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To be an artist is to be blessed. Performance is an act of giving, of releasing energies which will never be the same but may return to us, re-constituted, to begin another cycle of nourishment. Pan Asian Rep was founded to nurture and support those who have dedicated their life's pursuit to and made sacrifices to stay in the living theatre.
An ensemble of artists united by professional commitment and shaped by cultural heritage, who share the celebratory traditions of rhythm and movement, would become the springboard to forging a repertoire of new Asian American works. Plays which reflect the evolution of Asians in America -- our secrets, struggles and celebrations -- express in myriad of artistic modes and in a new found common language, English.
- Tisa Chang, Artistic Producing Director
Pan Asian Rep is the first professional theatre, on the East coast, founded to promote opportunities for Asian American artists and create a unique repertoire of new works. It became a major New York theatre presence in 1983 with the long off-Broadway run of Yellow Fever, introducing the tough Japanese private eye with a heart of gold, Sam Shikaze.
The company grew out of Tisa Chang's experimental work at LaMama ETC with a core of Asian actors in such benchmark bilingual productions as the Peking Opera |
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adaptation of Return of the Phoenix and the intercultural version of A Midsummer Night's Dream.
Memorable productions helped to expand the boundaries of American theatre, including: Lao She's Teahouse, spanning 50 years of modern Chinese History, Cambodia Agonistes, by Ernest Abuba, with music by Louis Stewart; and the early works of Asian American pioneers: Momoko Iko, Wakako Yamauchi, Philip Gotanda, and David Henry Hwang.
In our 30th Anniversary season, we begin a masterpiece retrospective of our best and most unique classics that will unite veterans with the next generation of artists: The Joy Luck Club, a play by Susan Kim adapted from the novel by Amy Tan, and Shogun Macbeth, adapted by John R. Briggs. In this anniversary year, 2007, we begin a Capacity-Building Campaign for a Cash Reserve and Artistic Endowment to ensure our institutional future.
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