_Youngwon Lydia Kim (Musical Producer)

In the early 90s, my late anthropologist grandfather took me to dress rehearsals of top notch Korean traditional music and dance performances - he was invited as a researcher and special guest. I marveled at the ease of these folk masters spinning their tales and tunes. I genuinely loved what I saw. These performances were memorable to me as I had just returned to Korea after almost five years of living in the United States. Korean and American muses have been a harmonious identity of mine ever since.
I reached New York City in 2010 for graduate school and began working at a musical production company. I had little time but went to every show I could. At the time, removing the bias and being inclusive of the LGBTQIA community was developing into a key effort, the classics and hits were being redone, and new ideas were being tested in Broadway fashion. The cast was considered diverse if there were African American or Latino members. West Asians seemed to land parts in Mediterranean or middle eastern roles. When I read of or met an Asian industry person, I got very excited. Still, I felt I needed to use my English name ‘Lydia.’

As time passed, I wondered how relevant the stories were to me. The great shows would move many, but I would look for stories that hit home to me, faces that looked like me. After all, it is New York City! The narrative of such stories still felt experimental, often more fit for nonprofit and off-Broadway theaters. Willing producers took a leap of faith putting up a sensitive show in a Broadway house saying “it is important” despite a limited or shorter than expected run. Without mentioning specific shows, one wondered whether the narrative would be different had the creatives, particularly the writers and composers, been of that descent telling their own stories. Those were the days I joked with a friend of mine that we were the minority of Broadway minorities, a straight Asian man and a straight Asian gal.

Producers Lydia Kim and Jane Bergère at the Opening Night of Twelfth Night, Belasco Theater, New York.
(Nov 10, 2013)

Then The Color Purple (2015-2017) landed on Broadway, and Amazon Prime series Transparent (2014-2017) and POSE on FX, Netflix and Amazon Prime (2018-2021) came to mainstream TV where creatives told phenomenal stories from a first person perspective. In 2017, the Me Too movement denounced the abuse of power in the workplace and silencing sexual assault/harassment. When the COVID-19 pandemic began, most resorted to the screen for work and leisure, their eyes glued on devices. In the United States the murder of George Floyd was not something one could unsee. Then followed hate against the Asian and Asian Pacific Islanders (AAPI) blaming them for bringing COVID-19. This December the Hollywood Foreign Press Association (FHPA) was scrutinized for the 2022 Golden Globe nominations as the HFPA does not have any African American members. This sum of events built the foundation of an iceberg, the tip looking down on cultural appropriation.

After a year and a half hiatus, the current Broadway landscape is different from a couple years ago. Casts have improved in gender, physical capability, and racial diversity. Diverse creatives and cast have visibly increased in numbers. This season’s 44 Broadway shows (currently running or in previews by April 2022) include at least 34 Asian creatives and cast members. That means 77% of Broadway shows are represented by Asian Americans. That’s about one or two per show, which is comparable to the five percent Asian American population in the United States. Tony Award winning Costume Designer Linda Cho in Take Me Out (2022), Music Coordinator David Lai and Actor Eva Noblezada in Hadestown, Actor Eddy Lee (the first Asian cast member in Hamilton or #HamilAsian), Jin Ha and Marc Delacruz (the first Asian to play the role Hamilton) in Hamilton are some of the Asian Americans representing this season. In the meantime, Writer Jason Kim and Composer Helen Park are working to bring the sold-out off-Broadway production K-POP to Broadway, as is Will Aronson and Hue Park with Maybe Happy Ending.

Linda Cho’s sketch that awarded her the 2014 Tony Award for "Best Costume Design of a Musical" - A Gentleman’s Guide to Love and Murder (Courtesy of Linda Cho)

Representation and authenticity are intertwined in a funny way. Nowadays, photos may be requested to audition for a voiceover role. This year my white female friend hasn’t been submitted for roles visually unfit i.e. Asian or African American roles. Then again, Jin Ha is playing Aaron Burr in Hamilton where his talent was valued more than similarity of fitting the bill. After all, the real Aaron Burr was a very white, Caucasian man! As for casting, the bottom line seems to be to cast within appropriate perimeters respective of minorities. The pendulum is swinging and we will see where it settles.

Linda Cho with her Tony Award for (Source: Shutterstock) (2014)

Jin Ha, currently playing Aaron Burr in Hamilton (Source: Shutterstock)

With each Ruthie Ann Miles (Tony Winner, The King and I), Ashley Park (K-POP, Mean Girls) and Xiaoxiao Cao (Phantom of the Opera) who get the spotlight, it’s easier to keep my chin up. Representation matters. A male colleague echoed my sentiment that nowadays it is easier being a minority in the theater scene.

Recently I was invited to attend the first K-Musical Market in Seoul. Broadway, West End and Korean producers met to discuss current trends, collaboration, and to cheer each other in solidarity. Much of the discussion was figuring out artistic palettes, and finding avenues and partners for collaboration. Most of all, it was a relief to talk about bringing back live performances full scale! The fact that the K-Musical Market mid-pandemic took place is a huge feat. Organizers followed such safety protocol that it was alarming yet reassuring for the attendees.

Producers Cody Lassen, Jane Bergère and Lydia Kim at Seoul Arts Center attending the 1st K-Musical Market (Nov. 25, 2021)

Going forward I imagine the market will become a window to witness the Korean stories in development, presenting opportunities for collaboration and stimulation for both Koreans and international visitors. At a time when Korean content is being validated internationally in music, film, streaming as well as cuisine, this could present a holistic experience for international visitors in the homeland.

 

Not one of us has a singular identity and it feels great to see Broadway embracing diversity in stories and the storytellers. I used to be okay being an Asian on the perimeter, but nowadays I find comfort in being Asian American. I have more to offer because I am both Asian and American. When I was a teen, my father took me to my first Broadway show Crazy For You saying “When in New York, you gotta see a Broadway show.” When it’s time to bring my teen to Broadway, I imagine saying “What kind of story do you want to see?” Perhaps we’ll debate whether to see a show about an Asian American child’s coming of age, or a Native American food sovereignty journey, or a female Middle-Eastern astronaut’s trip to Mars – the possibilities are endless. All of us have much to say about the human experience and have the talent to bring it!

Producers Jane Bergère and Lydia Kim getting ready to sing ‘Sunday’ to pay tribute to Stephen Sondheim. Times Square, New York City. (Nov.28, 2021)