OPINION
Page 6 n THE ASIAN REPORTER
September 19, 2016
Volume 26 Number 18
September 19, 2016
ISSN: 1094-9453
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MY TURN
n Dmae Roberts
Tim Dang: Mover &
shaker of AAPI theater
hen I was writing plays in the ’90s, many ter was his role spearheading the first National
were produced in Portland with some Asian American Theater Conference by the Consorti-
around the country. One of the highlights um of Asian American Theaters & Artists (CAATA),
was a staged reading at East West Players (EWP) in an organization created in 2003 by six theaters.
Los Angeles. My director, Tim Dang, served as This fall, the fifth National Asian American Theater
EWP’s artistic director for 23
Conference and Festival, also
years before he retired. We hadn’t
known as ConFest, is scheduled to
been in touch since then, but last
take place October 1 through 9 in
year we connected when he was in
Ashland. Hosted by OSF, it has
Ashland, Oregon to plan a big
the theme “Seismic Shifts:
conference and festival to be
Leading Change in the American
hosted at the Oregon Shake-
Theater”
in
2016.
Dang’s
speare Festival (OSF) — more
connection to OSF’s current
about that event later.
artistic director, Bill Rauch, was
Dang has had a major influence
instrumental to ConFest being
on Asian American and Pacific
held in Ashland.
Islander (AAPI) theater both in
ConFest 2016 features six
Los Angeles and nationally. Tim Dang. (Photo courtesy of Palma
CAATA-presented theater shows
During his tenure, he moved EWP Photography)
and five new staged readings as
from a 99-seat black box where he originally held well as free shows through OSF’s Green Show on
my play reading in 1996 to a 240-seat theater. Dang the courtyard stage. If you haven’t ventured to OSF
helped make EWP the oldest continually operating this year, I highly recommend Qui Nguyen’s
theater of color in the country.
Vietgone (which moved me with laughter and tears)
In 2042, the U.S. Census projects that people of and Desdemona Chiang’s Chinese-inspired staging
color will become the majority of the population in of Shakespeare’s The Winter’s Tale. It’s a good year
the U.S. In response to the trend, Dang recently for AAPI theater in Ashland.
challenged American theater groups to reflect the
ConFest attendees will discuss the future of AAPI
community with a bold vision statement — the “51% theater, which Dang believes is dependent both on
Preparedness Plan” for American theater — which sustainability through funding and the next gener-
urges them to reach a goal of having their artists ation of new leaders. He says with “so many differ-
and production personnel be either 51 percent ent voices and so many of mixed heritage,” having
people of color, 51 percent women, or 51 percent strong leadership is “even more important.”
under the age of 35, by the year 2020. The plan
AAPI communities have traditionally not been
encompasses those who work onstage and behind connected to local theater because we are rarely
the scenes, in all facets of production, including ad- represented. Often times, however, theater is the
ministration, performers, playwrights, designers, first exposure young children have to stories that
artistic staff, stage managers, carpenters, electri- might appeal to them. As demographics change, I
cians, running crew, board recruitment, and more.
hope theaters in all communities include AAPIs not
Dang says it is important to start thinking about just in the audience, but onstage also. How great it
it now so there will be new stories in American thea- is for area AAPIs to have a national festival
ter that are more inclusive. The “51% Preparedness featuring theater, dance, and music performances
Plan” is part of a larger initiative called the “2042: held in the Pacific Northwest, as well as an
See Change,” which aims for American theater to opportunity to learn about the changing faces and
better reflect the changing U.S. population.
issues of AAPI theater.
Dang recently stepped down as EWP’s artistic
There’s a long way to go for AAPI actors to be seen
director, but he is continuing his diversity work as in both Hollywood and on local stages. Dang is one of
co-chair of the Advisory Committee on Cultural many people across the country working to create
Equity and Inclusion of the Los Angeles County more opportunities for actors of color. There’s no
Board of Supervisors. This past November, the denying Dang has left a legacy with his leadership
Stage Directors and Choreographers Society recog- at EWP and through his contributions to CAATA
nized Tim with the Zelda Fichandler Award for and ConFest. I hope to see you in Ashland the first
transforming the regional landscape of theater arts. week of October!
To learn more, visit <www.osfashland.org>.
Dang’s other big contribution to American thea-
W
Opinions expressed in this newspaper are those of the authors and not necessarily those of this publication.