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Welcome to GungHaggisFatChoy.com
Home to my passions for my inter-cultural adventures, Gung Haggis Fat Choy: Robbie Burns Chinese New Year Dinner event. Historic Joy Kogawa House Society, Gung Haggis Fat Choy Dragon Boat team, Find what you are looking for by 1) scroll the categories links (below), 2) use the search function ~~~~~~~~~~~~~~~~~~~~~~ Search
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Friday, January 29
by
Todd
on Fri 29 Jan 2010 11:41 PM PST
Gung Haggis Fat Choy Dinners always emphasize BC's cultural and historical past and present. While we acknowledge the Scottish and Chinese pioneers that helped to shape this province of British Columbia, we also look to see where we are going and what kind of cultural fusion is happening. This year's program is amazing..... pictures + descriptions more »
Wednesday, January 27
by
Todd
on Wed 27 Jan 2010 12:44 PM PST
Every year I do media interviews. On Robbie Burns Day, I was woken up at 7am by a request from BBC Radio Scotland. Yesterday, I did an interview for French CBC television. Monday was Epoch Times. Last week the Georgia Straight did a food feature article. Somewhere in Scotland there is an interview in the Sunday Post. Even SFU, Seattle and North Shore News have stories about Gung Haggis Fat Choy Robbie Burns Chinese New Year Dinner this year. Check out the links: more »
Thursday, December 31
by
Todd
on Thu 31 Dec 2009 01:42 PM PST
2009 featured photos in exhibits at Royal BC Museum and Scottish Parliament. Other highlights included the inaugural writer in residence program at Historic Joy Kogawa House, and Todd Wong's first visit to Scotland for the finale weekend of Homecoming Year. And there was the 250th anniversary of poet Robert Burns.
more »
Wednesday, December 9
by
Todd
on Wed 09 Dec 2009 06:36 PM PST
Now Available: Tickets for Gung Haggis Fat Choy Robbie Burns Chinese New Year Dinner
- It's the 12 Anniversary of the "little dinner that could." January 31st, Sunday 2010 Floata Seafood Restaurant Vancouver Chinatown Contact Firehall Arts Centre: phone 604.689.0926 The Gung Haggis Fat Choy Robbie Burns Dinner has created an awareness of cultural fusion that has spanned international media, and been featured at the 2008 BC Canada Pavillion in Bejing during the 2008 Summer Olympics, the Royal BC Museum celebration exhibit of the 150th Anniversary of the province of BC, and a 2009 touring exhibition in Scotland titled This Is Who We Are: Scots in Canada. Gung Haggis Fat Choy creator Todd Wong at the Scottish Parliament exhibition of THIS IS WHO WE ARE: Scots in Canada. The exhibition featured a life sized photo of Wong and a video interview about the Gung Haggis Fat Choy Robbie Burns Chinese New Year Dinner, which features the acknowledgement of Chinese and Scottish pioneer history in Canada and contemporary culinary and cultural fusions. Tickets are now on sale for the 12th Anniversary Dinner. January 31st, Sunday, 2010 Floata Seafood Restaurant Vancouver Chinatown Doors open 5pm Dinner starts 6pm $60 + $5 service charge or $600 per table + $20 service charge prices for students and children available. Raffle Prizes are featured, as this dinner has traditionally been a fundraiser for: Gung Haggis Fat Choy dragon boat team, Asian Canadian Writers' Workshop/Ricepaper Magazine and Historic Joy Kogawa House. Contact Firehall Arts Centre: phone 604.689.0926 Visit the Firehall Box Office, 280 E. Cordova Street. Box Office hours are: 9:30am - 5:00pm, Monday through Friday. For media information - contact: Todd Wong 778-846-7090 - email: gunghaggis@yahoo.ca The origins of the dinner started with 16 people in a living room in 1998. The next year it expanded to 40 people in a restaurant. Soon it outgrew the first restaurant and expanded to 220 people in 2002. Moving to a larger restaurant for 2003, and expanding to a 2-night event in 2004, serving over 500 people. 2005 saw the move to North America's largest Chinese restaurant and present home of the dinner where 570 people were accomodated. A 2004 CBC telelevision performance special, Gung Haggis Fat Choy, was inspired by the dinner, and received two Leo nominations for best music performance, and best director of music performance. In 2007, a CBC television documentary Generations: The Chan Legacy featured interviews with dinner creator Todd Wong, and film clips of the dinner. A wide range of musical performers have been featured over the years including: fusion musicians Silk Road Music Ensemble, Dragon River Chinese Music Ensemble, Blackthorn celtic band, The Mad Celts, Chinese erhu master Ji-Rong Huang; opera singers Heather Pawsey, Veera Devi Khare; Jazz singer Leora Cashe. Featured poets have included: Joy Kogawa, Rita Wong, Fred Wah, George McWhirter, Fiona Tin Wei Lam, Jim Wong-Chu, Sean Gunn and Tommy Tao. The past 3 years have also featured sneak previews of Asian Canadian plays including: Mixie and the Half-Breeds, The Quickie, and Twisting Fortunes. Todd Wong visits Scotland for Homecoming Year, the 250th Anniversary of the birth of Scottish poet Robert Burns. For the 2010 dinner, creator Todd Wong has just returned from Scotland after visiting the birthplace of Scotland poet Robert Burns, and researching the displays of Burns for Homecoming Scotland, and museum exhibits on Scottish history and emmigration to Canada. Wong is active in Chinese Canadian activities and visited Bejing and Xian in 1993. He hopes to combine a merger of Scottish-Canadian and Chinese-Canadian history and culture in the Gung Haggis Fat Choy Robbie Burns Chinese New Year Dinner. Another extravaganza of culinary and cultural fusion are expected for the 2010 dinner. Details will be released each week leading up to the event. Special guest speakers, media hosts, poets and musicians are confirmed or being confirmed. The 2010 dinner will feature old traditions and new surprises, something borrowed and something brewed - especially created for the 2010 Gung Haggis Fat Choy Robbie Burns Dinner. Tell your friends, and put a table of 10 together to enjoy the singalongs! or come as a single or a double, and meet 8 brand new best friends for the evening at your table! It's the most fun and intimate dinner for 500 you will ever attend! Friday, July 31
by
Todd
on Fri 31 Jul 2009 02:26 PM PDT
The Japanese Canadian National Museum
Koto Concert - Chikako Kanehisa, a benefit concert for the National Nikkei Museum & Heritage Centre Sunday, July 26, 2009, 3pm Review by Devon Cooke - for www.gunghaggisfatchoy.com Certain parts of Japanese culture export very well. Sushi and anime are so popular in the West that they have a life of their own that is separate from their Japanese origins. This is wonderful, but it may leave a somewhat distorted image of Japanese culture as a whole. Japan is much more than raw fish and giant robots! Judging by the audience at the Koto Concert put on by the National Nikkei Museum and Heritage Centre, the koto, Japan’s national musical instrument, still has a long way to go before it penetrates Vancouver’s cultural consciousness — nearly all of the crowd was of Japanese origin, with the odd Japanese-by-marriage family member and a few curious seniors mixed in. If only everyone was so curious! The concert, which featured professional koto player Chikako Kanehisa and shakuhachi master Mitsuhashi Kifu, was presented as part of the 80th anniversary of Japanese-Canadian relations that also brought the Emperor of Japan to Vancouver earlier this month. Those fortunate (or curious) enough to attend got to see a part of Japanese culture that is barely visible in the West. Certainly, I had never heard of the koto before the concert, but the sound is familiar. Anyone with a passing interest in Asian cultures has probably heard a koto — or one of its relatives — without knowing what it was. It’s not an easy instrument to describe; it resembles a huge, six-foot long zither with thirteen movable bridges. The strings are plucked (or strummed, or thumped, or rubbed) with the right hand on one side of the bridge while the left hand is used to create pitch shifts or vibrato on the other side of the bridge. Listening to it was a complex experience — it’s the kind of music that would be impossible to put in writing because there are so many intangible aspects that aren’t captured by quarter notes on a staff. It had a very organic feel, like listening to birdsong. Ironically, the song entitled “Like a bird” (鳥のように) was one of the least like this, it carried a more regular rhythm and more clearly defined pitches than some of the others. Perhaps because of this, it was one of the more accessible, exciting songs to my Western ear, but I couldn’t help but feel that the beauty of the instrument was captured best in some of the other songs — the ones with slightly bent pitches and somewhat irregular rhythms. The (Japanese?) idea that beauty is inherent in small, slight imperfections is one that has always resonated with me, and the Koto struck me as an instrument where the skill in playing came from creating just the right pattern of imperfections. The shakuhachi flute is an instrument that I am more familiar with, but it too impressed me with the range of sounds it could produce. Like the koto, many of the notes were bent in a way that seems more reminiscent of a saxophone or a trumpet than a flute. A number of times, Mitsuhashi impressed me by playing a continuous note that rose or fell almost a full scale — an impressive feat for an instrument with only a small, “fixed” set of notes. I think I enjoyed the duets most of all. The instruments (and musicans) complimented each other well. On its own, the lonely, longing timbre of the shakuhachi threatened to overwhelm me with its sadness, but the sharp, epic, almost militaristic presence of the koto helped bring the sound back to earth and remind me that, whatever I was feeling inside, there was still a whole world out there to explore. For most of the audience, the Koto Concert would have been a breath of familiar air (or, perhaps to the second-generation Canadians, a possible answer to the question “Where did I come from?”) For me, my personal interest was piqued because it was foreign. This is not a side of Japanese culture I had previously discovered, and I was happy to have to opportunity to explore it. Koto concerts in Vancouver do not come along every day (or even every year), so I was happy to discover a new side of Japanese music. Friday, July 17
by
Todd
on Fri 17 Jul 2009 11:54 PM PDT
![]() Diana Kaarina stars in Thoroughly Modern Millie. Asian-Canadian actors steal the stage in TUTS' Thoroughly Modern Millie Theatre Under the Stars at Malkin Bowl in Stanley Park July 15 to Aug. 22 Tickets $32 to $39, Diana Kaarina is wonderful as the title character Millie Dumount, who hops off a bus from Kansas and makes her way in New York City. Set in 1922, Millie decides to find a rich husband, by seducing her boss. Trouble is, first she has to get a job, and a place to live.. Millie settles in at the Hotel Priscilla, a place for young women. It's on the wrong side of 42nd St., and run by the very strange Mrs. Meers - who may be Chinese or not. Millie has a series of adventures that include getting a job as a stenographer, going to a speakeasy during prohibition, getting arrested, and going to a fabulous party in the penthouse suite of socialite Muzzy van Hossmere. Everything about this musical is campy, and over the top. The music is a pastiche of well-known melodies from other productions. The plot contains misplaced identities, misunderstood intentions, star-crossed lovers, and a kidnapping. But the wonderful dancing and singing numbers make you forget that everything seems cliched. Indeed, Thoroughly Modern Millie is designed to pay homage to old musicals, with tongue-in-cheek fun. Diana Kaarina brings a lot of experience to this production. She created the role of Miss Dorothy Brown (Millie's BFF) for the First National tour of Thoroughly Modern Millie (2003). Kaarina brings lots of Broadway experience, having been the closing Eponine in Les Miserables (2003) and also playing roles in Rent and The Phantom of the Opera. Kaarina brings a touching humaness to the character of Millie. She isn't just the talk-talking gold digger who wants to marry her boss, but she also cares for her friends and is willing to make sacrifices. All the lead roles are played well. Meaghan Anderssen plays the ditzy Miss Dorothy Brown with great comic aplomb, which she did so very well in last year's TUTS production of Annie Get Your Gun. Danny Balkwill plays Jimmy Smith, the poor but dashing young son of a gardener. Audience members might recognize him as one of the competitors in Canadian Idol. Seth Drabinsky plays Trevor Graydon, the boss that Millie wants to marry. Drabinsky excells in elocution, as he sings "The Speed Test" which is a Gilbert & Sullivan parody, complete with Busby Berkeley styled dancing. Wow! I didn't expect to see Asian-Canadian actors or Asian characters in Thoroughly Modern Millie. But it was there in subtle ways... and not so subtle ways. The program points out that lead actor Diana Kaarina is Half -Finnish and Half-Chinese. Either way, she is still a beauty, similar to Smallville actor Kristin Kreuk who ancestry is Half-Dutch/Half-Chinese. The subplot involves the character of Mrs. Meers who runs the Hotel Priscilla, and also employs two Chinese henchmen for a side business of kidnapping. Sarah Rodgers is over the top, as Mrs. Meers - so highly unbelievable character, that she can only exist in a musical. Aaron Lau and Daeyoung Danny Kim play the characters of Ching Ho and Bun Foo. They strive to make the characters realistic, speaking in only Chinese, and also performing some martial arts moves on stage. While I found it refreshing to see Asian actors playing authentic Chinese characters speaking good Chinese, without being traditionally stereotyped. The stereotypes still persisted in other ways. Racial stereotypes of Chinese in Thoroughly Modern Millie I was shocked that this musical contained lots of out-dated Chinese stereotypes including: a Chinese laundry, kidnapping for white slavery, bad Chinese accents, and a female actor in "white face" playing a white woman masquerading as a Chinese woman. Much less culturally sensitive than Robert Downey Jr playing a black man in Tropic Thunder Part of the sub-plot is that white girls are sold into white slavery and shipped off to China, by the character of Mrs. Meers, a white woman dressed up as a Chinese woman - who doesn't even have a proper Chinese accent - She keeps mis-prounouncing her "L's" as "R's" She keeps saying things like "Ssssso saaaad, to be arrrr arrrrone in dis worrrrld" I realize that this is supposed to be a fun frothy romp, and every character is stereotyped to extreme measures... Actual Asian ethnic actors play the Asian roles and do NOT speak in bad Chinese accents - but actually in good Cantonese. The play makes fun of the stereotypes... But I still felt uncomfortable watching the perpetuation of racist stereotypes in this way. There are many people in today's audience who don't realize the origins of such stereotypes, nor the harm that was caused over decades of racism. Check out what the Asian American theatre review had to say about the two Chinese henchmen, singing "Mammy" in Chinese - originally sung by Al Jolson, wearing a "black face" when he played a black man on stage. http://www.aatrevue.com/Old/Millie.html The original movie was made in 1967 starring Julie Andrews and Mary Tyler Moore. Japanese-American actor comics Jack Soo and Pat Morita played the Chinese henchmen. The Broadway musical debuted in 2002, with the roles of the Chinese henchmen expanded. They only speak in proper Chinese. It's the white actress playing a white woman who disguises ... Read Moreherself as a pastiche of Asian stereotypes and accents. The purpose was to "cleverly" make fun of racial stereotypes. Almost every character is stereotyped to extremes in this post-modern Broadway musical. It's arguable that the perpetuation of stereotypes in any form is still de-humanizing and destructive OR have we come far enough that we should be able to recognize such stereotypes for what they are, and be able to laugh at the stupidity and ridiculousness of the people who perpetuate them? The best use of "Clever" parodying of racial stereotypes was in Marty Chan's "Mom, Dad, I'm Living With A White Girl." The stereotypes take place in the main character's dream about him mother and father becoming a dragon lady and her loyal henchman. In this case, the context is about racial and cultural stereotypes, and easily understood by the ... Read Moreaudience. But in Millie, while the 2 Chinese characters are played very straight and respectful, speaking in good cantonese, and humourously holding up sheets of laundry for a clever display of "subtitles" - The fact remains that they are still Chinese laundry workers, part of a "white slavery" kidnapping operation. The character of Mrs. Henessey is still a white woman pretending to be Asian, by wearing a "painted face", speaking mixed up Asian accent, and perpetuating stereotypes. Check out youtube portrayals of Mrs. Meers. http://www.youtube.com/results?feature=moby&search_query=thoroughly+modern+millie+they+don%27t+know&search_type=&aq=0&oq=thoroughly+modern+millie+they+d Otherwise - the cast is GREAT! And the lead who plays the title character Millie Dumont is Broadway veteran, Vancouver born Diana Kaarina, half-Chinese and half-Finnish. Other reviews Vancouver Sun review: Millie shines in a show burdened by too much businessGeorgia Straight: Thoroughly Modern Millie full of relentless enthusiasmGay Vancouver Review: Thoroughly Modern Millie is throughouly enjoyable | Theatre Friday, June 5
by
Todd
on Fri 05 Jun 2009 04:07 PM PDT
Flower Drum Song makes you laugh and sing...
It's Rogers and Hammerstein in 1950's San Francisco Chinatown!
Waterfront Theatre Directed by Rick Tae Produced by Joyce Lam Vancouver Asian Canadian Theatre www.vact.ca This VACT production is amazing, it should become a Vancouver regular. Who knew Asian Canadians could put on such a good song and dance musical, worthy of being included into "Theatre Under the Stars" or at any of Metro Vancouver's stages. Actor Jimmy Yi is a knockout! He plays Sammy Fong the night club owner who might or might not get married to Linda Low, played coquettishly by Lannette New. But Linda might also marry Wang Ta, played by Isaac Kwok. Or Ta might marry Mei Li (Rosie Simon). And somebody else also has a crush on Ta. Sound confused? You should be. It's a classic Love triangle times 2 with some great songs and dance numbers thrown in. But then there is also Ta's father Wang Chi Yang, played by BC Lee (now known as the former Vancouver City Councilor), who wants to lay down the family law as he insists that Ta should be married, and sets out to set up a traditional Chinese style arranged marriage. Gee... Sammy Fong has a picture order bride just arrived into town... how convenient. ![]() Jimmy Yi as Sammy Fong with Lannette New as Linda Low - photo courtesy of VACT Okay... forget that the characters and the setting are Asians in San Francisco's Chinatown. This could be a plot similar to Shakespeare's As You Like It, or Gershwin's Girl Crazy, or Lerner and Lowe's Brigadoon, or Rogers and Hammerstein's South Pacific. Love, trying to find the right person, and the ensuing moral dilemmas are universal themes in every language and culture. Flower Drum Song originally debuted in 1958 on Broadway with dance great Gene Kelly choreographing the moves. This Rogers and & Hammerstein musical has everything. Dancing, singing, corny jokes, love stories... and controversy! It's a classic tale of old traditions versus assimilation into the New World. Addressing social issues within the Broadway musical format is the legacy of Rogers and Hammerstein. They aptly addressed racism, sexism and classism with their hits Oklahoma, Carousel, The King and I, South Pacific and The Sound of Music. In particular, The Sound of Music addressed how some Austrians objected to Nazi Germany taking over their country prior to WW2. The King & I addressed how the kingdom of Siam dealt with and resisted the growing colonialism of Asia by European nations. Set in 1950's era San Francisco, this VACT production addresses the nostalgia of the era. Director Rick Tae has found the balance for the show in a post-modern politically correct environment, by willingly playing up the campiness of the 50's beatnik era language. It is the older brother Ta (Isaac Kwok), the first born son, that is caught in the middle. He wants to please his father, but he also wants to forge his own identity. Kwok is a recent graduate from Capilano University's Musical Theatre program and does a good job in the lead role, singing and acting his way between the show's generation and love match issues. His strong voice and good looks should could easily find him cast in leads for Brigadoon and other shows. Lannette New has a tough job, living up to the role of Linda Low played so excellently by Nancy Kwan in the 1961 movie. The Low character is flamboyant role of a night club performer - sexy and independent - not your typical Chinese daughter-in-law material. New reigns in the energy with sweetness and presence. With Vancouver's huge Chinese population, you would think ethnic Chinese actors would get tired of the perennial stereotypecasting playing Chinese waiters, kung fu baddies, chinadolls and gangsters. But where do people get the chance to expand their horizons and resume lists? For the past 10 years, Vancouver Asian Canadian Theatre has been producing plays to showcase Asian Canadian talent, and feature works by North American Asian playwrights such as David Henry Hwang. Asian comedy nights have become annual features that grew into sketch comedy contests. The Sex in Vancouver series was adapted from the Sex in Seattle series originated by Kathy Hsieh and Serin Ngai's Producer and president, Joyce Lam also had a vision to put on Rogers and Hammerstein's Flower Drum Song as a full production in Vancouver. Incredibly, it had never happened before. Two years ago she saw Jimmy Yi, in the staged reading by APPLAUSE! Musical Society, and in that moment, she knew she had her casting for Sammy Fong. Amazingly, the original 1958 production got six Tony Award nominations, and spun off some national tours and the popular 1961 musical film version. It also marked the first time in musical history that a mostly Asian cast appeared on the Broadway stage. But the work and film fell out of favour in the late 1960's due to criticism of the gender and racial stereotyping of the era, in the wake of the rising civil rights movement. In
2002, playwright David Henry Hwang reworked the original music and
storyline for a Broadway revival that received multiple Tony nominations, a Grammy nomination for the
soundtrack. More later Saturday, May 16
by
Todd
on Sat 16 May 2009 01:47 PM PDT
Is "Flower Drum Song" an Asian-American version of "Sound of Music" by Rodgers & Hammerstein? Just as the Von Trapp family hiked over the mountains for a chance of freedom from Nazi tyranny, the characters of Flower Drum Song find happiness in the pursuit of the "American Dream" both as immigrants coming to a new country, and as Americans finding their place. The Flower Drum Wong musical (1958) was based on the book by C.Y. Lee (1957), and a movie version directed by Gene Kelly came out in 1961. Richard Rodgers and Oscar Hammerstein had previously written musicals with Asian themes such as South Pacific (1949) and The King & I (1951). Watching the movie versions as I grew up, I was always interested because they had Asian characters and actors. The original musical and movie of Flower Drum Song became considered full of racist stereotypes during the American Civil Rights movement, but like the 1910 song "Chinatown My Chinatown" penned by Jerome & Schartz, it has an affectionate place in the hearts of many North American Asians. About year ago, I watched the movie version on dvd, and was amazed by the commentary from playwright David Henry Hwang, who re-wrote Flower Drum Song for a post-colonial America and stated, "I tried to write the book that Oscar Hammerstein would have written if he were Asian-American." I really enjoyed watching the original movie. There are great highlights such as Nancy Kwan singing "I Enjoy Being a Girl", "A Hundred Million Miracles" performed by Miyoshi Umeki. Most fantastic is the jazz dance sequence of the song "Chop Suey" is addresses the melting pot/cultural fusion of Asian America. My friend Dan Seto always says that the song "Grant Avenue" is famous, and was very happy on his first visit to San Francisco to actually stand on Grant Avenue in Chinatown. It would be as if Rodgers & Hammerstein had set the story in Vancouver Chinatown and wrote a song about "Pender Street." Check out this press release from Vancouver Asian Canadian Theatre and buy your tickets! VACT CELEBRATES ANNIVERSARY OF RODGERS & HAMMERSTEIN MUSICAL WITH AN ALL-ASIAN CAST Rodgers & Hammerstein’s FLOWER DRUM SONG * May 29 to June 14, 2009
VANCOUVER, BC (April 2, 2009) – Continuing to celebrate 10 successful years as the city’s premiere Asian Canadian theatre company, Vancouver Asian Canadian Theatre (VACT) is excited to announce that it will be staging Rodgers & Hammerstein’s FLOWER DRUM SONG from May 29 to June 14 at The Waterfront Theatre on Granville Island.
This is the very first time that this Tony award-winning Broadway musical will be presented in Vancouver as a full production, during this, the 50th anniversary of the play. Another milestone for Vancouver theatre will be the all-Asian-Canadian cast, along with an Asian Canadian production team that includes director Rick Tae, choreographer Raphael Wong, set designer Janice Chiu, costumer designers Joyce Chung, Jeannine Sheares-Moon and producer Joyce Lam. Rounding out the team will include musical director Christopher King and lighting designer Darren Hales.
Other notable highlights include actor and former Vancouver city councillor BC Lee and local Asian comedian Tom Chin, in a cast of eighteen that stars Issac Kwok as young and impressionable Wang Ta, Rosie Simon as shy pre-arranged bride Mei Li, Jimmy Yi as hipster nightclub owner Sammy Fong and Lannette New as ready-for-the-altar showgirl Linda Low.
And adding to the experience, VACT will include the use of sur-titles – Chinese text that’s displayed above the stage so that non-English speaking Chinese members of the audience will be able to follow along with the lyrics and the dialogue. This is the second time that VACT has decided to use this visual aid to welcome as many members of the local Asian community as possible – the first time being VACT’s successful run last summer of the Asian version of Neil Simon’s THE ODD COUPLE.
Rodgers & Hammerstein’s FLOWER DRUM SONG, set in San Francisco’s Chinatown of the late 50’s, takes a “colourful” approach to the age-old conflict that affects even the traditional immigrant family – the Generation Gap. Sammy’s folks have arranged a bride for him from China, hoping to sever his relationship with showgirl Linda. Mei Li arrives shy and naive – totally wrong for the modernized Sammy. But, she just may be the ticket for Sammy’s buddy Ta, whose dad is trying to prevent his kids from discovering rock ‘n roll, baseball, sports cars – a losing battle. However, Ta is smitten with the sexy Linda – because she “enjoys being a girl.” Suddenly Sammy has to figure out how to get Ta and Mei together so he can be with Linda. Of course, singing and dancing ensues.
FLOWER DRUM SONG, first performed on Broadway in 1958, is seeing a revival lately. It had fallen out of favour over the years as diversity awareness redefined how minorities should be portrayed in the media. However, VACT’s production will keep all of the original language of the play and attitudes of the day intact. “Doing this, our audience will be able to see the distinction in how far we’ve come and also be able to reminisce about the past with a satirical sense of humour, “ says director Rick Tae. “It’s just amazing how far we’ve come,” adds producer and VACT founder Joyce Lam. “We have 18 terrific actors and singers in this cast. I remember clearly 10 years ago how we struggled to find 3 experienced Asian actors in all of Vancouver for our first play.”
For more information, including cast and crew bios, please visit http://www.vact.ca.
Event DetailsRodgers & Hammerstein’s FLOWER DRUM SONG @ The Waterfront Theatre 1412 Cartwright Street, Granville Island, Vancouver May 28: Preview May 29, 30, 31, June 3, 4, 5, 6, 7, 10, 11, 12, 13, 14
Tickets Details Purchase in Advance: By phone (604) 684-2787 with a $2.50 service charge By online www.vact.ca or wwww.ticketstonight.ca Group Rates, please call (778) 885-1973
*Preview performance Thursday May 28 at 8pm - $20 (only available online at www.vact.ca or cash-only at door) *All Wednesday/Thursday/Friday/Saturday evening performances at 8pm – $29 in advance/$35 cash-only at door *Saturday/Sunday matinees at 2pm (except Wednesday June 3 matinee at 1pm) – $24 in advance/$30 cash-only at door
*Limited Rush Tickets: $17.50 cash-only at the door (max 2 per person) *Students and Seniors (65+): $20 cash-only at door (not
available Friday or Saturday evening performances)
Saturday, April 4
by
Todd
on Sat 04 Apr 2009 04:22 PM PDT
What is the C-Word that is the meaning of life?
The C-Word cast
(Foreground, from left): Preet Cheema (Akesh Gill), Grace Chin (Kelly Cho), Sheryl Thompson (Ashley Hennessey).
(Background, from left): Fane Tse (Steve Chung), Raahul Singh (Pal Prasad). Photo by Terry Wong, courtesy of The C-word. The C-Word April 2, 3, 4, 9, 10, 11, 2009 written by Grace Chin at the Playwrights Theatre Centre on Granville Island, Vancouver The C-Word is an engaging play... even before you sit down in the seats. What is the C-Word? Is it for Chinese? Or the derogatory Chink word? Does it mean Coloured? Is it a four letter word that belongs below the belt? One for male appendage, or for female anatomy? Is the C-Word something more abstract, profound and perhaps "Complicated"? Or is it "Compassion" or "Cheating"? In the opening scene, "The Love Guru" is giving a seminar on how to get some action for his male clients. Pal Prasad (played by Raahul Singh), gives a short talk about goals, and what it takes to follow through. It's about intention and going after what you want. It could be any personal development seminar, but this is about the C-word. Next we meet girlfriends Kelly Cho and Akesh Gill played by Grace Chin and Preet Cheema. They are on a shopping trip and talking about Kelly's upcoming wedding plans. Soon we learn that Kelly has a live-in boyfriend named Steve Chung (Fane Tse) who is a yellow guy, while Akesh is single, but she doesn't like brown guys. Things become complicated when Steve goes to see his old friend Pal to ask for some advice, and compare his relationship and impending marriage with Kelly to Pal's long term "open relationship" to a blonde woman named Ashley (Sheryl Thompsson). What follows becomes an intercultural Vancouver-style dramedy of errors, innuendo, suppositions on the study of relationships. Excuse me... the proper words are cheating, commitment, compassion, change, comic and consolation - after all this is "The C-Word." "The C-Word" is the third play by Grace Chin. Twisting Fortunes was co-written with her TF Productions partner Charlie Cho, and was a delightful comedic romp, set to Vancouver's caffeine drive. "The Quickie", Chin's first solo playwright experience, explored multicultural speed dating. "The C-Word" goes to the next level, exploring a search for meaning in relationships. This is Chin's most frank and sexual play to date, and hints at the darker sides of relationships and human nature, not to mention weddings. In all three productions, Vancouver's multicultural society is the setting, but it is the intercultural nature of the characters where the culture clashes occur. It's not just a Chinese-Canadian 2nd generation immigrant experience that is explored, but also South Asian this time around too. And somehow this is juxtoposed with what might be mainstream Canadian or possibly alternative sexual lifestyles. From the beginning, the characters are all interesting and engaging. The topics are easily relateable to the audience... unless you don't have any friends of a different ethnicity, or have never dated. The pacing is good, and the diaglogue never flags. The casting all works. Raahul Singh has fun being the egotistical "Love Guru" and his character makes reference to the Mike Myers movie. More cultural references abound as character development exploration occurs when Kelly and Ashley try to figure each other out, and what their men may see in each other. Here the extremely self-critical Kelly tries to get a handle on the brazen Ashely, she labels a "Samantha" compared to her "Miranda" - or is she really a Carrie Bradshaw? Grace Chin actually displays a bit of each of the Sex in the City characters in her role of Kelly. Much of the action revolves around Kelly and Pal, but while Steve's character seems stalled and doesn't give Fane Tse a big range to play with, Preet Cheema gets to push her character Akesh in the 2nd Act. Supporting actors Lili Lau Cook and Vincent Cheng provide wonderfully surprising turns as Kelly's parents. Mel Tuck directs this ensemble cast. Previous productions
See previews in Review Vancouver and Vancouverplays.com. Thursday, April 2
by
Todd
on Thu 02 Apr 2009 12:32 PM PDT
The C-Word is a new play by Grace Chin...
Gung Haggis members saw her first play Twisting Fortunes and the 2nd play "The Quickie" Both were featured as sneak preview excerpts at Gung Haggis Fat Choy dinners in 2007 and 2008. Check out Grace's play "The C-Word"
The C-Word cast (from left): Preet Cheema
(Akesh Gill), Sheryl Thompson (Ashley Hennessey), Grace Chin (Kelly
Cho), Fane Tse (Steve Chung), Raahul Singh (Pal Prasad). Photo by Terry
Wong, wonger.ca From http://www.scriptingaloud.ca/cword/ If cheating is colour blind, so is commitment, increasingly a "C-word" to both sexes. How do you deal with intercultural cheating, commitment, and consequences? The C-Word, a contemporary, set-in-Vancouver dramedy directed by Mel Tuck, invites an intimate in-and-out of the bedroom view of four friends' lives when infidelity and unforeseen consequences force them to choose to whom, and to what, they must commit. More ... a contemporary, set-in-Vancouver dramedy directed by Mel Tuck, invites an intimate in-and-out of the bedroom view of four friends’ lives when infidelity and unforeseen consequences force them to choose to whom, and to what, they must commit. Playwrights Theatre Centre, Granville Island 1398 Cartwright Street, Vancouver, BC Thurs Apr 2 - Sat Apr 4 Thurs Apr 9 - Sat Apr 11 All shows 8 pm Tickets: $18 online (PayPal) "2 for $30" Thursday April 9 $20 at the door DOOR PRIZES MOST NIGHTS To buy tickets in advance and for more information: www.scriptingaloud.ca/cword cwordplay@gmail.com Saturday, March 14
by
Todd
on Sat 14 Mar 2009 03:09 PM PDT
Celticfest is one of Vancouver's most exciting ethno-cultural festivals:
Saturday I will check out "Battle of the Bards" King O' Men (about Robbie Burns, and the annual Gung Haggis Fat Choy entry in the St. Patrick's Day Parade. Celticfest started on Wednesday and goes to Sunday March 15th. St. Patrick's Day is on Tuesday March 17th. Check out the website: www.celticfestvancouver.com for lots of great events featuring Ashley McIssac, Lunasa, Irish Pipes Regiment, Battle of the Bards etc. etc. This year there is a play about Robbie Burns, titled King O'Men - featuring bagpiper Rob McDonald and actor John Hardie. All the more to celebrate the 250th Anniversary of the birth of poet Robert Burns. I was involved in the augural "Battle of the Bards" event last year, playing poet Robbie Burns. It's a great fun event, where performers "channel" the spirit of the poets, and read the poems. Check out my story from last year: www.GungHaggisFatChoy.com :: Toddish McWong's "Robert Burns" wins Battle of the Bards The annual St. Patrick's Day Parade is lots of fun too! We usually hang out at the Celticfest Village following the parade. This year's parade is on Georgia St. Starting at Broughton, the parade route heads East ending at Howe St. The Village is on the North lawn of the Vancouver Art Gallery. Check out my story from last year: www.GungHaggisFatChoy.com :: Gung Haggis Fat Choy puts a dragon (not a snake) in the parade. Here are 3 events that I will be attending - hope to see you there!
Sunday March 15
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2010 GUNG HAGGIS FAT CHOY Dinner
January 31, 2010 Contact Firehall Arts Centre: phone 604.689.0926 2010 prices SINGLE TICKET $60 + $5 service charge = $65 Student price is $50 + $4.50 = $54.50 (must show student high school or university ID) Children's price is $40 + $4.00 = $44 (ages 13 and under). Reservations for tables of 10 $600 + lower service charge WHAT: GUNG HAGGIS FAT CHOY: Toddish McWong's Robbie Burns Chinese New Year Dinner - 12th Annversary Dinner, celebrating 251st Anniversary of Robert Burns' birth + incoming Chinese New Year of the Tiger. WHEN: 6PM January 31 2010, SUNDAY doors open 5pm, Dinner 6pm WHERE: Floata Chinese Restaurant, #400-180 Keefer St. Media Inquiries Call Gung Haggis Productions / Todd Wong direct: 778-846-7090 email: gunghaggis at yahoo dot ca CULTURE: Our Performers create something special for us every year with traditional and contemporary performances featuring everything in-between and beyond! FOOD: A quirky fusion/mix/buffet of Scottish Canadian and Chinese Canadian culture 10 course Chinese banguet dinner 2004 - The debut of Gung Haggis Won-Ton 2005 - Haggis lettuce wrap! 2007 - Haggis dim sum appetizer buffet 2008 - Scotch tastings! + debut of Gung Haggis parade dragon! 2009 - debut of Gung Haggis Fat Choy Pipes & Drums band + auction of 37 year old special edition Famous Grouse whisky + scotch tastings of Famous Grouse, The Macallan and Highland Park. Watch for more surprises in 2010! Description of 2009 Gung Haggis Fat Choy Dinner co-hosted with CBC News anchor Gloria Macarenko and Media colunist Catherine Barr featuring performers: bagpiper Joe McDonald and Mad Celts, Silk Road Music's Qiu Xia He and Andre Thibault, Opera Soprano Heather Pawsey and DJ Timothy Wisdom, BC Book Prize winner Vancouver poet Rita Wong + poet traslator Tommy Tao, Playwright Adrienne Wong and a scene from "Mixie and The Half-Breeds" Description of 2008 Gung Haggis Fat Choy Dinner co-hosted with Media colunist Catherine Barr featuring performers: , celtic band Blackthorn, bagpiper Joe McDonald and Brave Waves, Ji-Rong Huang on erhu, Film maker Ann-Marie Fleming, Vancouver poet laureate George McWhirter, Playwright Grace Chin and a scene from "The Quickie" Description of 2007 Gung Haggis Fat Choy Dinner co-hosted with CBC Radio's Priya Ramu, featuring performers: Silk Road Music, Heather Pawsey, Brave Waves, Leora Cashe, No Luck Club, Dr. Ian Mason (Burns Club of Vancouver) Lensey Namioka - Author "Half and Half" Margaret Gallagher, "Twisting Fortunes" (sneak preview of play) Description of 2006 Gung Haggis Fat Choy Dinner with co-host with CityTV's Prem Gill featuring performers: Rick Scott & Harry Wong, The Shirleys, Joe McDonald & Brave Waves, Sean Gunn, author Joy Kogawa, ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Gung Haggis Fat Choy Dragon Boat team for lots of summer fun, fitness and friendship. We are a social team full of cultural vigor, that likes to eat. We have been featured on television, local, national and international. We have a unique and internationally famous fundraiser dinner event. We practice starting March Sunday 1:30 pm -3:30 pm Tuesday 6pm-7:45pm We meet at Dragon Zone clubhouse - just south of Science World in Creekside Park above the Aquabus and dragon boat docks. Our coach Todd Wong has 15+ years of experience including novice, recreational and competitive levels, and both community and corporate teams. Our 2008 season took us to races in Burnaby, Vancouver, Vernon, Vancouver Taiwanese race, UBC, Ft. Langley. It was our strongest team ever and we are proud of our race performances. For more information: Click on Gung Haggis Fat Choy Dragon Boat team information phone: 778-846-7090 e-mail: gunghaggis at yahoo dot ca ~~~~~~~~~~~~~~~~~~~~~~~ Sponsors
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