him to develop it into a main production. The work went on the run for three years.

(Magic Theatre has staged works by Filipino American playwrights:  "Dogeaters" and "The Gangster of Love" by Jessica Hagedorn" and "Grandeur" and "Reasons to Live" by Han Ong.)

New friends

Through his work with Magic and Campo Santo, San Jose believes that "theater is inclusive and intertwined with civic and social issues, not just cultural. Theater resonates with our real lives and can create dialogue."

"I've seen it work, it has impact and resonance. You always want to extend that possibility."

In the spirit of extending possibilities, San Jose is evolving the format of Magic Theatre's annual fundraiser gala from a sit-down dinner to an open-air party to make it more accessible to the community.

He wants to attract new audiences "by treating them as new friends, by creating a space that reflects the world that they live in. I'm interested in seeing the lifeblood, energy and different rhythms, languages and phenotypes reflected on stage."

"I'm excited about everyone we can bring in to share this with. But I want to ground the work first in the local community both as audience and generators of the art. We have incredible artists here in San Francisco."

"As someone who believes in the communities here in the Bay Area," San Jose says he wants to maximize Magic Theatre's reputation "to create programming that rightfully frames and centers the stories of people of color. Then the potential becomes infinite."

"The New Age of Magic" Magic Theatre 2021 Gala is on Aug. 5 at The Firehouse at Fort Mason Center for Arts & Culture, 2 Marina Blvd, San Francisco.

Visit Magictheatre.org.

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https://usa.inquirer.net/78207/fil-am-named-artistic-director-of-san-franciscos-magic-theatre

Filipino American Jay Españo named artistic director of Chicago’s PrideArts Theater

By WALTER ANG
July 8, 2021 | USA.Inquirer.net

CHICAGO — Filipino American Jay Españo has been named artistic director of PrideArts Theater Company.

Jay Españo

"I am terrified and excited at the same time. Terrified because this is a big responsibility. I have to make sure that I am fairly, properly representing everyone in the LGBTQ community," says Españo, referring to the lesbian, gay, bisexual, trans and queer community.

"Excited because, finally, we people of color, especially LGBTQ people of color, will not only get to bring something to the table but also be at the head of the table.

PrideArts was founded in 2010 to "change lives by improving the quality of LGBT theater and film for this generation and those to come." It utilizes stories with gay, lesbian, bisexual, and transgender characters or themes and "creates powerful theatrics and films that speak for the community and are essential viewing for all audiences."

"I feel fortunate that our voices are being heard and it seems like the world is ready to see more stories about us onstage and our remind them of our contributions to the world," he adds.

Españo has been acting for different theater groups in the Chicago area since the late 2000s. Before moving to the US, he was a member of theater company Tanghalang Pilipino in Manila (not to be confused with the group Tanghalang Pilipino ng DC based in Washington, DC) and did stints in Singapore, including one of the lead roles in "Chang and Eng, the Musical."

Paying it forward

His previous involvement with PrideArts include acting in "F**king Men" and choreographing "At The Flash." He has also judged some of its previous film festivals.

He has already presented his ideas to the board. "I presented my proposal of a season line up, its theme and explained how the plays are all somewhat related to the theme for a sense of cohesiveness. I actually enjoyed that part because I felt that I gave them an idea, a roadmap of where I plan to take the company."

He credits his mentors for exposing him to a wide array of experiences in the profession, thus enabling him to step into this role. "I've always enjoyed my time in Tanghalang Pilipno. I learned a lot from how Artistic Director Nonon Padilla ran the company."

In the same vein of how he learned from colleagues who paved the way before him, he wants to pass on what he's learned to fresh talent. "I have started interviewing possible interns as I am a big fan of getting the younger generation in helping build this company."

Turnaround

Planning for the future is something Españo does not take for granted. Just a few months ago, his circumstances were not the most ideal.

In the weeks before 2020 ended, both his husband and his 82-year-old father contracted COVID-19, causing their family to endure hospital stays and being isolated from each other.

And although his father was soon discharged from the hospital, Españo received another surprise on Christmas Day. "That morning, while I was frying some bacon for our big brunch at home, I suddenly couldn't smell it. It was also so abrupt. I could have sworn I still had my sense of smell when I took the banana muffins out of the oven just a few moments earlier." He, too, contracted COVID-19. 

A self-professed health buff who exercises regularly, eats right and even teaches yoga and a spin class, Españo was initially disheartened by his condition. He credits his spouse, Doug, Meyer with helping him spring back into action.

Support

Being open to ideas and support from others are lessons that Españo keeps to heart. Welcoming the involvement of the community is key to what he envisions for the future of PrideArts.

"I can't do this alone," he says to the organization's audiences and patrons in his video message as the new artistic director. "I will need your help because without you and your support there would be no PrideArts."

Now the work has begun. Españo will be programming shows for the organization's performing venue PrideArts Center in Buena Park.

Españo will direct the season's opening production in August, the musical "The Things I Never Could Tell Steven" by Australian playwright Jye Bryant.

The line-up includes the play "4000 Days" by British playwright Peter Quilter, a holiday cabaret "Christmas Karol: An Uptown Holiday Celebration of Diversity," and the play "When There Are Nine" by American playwright Sally Deering, a new work about Ruth Bader Ginsburg's last day on Earth.

Españo says, "My goal is to continue PrideArts' tradition of telling a diversity of queer community stories that not only entertain, but also encourage the audience to reflect on their own views, beliefs and biases."

Visit PrideArts.org.

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https://usa.inquirer.net/76905/fil-am-named-artistic-director-of-chicagos-pridearts-theater

Filipino American Raven Ong designs costumes for first ever Connecticut Shakespeare Fest

By WALTER ANG
June 29, 2021 | USA.Inquirer.net

HARTFORD, Connecticut — Audiences who will attend the inaugural production of the first ever Connecticut Shakespeare Festival will see the work of Filipino American costume designer Raven Ong. 

Ong's design and costume for First Fairy.

Kicking off the festival's first season at Auerfarm in Bloomfield will be William Shakespeare's romantic comedy "A Midsummer Night's Dream."

In the play's titular evening, humans are preparing for a wedding and rehearsing a play for the reception. When four young lovers run into the woods, a kingdom of fairies who reside there  enchant, transform, and entangle everyone in each other's dreams.

Other Filipino Americans involved in the production include actor Katrien Van Riel, who will play First Fairy. The festival is organized by Playhouse Theatre Group.

Involvement

Ong He has designed for musicals such as "Beautiful: Carole King Musical," "Waitress," "Kinky Boots," "Matilda" and "The Producers," among others. He designed the costumes for Fil-Am playwright Linda Faigao-Hall's "Dying in Boulder." He teaches Costume Design at Central Connecticut State University.

Filipino American costume designer Raven Ong.

Ong's most recent involvement with the Playhouse Theatre Group was actually with its Playhouse on Park theater company just before the pandemic imposed restrictions on public gatherings last year. He had designed the costumes for the group's staging of Kate Hamill's adaptation of "Pride and Prejudice."

When festival Artistic Director Sean Harris offered the chance to design this production, Ong accepted right away.

"I am very excited! More than a year of not being able to design any professional work allowed me to recharge. Now it's time to conquer again!" he says.

Excitement

For this particular telling of "A Midsummer Night's Dream," the collaborators of the show wanted to convey a particular vision according to Ong. "We wanted excitement and energy translated into design spectacle."

Ong's Asian-inspired silhouettes for Theseus and Hippolyta.

After all, "this is the first production of the inaugural season and the first project that most of us are working on after the pandemic," he says.

He explains that director Emma Went shared research images of the world she wanted to achieve. "She shared images of outfits with corsets and bustles, hoop skirts and panniers, so we determined that our world could be timeless but also romantic. We picked the Victorian era as a jumping off point."

"The lovers will be in Victorian outfits while the fairies will have more of an 18th-century silhouette to show that they've existed long before the people of Athens have.

"For example, Oberon's vest is inspired by rococo waistcoats with embroidery but his version will have cording, lace flowerets and ball fringe.

"Puck will be in a green Victorian tailcoat to establish his ever-playful character and ability to put on a disguise. He is the one who orchestrates the motion on stage."

Archetypes

Using the Puck character as an example, Ong points out that Shakespeare plays are known for archetype characters. 

Ong's design and costume for Oberon.

"When I attended a course at Shakespeare's Globe in London, we were asked to move according to what archetype we picked and to imagine what clothing we wore. That was very helpful to me as a costume designer."

He also explains that actors usually play multiple characters in Shakespeare plays. "And they sometimes change right before the audience's eyes, so costumes play a very important role in telling the story."

"What's fascinating to me as a costume designer is the ability to put together the qualities of different fabrics and materials that help in the storytelling process and help build the world in a poetic way."

The inaugural season of the festival is themed "Shakespeare and Sondheim" and begins July 7. "A Midsummer Night's Dream" will be followed by Stephen Sondheim's "Into the Woods," "Shakespeare 4 Kids: Dream Scheme" and concludes with "Snow White."

Visit Connecticutshakespearefestival.org.

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https://usa.inquirer.net/75952/fil-am-designs-costumes-for-first-ever-connecticut-shakespeare-fest

Filipino American Arthur Soriano creates comics of pre-colonial Philippine tales

By WALTER ANG
June 23, 2021 | USA.Inquirer.net

AUSTIN, Texas — Filipino American Arthur Soriano has created a new comic series that focuses on "the genesis of Philippine history from a Filipino perspective." 

Arthur Soriano with young readers.

"The first issue of Marharlikan Chronicles is one hundred percent Philippine precolonial history and oral tradition," he says.

"In this series, you will not have to read about a Spanish King and outside views that aren't generally interesting to a Filipino reader."

According to Soriano, he created the comic because he wanted to give a better introduction and update to Philippine history "in a way that is appealing to the general Filipino public."

Identity

Born in the US to Filipino parents, Soriano became interested in early Philippine history because he thought it was something he ought to know about his heritage.

And also because "I'm Filipino and I love history in general." He'd learned about Greek and Roman ancient civilizations in college, so "why not the Philippines, too?"

He believes that knowing one's own history is important because "it gives you insight to who you and your people are.  In general, history teaches what happened, why it happened and what we could do better in the future."

Latest discoveries

These days, Soriano studies precolonial Philippine history independently and has the "ability and passion" to acquire books that "most don't have access to." 

Cover of inaugural issue of Maharlikan Chronicles.

"Which is why I share what I find.  I have met with scholars at museums in the Philippines and have bounced thoughts off with [historian] Ambeth Ocampo."

"As I studied precolonial Philippine history, I learned that the information available was very outdated and the latest discoveries would make for a better presentation of our early past."

He wants to "improve the knowledge base of Filipinos of their rich precolonial history."

First

For the inaugural issue, he collaborated with illustrator Faye Villanueva. "She and her husband Aria are comic creators in the Philippines and they own Kawangis Komiks and several titles of comics."

The first issue features Apo Anno the early Igorot leader and Urduja the warrior princess.

"This is an open-ended series since we plan to promote more adventures for Urduja and a wide array of Filipino mythology and folklore."

Response

"We have had a great response for the first issue. Many love the introduction of Philippine history from 'our' perspective, with the added plus of incorporating our oral tradition with known scholarly history and recent scientific discoveries."

Maharlikan Chronicles is sold in retail stores in Texas and Michigan and online for the rest of the US as well as internationally. Readers in the Philippines can visit the comics' website for the latest updates on availability.

"The second issue will be a continuation of precolonial Philippine history centered around the Visayas and the beginning of an adventure series for Urduja," says Soriano.

Visit maharlikanchronicles.com.

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https://usa.inquirer.net/75377/fil-am-creates-comics-of-pre-colonial-ph-tales

Filipino American theater director Jennifer Chang helms audio plays on LA landmarks

By WALTER ANG
June 16, 2021 | USA.Inquirer.net

LOS ANGELES — Filipino American theater director Jennifer Chang is helming a new audio play series that will focus on the city's unsung landmarks. 

Jennifer Chang

Titled "Chalk Lines," the series features five plays that bring to life areas of interest in city council districts 8 to 10, which includes the Metro Expo Line, Leimert Park, Historic West Adams, and Exposition Park.

The series is produced by Chalk Repertory Theatre, of which Chang is a cofounder and was the artistic director until 2016, with funding from the city's Department of Cultural Affairs.

The series' focus on geographic locations builds on the group's origins of staging productions in unconventional locations. Since it was founded in 2008, Chalk Rep has staged shows at sites as grand as the Natural History Museum and as intimate as the garage of a private home.

Chang recently won the Los Angeles Drama Critics Circle (LADCC) Award for Best Direction of a Play for her work on East West Players' production of "Vietgone." (READ about it here.)

Recent credits include "The Clitorish" for New Ohio Theatre and "Hannah and the Dread Gazebo" for Fountain Theatre. Chang is the Head of Undergraduate Acting at University of California-San Diego.

Development

The project had already been in development prior to the pandemic. "We had been developing and [had already] done beta testing on an app, kind of like a Pokémon Go, where your location unlocks an 'adventure,'" says Chang.

"In the case of 'Chalk Lines,' the intended goal was to unlock an audio play with your geo-location."

The theater group wanted to highlight the idea that these districts are destinations and that they possess rich history and culture.

Chalk Rep had initially intended for the series to be anchored on the segment of the Expo Line roughly between downtown and Culver City. "We wanted to create a project that would encourage folks to adventure . and that would be accessible with the train."

Pivot

The pandemic's restrictions made the group rethink its approach. "With the lockdown, we couldn't encourage folks to leave their homes and go to places or ride the Expo Line because that could potentially put them in contact with other people."

"We pivoted to putting all our focus on the districts."

In its current iteration, audience members can safely enjoy "Chalk Lines" at home focusing solely on the auditory experience or they can visually augment the experience by visiting each outdoor location and listen on a mobile device.

Chang is excited for listeners to "really hear where the stories take place."

"The sound designers have been so innovative and incredible, doing 3D mapping and wandering through the districts, walking the trajectories of the [plays.] The soundscape was authentically captured."

Diverse, rich

In addition to researching the histories of these locations, Chang's team of collaborators ensured the plays were written by and for the "folks who had strong ties to the districts . talented writers who all were born or lived in the areas."

"We wanted to have a variety of experiences and points of view in terms of gender and age and identity. We have a recent school graduate, a veteran award-winning playwright and multi-hyphenate artists."

The five plays features characters as varied as an orphan with AIDS who is visited by a life insurance sales person, a frank tour guide who goes through 150 years of LA history, a seasoned street vendor and a young college student riding the Expo, and a person preaching about alien life.

Chang will direct "The Great Leap" at Round House Theatre in Washington, DC in the late fall.

"Chalk Lines" launches June 19 for free. Donations encouraged. Visit Chalkrep.com.

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https://usa.inquirer.net/74709/fil-am-helms-audio-plays-on-la-landmarks

Filipino American Hazel Lozano in award-winning satire on race 'An Octoroon'

By WALTER ANG
June 11, 2021 | USA.Inquirer.net

LOS ANGELES — Filipino American Hazel Lozano is part of a play where actors will be in blackface and redface. 

Lozano (left) plays the Production Assistant in
Branden Jacobs-Jenkins' satire "An Octoroon."

Branden Jacobs-Jenkins' "An Octoroon" is "a spectacular collision of the antebellum South and 21st-century cultural politics, twisting a funhouse world of larger-than-life stereotypes into blistering social commentary to create a gasp-inducing satire."

In the story, Lozano plays the part of a production assistant where a modern-day Black playwright decides to adapt his favorite melodrama play from 1859.

But he quickly realizes that getting white male actors to portray evil slave owners isn't easy. So he decides to perform the white male roles himself-in whiteface.

Incendiary

Blackface is when non-Black performers use darkening make-up to mimic the appearance of Black persons. In the U.S., the practice evokes an offensive and racist history of caricaturing negative stereotypes of Black slaves. Redface is the offensive lampooning of Native Americans.

In the Los Angeles premiere of this work, which will be the inaugural production of Fountain Theatre's new outdoor stage; what ensues is a world where "race and morality are challenged, mocked and savagely intensified."

This Obie Award-winning play has been described as "radical, incendiary and subversively funny."

Other Fil-Ams involved in the production include assistant stage manager Quinn O'Connor and audio engineer Noele Kyle Cunanan.

Start

Born in the Philippines, Lozano moved to Washington state with her family when she was nine years old. "Both of my parents are from Iriga City. Taga-Iriga 'ko, sagkud gusto kong magpraktis ka Irigueño ko. Sari po kamo, mga Irigueño sa LA?! [I'm from Iriga, I'd like to practice my Irigueño. Where are the Irigueño in LA?!]" she says.

She inadvertently got herself into the world of theater when she was in the first grade. "I raised my hand, trying to be helpful to the class. Then I found out I had volunteered to perform a one-person play in front of the whole school."

But since then, she's been hooked. Her previous credits include Administrator in Fil-Am playwright Boni Alvarez's "America Adjacent." Other credits include Iago in "Othello." She produces the Intimacy Choreography In Conversation podcast,

Lozano was intrigued by director Judith "Judy" Moreland's description of using caricature "while maintaining dignity and humanity."

"It was something that I've been reflecting a lot on lately as an Asian Pacific American artist. It's also something that I've found to be a great acting challenge both now and in the past."

Race

"I feel privileged being chosen to work on productions like this: shows that challenge our audiences to really see themselves and the world around them. That make them confront and interrogate biases they didn't think about before. 

Filipino American Hazel Lozano (left)
is in the cast of "An Octoroon." 

"I've been very grateful to this group of collaborators. Judy and Fountain Theatre have assembled some of the most talented folks I've worked with in LA, onstage and off. It's been a beautiful artistic workout every day."

She says she is "very, very hungry" for audiences to see the work. "Because they are the most important character in the show!"

"This play has so much to teach all of us, whether as Philippine immigrants, Philippine descendants, Asian Pacific Islanders who've experienced colonialism, or as Americans who bear privilege and suffering on soil tilled by enslaved African-Americans.

"If we achieve the playwright's and the director's objectives, this play should ignite the audience into any number of strong reactions which will hopefully lead to reflection and change."

The award-winning Fountain Theatre provides a creative home for multi-ethnic theater and dance artists. Its projects have been seen across the U.S. and internationally.

"An Octoroon" runs June 18 to Sept.19. Visit FountainTheatre.com.

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https://usa.inquirer.net/74024/fil-am-in-award-winning-satire-on-race

Fil-Am resto serves Filipino classics with vegan twist

By WALTER ANG
June 9, 2021 | USA.Inquirer.net

SAN FRANCISCO — Filipino American chef and restaurateur Reina Montenegro has opened her new restaurant Chef Reina where she offers Filipino comfort food with a twist. 

Filipino American Reina Montenegro's vegan restaurant Chef Reina
serves Filipino classics with a plan-based twist.

The brick-and-mortar storefront expands on her existing online service where patrons can order dishes that don't look out of place in any other regular Filipino restaurant.

There's lumpia shanghai in the list of appetizers. Under the "Filipino Favorites" section, there's lechon kawali, kaldereta, corned beef and chicken adobo.

She even offers sweet and sour bola bola, and favorites that have luncheon meat such as silogs and fried rice.

Only here, the dishes are all vegan.

Sandwich lovers may also be enticed to try the restaurant's Philly Cheeze "Steak," "Chik'n" Sandwich, BLT and Impossible Burger. And yes, the ube pancakes come with a side of "bacon."

Rewarding

Montenegro moved from the Philippines to the Bay Area in the late '90s. She prides herself as being self-taught in the kitchen and began her culinary career as a personal chef and caterer in 2012. 

Chef Reina's vegan sweet and sour bola bola and luncheon meat.

She soon opened a restaurant that focused on her ideal of plant-based and cruelty-free cuisine, touting it as the "first Filipino vegan restaurant in the Peninsula."

She had turned to vegan cuisine initially for health reasons. "But now I am all in for the environment and the animals as well," she says.

The uniqueness of her offering made business boom. So much so that two branches followed.

"Of course, I got a lot of heat from the older Filipinos, but when they tasted the food, they became believers! The most rewarding is when a non-vegan says, I'm not vegan but I absolutely love this food. That's when I know I've done my job."

Chrysalis

She ran her business the past few years, always aware of her different roles as an immigrant and person of color, with no nearby family support.

The pandemic restrictions last year forced her to shutter all three of her former restaurants. Though as it turns out, you can't put a hardworking woman down for long.

With time and space to incubate in the chrysalis she had been growing around herself, Montenegro finally emerged from it with a stronger sense of self and thus, rechristened her culinary services into its now eponymous brand.

Montenegro's taking more ownership and acceptance of her "identity and mission in bringing delicious and sustainable food and culinary activism to more families."

"I am so excited to share myself through the food without a mask or pretense."

Care

In a bit of good news for her loyal customers, the new restaurant takes over the spot of one of her former locations. It has a to-go window for online pick-ups and walk-up orders. 

Sisig and lumpiang shanghai, vegan version. 

In addition to the regular dishes, Montenegro's Chef Reina also offers prepacked bulk vegan "meat" dishes which the restaurant calls "Care Packages." Aside from Pinoy comfort fare such as sisig and tocino, patrons can also purchase beef bulgogi and carnitas by the pound.

"It feels so good to be on my own and doing what I absolutely love without anything or anyone holding me back," she says.

"I feel that finally my life is aligned where I can soar high and do what I am passionate about, which is ultimately to convince people to end suffering, not only to the environment or to the animals, but also themselves."

Chef Reina is at 33 Visitacion Ave., Brisbane, CA. Visit Chefreina.com.

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https://usa.inquirer.net/73847/fil-am-resto-serves-filipino-classics-with-vegan-twist