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