OPINION
Page 6 n THE ASIAN REPORTER
January 20, 2014
Volume 24 Number 2
January 20, 2014
ISSN: 1094-9453
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n Dmae Roberts
Why Chinglish is important
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avid Henry Hwang isn’t a household name shame many Asians in Portland do not know about
even among Asian Americans. Few play- them. Most of his plays have been based on
wrights become famous, even veteran Asian-American history and themes.
writers who have won as many awards as Hwang,
M. Butterfly remains Hwang’s best-known and
including a Tony Award, an Obie, and two Pulitzer most-produced work. It’s based on a true story of a
nominations.
French diplomat who had a 20-year relationship
I didn’t learn about Hwang until I understudied with a Chinese Opera star he believed to be female.
for M. Butterfly at the Oregon Shakespeare Festi- F.O.B. captures the conflict between Fresh-Off-the-
val/Portland (the previous incarnation of Portland Boat immigrants and established Asian Americans.
Center Stage) in 1992. At the time I was excited The Dance and the Railroad is about the only known
about being part of an Asian play, even as an labor strike by Chinese railroad workers in 1867
understudy. I’d already had
and features beautiful Chi-
more than 10 years of theatre
nese Opera movement. Golden
experience, but because I could
Child details the lives of an
pass for white (not by choice), I
early 20th-century Chinese
never had an opportunity until
family.
then to play an Asian charac-
Hwang’s partly autobio-
ter. It was exciting to be in-
graphical 2007 play Yellow
volved in a play that had
Face exposes subtle conflicts
cultural meaning and was in-
about the politics of casting
credibly well written.
racially and also includes
Let’s face it, not many
events that happened to
Asians attend theatre. Part of
Hwang’s father, who was a
the reason might be there are Tina Chilip (left) plays Xi Yan and Peter O’Connor
banker accused of trumped-up
rarely any plays that feature plays Daniel Cavanaugh in David Henry Hwang’s
charges in the ’90s — an
Asian Americans or Asian Chinglish. The performance runs through Febru-
experience similar to those of
content. Not many films or ary 9 at the Gerding Theater at the Armory in
Taiwanese-American scientist
television shows do either. Yet northwest Portland. (Photo/Patrick Weishampel,
Wen Ho Lee.
there is a plethora of plays courtesy of Portland Center Stage)
With Chinglish, Hwang
written by Asian Americans across the country — turns his focus to larger international themes,
plays that will likely never be staged in Portland. including the difficulties of language and culture.
Most of these works document different times in Hwang says navigating the language barrier made
history encompassing a multitude of Asian ethni- it natural for him to write about language conflicts
cities across the country.
and the difficulty people have in communication
Despite the huge influx of actors moving to Port- even when they speak the same language. The title
land and the burgeoning of small theatres in the last pokes fun at the English signs Hwang encountered
five years, Asian-American theatre and roles for when on a trip to China — a “Deformed Man’s
Toilet” to describe a restroom for handicapped
Asian actors here remain virtually nonexistent.
The last play in Portland with an Asian cast was patrons, a sign in a women’s restroom that read
Snow Falling On Cedars in 2010 produced by Port- “Wash After Relief,” and more.
Hwang is quick to point out that he took great
land Center Stage (PCS). David Henry Hwang’s
Chinglish will be the first play by an Asian- pains to present mistakes English speakers make
American playwright with a mostly Asian cast in a with the Chinese language. In the play he
very long time. And it’s the first professional highlights a western academic magazine mistaking
production of a Hwang play in Portland since 1992. I a call-girl ad from Shanghai for Chinese poetry and
have to say kudos to PCS for taking on Chinglish — running it as its cover.
“There are still a lot of mistranslated Chinese
one of the most challenging of Hwang’s works.
Chinglish not only requires Asian actors who can translations in signs,” says Hwang. “But in America
speak Mandarin Chinese, but also one Caucasian we don’t even try to be bilingual with signs. We don’t
actor who is fluent in the language. About a third of even create the possibility that we will make
the play is in Mandarin and supertitles with mistakes because we’re not even making the effort.”
Local theatre often doesn’t make enough of an
English translations are provided to help the
effort either. Not when it comes to producing works
audience understand what is being said.
Continued on page 20
Hwang has such a strong cannon of works, it’s a
D
Opinions expressed in this newspaper are those of the authors and not necessarily those of this publication.