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About Just out. (Portland, OR) 1983-2013 | View Entire Issue (Jan. 5, 2001)
January 5 .2Û01 » Jaaft M L 23 So her very presence was a puzzle for the stage crew. Eventu ally, they figured her out and jokingly dubbed her “Police Woman” or “Xep,” a word for “boss.” The more difficult the work, however, the more reward ing the breakthroughs. “In Vietnam,” Mulligan explained, “there are bright, white lights that you turn on. And off. T hat’s it.” In The Glass Menagerie, she was trying to get the light operator to transition slowly from one scene to another. “He just didn’t understand why we weren’t just turning on the next set of lights. I asked him to let me run the cue once.... A s the lights > 4 slowly faded on Tom at the fire escape and began to come up on Laura, kneel ing by the gramophone, I heard a gasp from my light tech. It was the first time he’d ever seen a change like that, and it suddenly made sense to him. That little moment o f ‘A h a!’ is the reason I came here.” Mulligan doesn’t see languages or differences in technique as impossible obstacles. “It helped to be working with actors and other theater artists,” she mused. “There’s a common language that can tran scend words.” Instead, Mulligan found Vietnamese culture in gen eral the most challenging aspect of the work and also fascinating to learn about. “The Vietnamese way of doing business is the com plete opposite of the Amer ican way,” she observed. “Say you’ve called a meet ing to discuss music for the show. First, you have to have tea for about an hour, maybe even some rice wine. You absolutely do not talk about business. You ask ___________________________ how everyone is doing, talk about family, sports. Everyone takes time to acknowledge the talents of everyone else in the room. Then perhaps you mention music. This would be a great time to watch some videotapes that may or may not have anything to do with the music in which you’re interested. Some more tea...defi nitely some food because everyone’s hungry now. Hours have passed, and you don’t really have an answer to your questions! ...You schedule another meeting and hope for the best.” The best is what Mulligan got. Both productions were per formed by the same group in Hanoi, Ho Chi Minh City and Haiphong and were well received. “Our very first rehearsal was canceled because the aspects of the moon said it was not a lucky day,” Mulligan said. “I’m all for starting on a lucky day, and I think the delay paid off.” And let’s not forget the chicks. “The women in Hanoi are amazingly, jaw-droppingly beautiful. Backstage every night, I felt like the luckiest dame in the world!” Mulligan also particularly enjoyed the seminars she gave on stage management and scenic design. “The students were so culture, and it was wonderful to be able to dive in and learn something new every day.” It was difficult, though, to explore queer culture. “I felt like I was living in a world o f ‘don’t ask, don’t tell.’ I know there’s a queer culture there; it’s just so underground I wasn’t able to find it.... Apparently, clubs stay open in one place for a while, then the police find some reason to close them down, and the clubs reappear somewhere else.” Mulligan said she knew she was n’t “the only queer on the block.” But “we didn’t talk about it...it’s like living in the 1950s.” Still, she didn’t feel uncomfort able or in any danger. “They get that I’m a different kind of woman. Everyone seemed to be OK about that. The guys asked me to drink with them, and women wanted to feed me. I can be shallow enough to enjoy that!” Although Mulligan has trav eled to Asia and Europe, this is the first time she has been able to min gle travel with theater work. The Vietnam America Theatre Exchange was a bold project, to say the least, economically, cultur ally and artistically, and it was a difficult one for all involved. But improving diplomatic relations with Vietnam was a goal, and Mul ligan felt the advantages of that. “ This project has been so tough “This project has been so . . . but my experience has been tough...but my experience has been remarkable.... As theater remarkable __As theater artists , artists, we have to open our emo we have to open our emotions , tions, really take risks together. That creates a lasting bond,” she really take risks together said. “On this particular endeav — Steph an ie M ulligan or, the challenges to simply com municate compounded that feel Above left: Preparing tor A Midsummer ing of risk taking. I’ve forged Night’s Dream new relationships that will endure, and I’ve discovered so Above right: Scenic designer Stephanie Mulli much about a country I knew so gan with her Vietnamese assistant, I)oan Bang little about.” She now has images to balance Below left: Mulligan and crew working on those of war, poverty and sadness. the set for The Qlass Menagerie “I didn’t know about the strength and resilience of the Vietnamese people. I didn’t know about the smell of incense from the Turtle eager and enthusiastic. I could spend months just teaching some Pagoda on Hoan Kiem Lake or the sweet, rich taste of a ripe design theory classes.” custard apple.... Here’s what I do know: I’ll be back in Vietnam In between performances and seminars, Mulligan traveled as soon as my schedule— and budget— allows.” throughout the country, aided by the current value of the dol But in the meantime, Mulligan is back at ART working as lar. A “beautiful baguette” is less than 10 cents; a whole, production coordinator. “I would love to direct a good, solid freshly cut pineapple can be had for under 20 cents. She play that deals with a lesbian relationship. Anybody who has a stayed in the quiet fishing town of Hoi A n’s best room— “a script like that, I encourage you to bring it on!” river view on the verandah, a spacious bathroom with claw- foot tub, two double beds with mosquito netting and breakfast Welcome home, Stephanie. j n on the terrace”—for $25 a night. LlSA B radshaw is a Portland free-lance writer who now wants She met some memorable people and explored the vast cul to go to Vietnam. M osdy to see the jaw-droppingly beautiful girls. tural differences with an open mind. “Vietnam has such a rich ■ Placing your needs and goals first. Windermere C ronin ¿U ( jp la n R cjltv G roup. Inc