Tuesday, May 5, 2015

Time to Include Everybody







Taking a moment to help a worthy cause. Local Chicago actress Emjoy Gavino has launched The Chicago Inclusion Project, an effort to encourage greater diversity in theater, including different people of different ethnicities, physical abilities and gender identities. On the horizon is a staged reading of William Saroyan's play The Time of Your Life at Victory Gardens Theater, which will hopefully be the first of many such performances. 

If you would like to contribute to this effort, The Chicago Inclusion Project currently has an indiegogo campaign to raise funds for its activities. 

Getting Ripped!


In-between weekends kung-fuing my way through The Big, The Trouble and The Little China with New Millennium Theatre Company and balanced against being a husband, dad and keeping up with Chicago Aikido Club, I'll be joining some of the good folks at American Blues Theater onstage or their annual Ripped: the Living Newspaper Festival

The one-night event is based on a 1930s Works Progress Administration (WPA) era program that brought actor/director Orson Welles, and playwrights Arthur Miller and Clifford Odets into public attention. A series of short 10-minute performances inspired and ripped from today’s headlines will be presented to raise American Blues Theater's arts education program The Lincoln Project in Chicago Public Schools

Ripped: the Living Newspaper Festival takes places from 7:00 pm to 9:30 pm on Tuesday, May 12 at the Greenhouse Theater Center, 2257 N. Lincoln Avenue on the downstairs mainstage. Tickets (which also include food and drink) are $5 and available at www.AmericanBluesTheater.com/tickets.




Friday, April 17, 2015

Meet Wang Chi
Dennis Dun (as Wang Chi) and Kurt Russell (as Jack Burton) in Big Trouble in Little China

New Millennium Theatre Company is rolling out the publicity for their modest little Cowboy Western mashup/tribute/spoof of John Carpenter's 80s cult classic Big Trouble in Little China

They have a little "Meet 'Wang Chi'" video up with me talking briefly about joining in the fanboy mayhem. Check it out here. 

Wednesday, April 8, 2015

Some material reposted from the blog of Chicago Aikido Club (CAC)

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Last weekend, Professor Donald Levine of the University of Chicago passed away on April 5 after a long period of illness. I first met Professor Levine as an undergraduate in 1993 when I took his Conflict Theory and Aikido course, followed by training with him as a member of University of Chicago Aikido Club.
A professor of sociology, Professor Levine began studying aikido in his 40s, eventually receiving the rank of yondan (4th degree black belt) under the Aikido Schools of Ueshiba (ASU)Over the years, he served as the conduit by which many young people first discovered and nurtured their interest in the martial art. He was also the founding president of Aiki Extensions, Inc., an organization that networks and supports individuals involved with “off-the-mat” aikido applications.
I actually started studying aikido the year before I met Professor Levine as an exchange student to Waseda University,  however my time with him proved very influential on my training overall. It was through him that I was introduced to the teachers and schools that have informed my aikido to this day: Kevin Choate, Marsha Turner, Wendy Whited, Joe Takehara, etc. He will definitely be missed.
A service in memory of Professor Levine will be held at 1:00 pm on April 9 at KAM Isaiah Israel Congregation, 1100 E Hyde Park Boulevard, Chicago, IL 60615.
Reposted from the blog of Chicago Aikido Club (CAC)

Dr. Joe Takehara (竹原譲), senior instructor of Chicago Aikido Club (CAC) and a founding member of the original Illinois Aikido Club celebrated his 84th birthday on Saturday, April 4 at a party organized by his daughter Susanne. The lively gathering was attended by members from the CAC, as well as members of theMilwaukee Aikido ClubChicago Aikikai and Ravenswood Shorin-ryu Karate Dojo.  Happy Birthday Takehara Sensei!!
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Monday, April 6, 2015

Ya Got Trouble in Little China

After spending most of the past year since my son's birth cooling my heels actor-wise (which has unfortunately included missing most of my friends' performances), I'll be jumping onstage again in May in New Millennium Theatre Company's show The Big, The Trouble and the Little China

The show is in keeping with the New Millennium's ethos of raiding the American pop culture closet for fun and laughs, something I first encountered when I saw their homegrown Evil Dead: The Musical performed in the backyard of my former Scrap Mettle SOUL colleagues Bill and Mary Claire Hersh (called RowHouse Theatre) in 2002. This time around, it's a mash-up of the 80s John Carpenter/Kurt Russell cult classic Big Trouble in Little China and Westerns films and TV shows, tossing in bits from The Man Who Shot Liberty Valance, Once Upon a Time in the West, Mel Brooks' spoof Blazing Saddles and the HBO series Deadwood.


Interestingly, if you check out Big Trouble's IMDB trivia page, you'll find out that the film was originally conceived as a Western, which was eventually deemed too difficult, so the setting was updated to the present day.

The show is coming at an interesting time for me. On one hand, it's perfect for this still periodically sleep-deprived dad: it's short, incredibly silly, entirely inconsequential and aiming for nothing but good-natured laughs from the audience and knowing appreciation from fans of the original film. 

On the other hand, it's also a self-indulgent thrill ride for me, even if on a modest itinerant Chicago theater scale. I'm getting to play Wang, the character played onscreen by Dennis Dun. One of the notable things about Big Trouble in Little China is that even though the white guy (Kurt Russel) is ostensibly the lead, he is portrayed largely as a fool and buffoon. Wang is presumably the obligatory sidekick when the story begins, but as things unfold, it is clear that he is the more knowing of the two characters, and certainly the more competent hand-to-hand fighter when the kung-fu breaks out.

Dennis Dun as Wang

According to the IMDB trivia page, Carpenter originally wanted Jackie Chan to play Wang, based on his then-recent Hong Kong work (including the classic Police Story). However, this was still a decade before Chan would break into the Hollywood box office, so the studio was unsure of his casting, and Chan himself apparently wasn't interested. 

Personally, I'm glad Chan didn't get the part. He's one of my all-time favorite action stars, but I think his naturally exuberant clowning would not have fit the character. One of the fun things about watching Dennis Dun in the role is he's so unassuming; he makes for a great martial arts everyman that the audience can root for. Also unusual for an American martial arts film is that no attempt is ever made to offer an explanation for Wang's martial arts prowess. Usually there is a need to include a bulky explanation or backstory for why someone fights the way they do (especially in 80s Hollywood films), whether they are ex-military or grew up next to an old master. When the fisticuffs begin, Dun just launches into action, and not even Kurt Russel's character bothers to question it (which is funny since up to that point, Dun is presumably just the proprietor of a Chinese restaurant).

Dun is probably one of the reasons that Big Trouble has a lot of fans among Asian Americans. At the time it came out, there was even less representation of Asian and Pacific Islanders onscreen than today. So it was really thrilling to see a film with so many Asian faces about, both the good guys and bad guys, even if Kurt Russel and a pre-Sex and the City Kim Cattrall were supposed to be the leading guy and gal. 

Going back to The Big, The Trouble and the Little China, it's also going to be the first time I have really had a chance to extensively fight as a martial artist onstage. Although I had fun as one of Lifeline Theatre's Three Musketeers  and as an onstage combatant in RomĂ©o et Juliette at the Lyric Opera, this time I get to draw upon my background in aikido and live out my personal Jackie Chan and Jet Li fantasies.  I am actually quite grateful to our fight choreographer for allowing me to insert some dancelike Asian stylings into the action. 

On a final note, I recommend that any fan of Big Trouble in Little China should also check out Zu - Warriors from the Magic Mountain. This absolutely insane Hong Kong kung-fu fantasy sword and sorcery film directed by Tsui Hark was supposedly one of John Carpenter's inspirations for Big Trouble and shouldn't be missed.




UPDATE

Probably a good idea if I actually include the information on the show, right?

New Millennium Theatre Company Presents
The Big, The Trouble, And the Little China

Adapted and Directed by Meagan Piccochi

Thursdays, Fridays, and Saturdays at 8pm
May 1st - May 23rd
Sunday May 3rd at 3pm
At the Royal George Theatre
1641 N. Halsted

Tickets available at nmtchicago.org


Friday, March 27, 2015


The Past is Present



Left: The 38th parallel at the height of the Korean War.  Right: Posing with my cousins after a cultural performance in Seoul.

I had a great time performing as part of HOME: A Festival of Storytelling III at The Side Project Theatre this past Wednesday, March 25. Thanks to my director Hannah Dawe for guiding my first, modest foray into solo performing, and to curators/emcees Kim Morris, Andrew Reilly and Adam Webster. Andrew in particular both blew me away with his own funny, poignant and vulnerable look at his road to adulthood, and paid me a very nice compliment on the story I submitted. 

The Side Project has one of the best intimate spaces in town. Its small size thankfully precludes large intimidating crowds, and though you end up practically face-to-face with the audience, the atmosphere had a nice, cozy salon feel, amply backed by Matt Wills' live music that night.

Given that fatherhood has certainly altered (if not altogether restricted) my time pursuing performance, I've decided to share my piece in its entirety here on my blog. I wouldn't mind getting another crack at presenting it live sometime, but for now, here it is . . . 



Yes/No

A language lesson. Yes, let’s start with a language lesson. Courtesy of my father’s side. My Japanese side. The Japanese word for home is ie. Like saying the letters E and A. Ie. It shouldn’t be confused with the word iie, which sounds very similar but has an elongated vowel sound, the ii, at the beginning. Listen very carefully: ie and iie. Iie does not mean the same thing as ie. Iie is the Japanese word for no. As in, “No, that is not correct,” “No, that can’t be done,” and “No, you can’t come in here.”

A history lesson. No, iie, an anecdote, courtesy of my mother’s side. My Korean side. In 2011, one of my cousins on my mother’s side of the family was getting married. Yes, he had gotten his fiancĂ© to say yes, so he was going to be getting married in the city of Seoul, in the Republic of Korea, the ROK, or as most Americans know it, South Korea. A city that had been home to my mother and many of my uncles and aunts for most of their childhoods through adolescence, until one by one they made their way over to the United States for school and for work. Back then, when they left, South Korea was under the authoritarian rule of Park Chung-hee, a military strongman who had decided, yes, he’d be in charge, and seized control through a coup d’etat following the deposition of Syngman Rhee, the corrupt president installed by the U.S. after the Japanese were kicked out at the end of World War II because the U.S. felt that, no, Koreans weren’t ready to actually pick their own leaders and run the country by themselves. Post Rhee and under Park, South Korea wasn’t exactly the land of opportunity, so despite whatever love they had of family and country, my mother and her cousins decided that, no, they couldn’t stay there, and departed those shores for elsewhere as soon as it was possible. And away they went, finding homes in Hawaii, Ohio, New York, Massachusetts and in the case of my mother, Illinois, yes, right here in Chicago. Where she ended up saying, yes, and married of all things a Japanese man. Well, no, not exactly. A Japanese man from Hawaii. My father. So, yes, here I am.

Anyway, yes, there we were, my American-born cousins and I, then, in 2011, 66 years after the end of Japanese occupation, 58 years after the end of the Korean War, and 43 years after my mother said goodbye to my grandmother, her brothers and her sister. My mother admitted to me that back when she had left, the idea she would return to Korea would have been met with a firm no. And who could have blamed her? Yes, she had plenty of fond memories of growing up - of kind relatives and neighbors, of school outings and games, but also plenty of sad ones. Of bombs dropping out of the sky during the war. Of classmates lost or killed by stray ordinance. Of being sent home from school one day in 1950, told by the teacher, no, do not return until the government said, yes, it was safe, and it not being safe to return for three years. Of losing her father, my grandfather, a communist, unfortunately, who when it came time to choose sides, said no to the South, and yes to the other one, the one now called the Democratic People’s Republic of Korea, or as most Americans know it, North Korea.


But 2011 though was a different story. Korea, South Korea at least, was booming. One of Asia’s “tiger economies”: fast, hip, stylish, moddish, expensive and cooler than cool. The land of Samsung and LG, the Hyundai and endless melodramatic soap operas exported throughout Asia and the rest of the world. Only a year before Korean pop musician PSY would release his “Gangnam Style” video online and become a bona fide cultural phenomenon. When my cousin Hojung sent out his wedding invitations to all of us, I think it was largely as a courtesy, the pro forma of an observant Korean relative, assuming that maybe one or two of us might make the long flight overseas. Much to everyone’s surprise, some eleven of us, including some spouses, ended up RSVPing yes, and on top of us many of our parents ended up saying yes as well.

It would be an unprecedented family reunion back in the old country. First one I could ever recall having in my entire life. And so, once the RSVPs were in and everyone’s travelling dates set, my relatives spared no effort in putting together a packed plan of action and activities, of tours and trips about this glittery modern Asian metropolis of bustling streets and shiny new buildings shooting up into the sky, glowing all colors at night like a Blade Runner-ish fever dream. 

One of many family dinners.

We viewed the exhibits of the National Folk Museum of Korea with its relics of the past, walked the grand grounds of Gyeongbokgung palace, window shopped in Namdaemun market and even went to the, don’t laugh, Kimchee Field Museum, where you could learn all there was to know of Korea’s national dish. There was Sunday church with my grandmother, still active in her 90s, at the very Methodist church founded by her father, my great-grandfather. A trip to a cat cafe, a dinner where we literally ate like kings at a restaurant that prepared dishes originally served only to Korean royalty, and, of course, evenings full of Korean barbeque and the sounds of norebang, or as most Americans know it, karaoke. Yes, it was great.


On one of these days before the wedding, ten we spent in total, a trip was organized to visit the Korean Demilitarized Zone, the DMZ. The 38th parallel, which cuts the Korean Peninsula almost exactly in half into North and South. The last true Cold War outpost, still very dangerous, just as potent as ever, but like almost everything else in today’s Korea, a site for tourists. Asked if we’d like to go, we all said yes. Why not, it’d be interesting.

My cousins and I gathered early in the morning and boarded a tour bus that would drive the 35 miles from South Korea’s capital to the heavily fortified border. As the road wore on, the buildings became fewer and fewer, the hills more and more numerous, and the road itself narrowing to the single highway running between north and south. Those hills looked bleak and bare, a reminder of the heavy deforestation wrought by the Japanese during their occupation, the heavy toll of bombing and battle as Seoul was repeatedly taken and retaken during the course of the Korean War by either side. The landscape continued to transform. Barbed wire fences began to appear as part of the scenery, as well as concrete structures straddling high over the road like bridges, but weren’t bridges. Anti-tank defenses our tour guide explained. If the north were to attempt to use the road to transport armor, these were rigged to explode and come down.
 
There were several stops on the tour. Including the Joint Security Area the JSA, the only place on the line where yes, North and South could see each other face-to-face and talk to person, but also where, no, you could not cross unless allowed. There were warnings given to our group. No, you could not take photos of the North Koreans on the other side, especially the soldiers. And no, do not point to them. We were even inspected for our clothing, because if we were dressed inappropriately, no we would not be allowed to approach the border. Apparently something to do with the North taking our photos and using us for propaganda if we appeared too poor or sloppy (No, don’t ask me, I can’t explain how that works).
Guards in the Joint Security Area (JSA)

There was something very strange about standing on that line crafted by generals and politicians decades before I was born, deciding that, yes, this was the best way to end the fighting, but, no, no one would ever cross this way again. The people on the other side were not me or my cousins, but they looked like me and my cousins. In fact they might have been other cousins, albeit distant. At some time, long ago, my grandfather crossed over that line, and no, never crossed back again.

At another stop there was a lookout, and using one of those tourist coin-op binoculars you could see across the border towards the city of Kaesong. Right now there’s an industrial park there, jointly run by north and south. A positive step towards goodwill between the two governments. But Kaesong was also home for several of my uncles and aunts in the Kim family before the war. Somewhere over there was the land where their old family home once stood, a traditional Korean home not unlike the replicas I had recently seen at the museums in Seoul. Somewhere over there was a place members of my family use to live and visit, but today, no, not any longer. Perhaps never.

At yet another stop we found ourselves at a train station. Nothing historical, a big modern facility as gleaming and high-tech as the one in Seoul. But quiet. Still. It was a remnant of a plan to eventually connect the train system of the South with that of the North, during a time when diplomatic relations were riding an all-time high. But then there were changes in leadership, and the new leaders disagreed and said no, and the project stalled. Looking at the station, my wife said it made her think of stories, the old kind of stories you read about. Like a story about a family leaving a place setting at the dinner table every night for a long lost relative, waiting, but that long lost relative never coming.

On the ride back to Seoul, it only then occurred to me that none of our older relatives had come along with us on the tour. I asked one of my cousins why. “No,” he told me, “They don’t really want to be reminded of this.”
The next generation

It’s 2015 now. Four years since that trip. About half a year since my son, my first child was born. Yes, I love him. And I love the fact that, yes, all things being equal, he will be able to go about and move about and see his family and the places he grew up unfettered and unfenced. That yes, if we hop on a train, say the CTA Blue Line, and I take that trip out West, waiting at the end will be my parents and the home where I grew up. That yes, I can walk with him on the streets of my youth. And yes, I can hop in the car and do the same on the streets of his mother’s youth. That yes, all the right faces are open and places are open, and yes, that is one of the happiest thoughts I can possibly have.

To which I say ne, which sounds like the English word “nay,” as in “no,” but in Korean ne means “yes.” 

So, ne. 
            Yes. 
                      Yes.
                               Yes.

Dwight Sora, January 18, 2015