Yellow Face Tcg Edition

“A thesis of a play, unafraid of complexities and contradictions, pepped up with a light dramatic fizz. It asks whether race is skin-deep, actable or even fakeable, and it does so with huge wit and brio.” -TimeOut London “A pungent play of ideas with a big heart. Yellow Face brings to the national discussion about race a sense of humor a mile wide, an even-handed treatment and a hopeful, healing vision of a world that could be” –Variety “It’s about our country, about public image, about face,” says David Henry Hwang about his latest work, a mock documentary that puts Hwang himself center stage. An exploration of Asian identity and the ever-changing definition of what it is to be an American, Yellow Face “is by turns acidly funny, insightful and provocative” (Washington Post). The play begins with the 1990s controversy over color-blind casting for Miss Saigon before it spins into a comic fantasy, in which the character DHH pens a play in protest and then unwittingly casts a white actor as the Asian lead. Yellow Face also explores the real-life investigation of Hwang’s father, the first Asian American to own a federally chartered bank, and the espionage charges against physicist Wen Ho Lee. Adroitly combining the light touch of comedy with weighty political and emotional issues, Hwang creates a "lively and provocative cultural self-portrait [that] lets nobody off the hook” (The New York Times). David Henry Hwang is the author of the Tony Award-winning M. Butterfly, Yellow Face (OBIE Award, 2008 Pulitzer Prize finalist), Golden Child (1997 OBIE Award), FOB (1981 OBIE Award), Family Devotions (Drama Desk nomination), and the books for musicals Aida ( co-author), Flower Drum Song (2002 Broadway revival), and Tarzan, among other works. David Henry Hwang graduated from Stanford University, attended the Yale School of Drama, and holds honorary degrees from Columbia College in Chicago and The American Conservatory Theatre. He lives in New York City with his wife, actress Kathryn Layng, and their children, Noah David and Eva Veanne.

The No. 1 Sunday Times and New York Times bestseller from literary sensation R.F. Kuang *A Reese Witherspoon Book Club pick* ‘Propulsive’ SUNDAY TIMES ‘Razor-sharp’ TIME ‘A clever, pacy tale’ SARA PASCOE ‘A riot’ PANDORA SYKES ‘Hard to put down, harder to forget’ STEPHEN KING

"Marvelous . . . the conceit is elegantly of a piece, yet Hwang is able to keep turning it in on itself to reveal new ambiguities, absurdities, subversions and paradoxes."—Chicago Reader "Hwang's plays collectively chart the evolving definition of what it is to be an 'American.' . . . His art has illuminated and anticipated our ongoing national story with a sensibility unlike any other in the American theater."—Frank Rich Springing from the author's personal experiences in China over the past five years, Chinglish follows a Midwestern American businessman desperately seeking to score a lucrative contact for his family's firm as he travels to China only to discover how much he doesn't understand. Named for the unique and often comical third language that evolves from attempts to translate Chinese signs into English, Chinglish explores the challenges of doing business in a culture whose language—and ways of communicating—are worlds apart from our own. David Henry Hwang's "best new work since M. Butterfly, this shrewd, timely and razor-sharp comedy" (Chicago Tribune) received its Broadway premiere in fall 2011. David Henry Hwang is the author of the Tony Award–winning M. Butterfly, the Pulitzer Prize–finalist Yellow Face, Golden Child, FOB, Family Devotions, and the books for musicals Aida (as co-author), Flower Drum Song (2002 Broadway revival), and Tarzan, among other works.

David Henry Hwang is best known as the author of M. Butterfly, which won a 1988 Tony Award and was a finalist for a Pulitzer Prize, and he has written the Obie Award-winners Golden Child and FOB, as well as Family Devotions, Sound and Beauty, Rich Relations, and a revised version of Flower Drum Song. His Yellow Face won a 2008 Obie Award and was a finalist for a Pulitzer Prize. Understanding David Henry Hwang is a critical study of Hwang's playwriting process as well as the role of identity in each one of Hwang's major theatrical works. A first-generation Asian American, Hwang intrinsically understands the complications surrounding the competing attractiveness of an American identity with its freedoms in contrast to the importance of a cultural and ethnic identity connected to another country's culture. William C. Boles examines Hwang's plays by exploring the perplexing struggles surrounding Asian and Asian American stereotypes, values, and identity. Boles argues that Hwang deliberately uses stereotypes in order to subvert them, while at other times he embraces the dual complexity of ethnicity when it is tied to national identity and ethnic history. In addition to the individual questions of identity as they pertain to ethnicity, Boles discusses how Hwang's plays explore identity issues of gender, religion, profession, and sexuality. The volume concludes with a treatment of Chinglish, both in the context of rising Chinese economic prominence and in the context of Hwang's previous work. Hwang has written ten short plays including The Dance and the Railroad, five screenplays, and many librettos for musical theater. The recipient of fellowships from the National Endowment for the Arts and the Guggenheim and Rockefeller foundations, Hwang was appointed by President Bill Clinton to the President's Committee on the Arts and the Humanities.

“BEST PLAY OF THE YEAR” New York Times · New Yorker · TIME · Hollywood Reporter · Newsweek · BuzzFeed · Forbes · New York · NPR · Washington Post · Entertainment Weekly · Los Angeles Times · Chicago Tribune Finalist for the 2019 Pulitzer Prize for Drama When she was fifteen years old, Heidi Schreck started traveling the country, taking part in constitutional debates to earn money for her college tuition. Decades later, in What the Constitution Means to Me, she traces the effect that the Constitution has had on four generations of women in her family, deftly examining how the United States’ founding principles are inextricably linked with our personal lives.

Winner of the 2017 Tony Award for Best Musical “Dear Evan Hansen lodges in your head long after you’ve seen it or heard it or read it. It feels like a pure expression from young writers at a crossroad of coming to terms with who they are and what they want to say about the world. Its honesty and truths haunt and ultimately open us up to ask the same question, no matter what our age or crossroad: What are the lies we tell ourselves?” –James Lapine (from the Foreword) “A gorgeous new musical. Rarely—scratch that—never have I heard so many stifled sobs and sniffles in the theater. For those allergic to synthetic sentiment, rest assured that the show, with a haunting score by Benj Pasek and Justin Paul, matched by a book of equal sensitivity by Steven Levenson, doesn’t sledgehammer home its affecting story. On the contrary, the musical finds endless nuances in the relationships among its characters, and makes room for some leavening humor too. The musical is ideal for families looking for something more complex than the usual sugary diversions. But then it should also appeal to just about anyone who has ever felt, at some point in life, that he or she was trapped “on the outside looking in,” as one lyric has it. Which is just about everybody with a beating heart.” –Charles Isherwood, New York Times “Ravishingly bittersweet... A marvelous score by Benj Pasek and Justin Paul, and an equally accomplished book by Steven Levenson...Dear Evan Hansen rolls onto some highly sensitive terrain—the writers are taking a serious look here at the ways in which we a s a culture exploit others’ misfortunes, a phenomenon abetted by the high-speed interventions of social media. The delight here is that Pasek, Paul, and Levenson do understand how to make this seemingly unmusical idea sing, and sing grandly.” –Peter Marks, Washington Post “So fine in its craft and rich in its themes that, like the best works of any genre, it rewards being seen again—and again.” –Jesse Green, New York Magazine “Terrific, gripping, and heartfelt. With a gorgeously melodic score by Benj Pasek and Justin Paul, and a smart and soulful book by the playwright Steven Levenson, Dear Evan Hansen feels like a theatrical beachhead planted by (and, partly, for) millennials.” –Adam Green, Vogue “Dear Evan Hansen is smartly crafted, emotionally open-hearted, and ideally cast. It has been embraced by millennials—yet its appeal is universal. Whatever your age, you’ll watch Dear Evan Hansen with the shock of recognition, and be touched by the honesty with which it portrays the smothering sensation of being an adolescent misfit, an awkward loser trapped in an indifferent world of self-assured winners.” –Terry Teachout, Wall Street Journal A letter that was never meant to be seen, a lie that was never meant to be told, a life he never dreamed could be his. Evan Hansen is about to get the one thing he’s always wanted: a chance to belong. Deeply personal and profoundly universal, Dear Evan Hansen is a groundbreaking American musical about truth, fiction, and the price we’re willing to pay for the possibility to connect. *This publication includes the book and lyrics to the musical, as well as a foreword by James Lapine. Please note that it does not include the musical score.* Steven Levenson is the book writer for Dear Evan Hansen. His plays include If I Forget, The Unavoidable Disappearance of Tom Durnin, Core Values, The Language of Trees, and Seven Minutes in Heaven. A graduate of Brown University, he served for three seasons as a writer and producer on Showtime’s Master of Sex. Benj Pasek & Justin Paul are the song-writing team behind Dear Evan Hansen. Previous musicals include A Christmas Story: The Musical, Dogfight, James and the Giant Peach, and Edges. Their film projects include La La Land (for which they won the Academy Award for Best Original Song for “City of Stars,” with composer Justin Hurwitz), Trolls, Snow White, and The Greatest Showman. Their television credits include The Flash, Smash, and Johnny and the Sprites. Both are graduates of the University of Michigan Musical Theatre Program and members of the Dramatists Guild of America, Inc.

"Naomi Wallace commits the unpardonable sin of being partisan, and, the darkness and harshness of her work notwithstanding, outrageously optimistic. She seems to believe that the world can change. She certainly writes as if she intends to set it on fire."—Tony Kushner "Wallace is that unfashionable thing - a deeply political US playwright who unashamedly writes about ideas rather than feelings."—The Guardian Lauded for her topical, searing explorations of the intricate and pressing issues that affect humanity, Naomi Wallace's new work Night is a Room centers around the timeless subject of love and relationships, specifically in their tenuousness. This story of a seemingly ideal married couple is torn apart when the husband's previously unknown birth mother makes a surprise visit for his fortieth birthday. In Night is a Room, Wallace examines the heart of human connections, and the intimate challenges love can create, romantic or otherwise. Naomi Wallace's plays—which have been produced in the United Kingdom, Europe, the United States, and the Middle East—include In the Heart of America, Slaughter City, One Flea Spare, The Trestle at Pope Lick Creek, Things of Dry Hours, The Fever Chart: Three Short Visions of the Middle East, And I and Silence, The Hard Weather Boating Party, and The Liquid Plain. She has been awarded the Susan Smith Blackburn Prize twice, the Joseph Kesselring Prize, the Fellowship of Southern Writers Drama Award, an Obie Award, and the 2012 Horton Foote Award for most promising new American play.

The works of Russia’s greatest playwright, Anton Chekhov, masterfully blend comedy and pathos, creating a richness of texture and characterization rarely seen since Shakespeare. With Three Sisters (1901), his portrait of the Prozorov family’s elusive dream of returning from the provinces to an idealized Moscow, he captured a restlessness and yearning which remain enduringly modern. In Paul Schmidt’s version – the basis for the Wooster Group’s acclaimed adaptation Brace Up! – we can perceive, for the first time in English, a refreshingly clear and colloquial style we instinctively know as Chekhov’s own. ANTON CHEKHOV (1860-1904) led a double life as a practicing physician and a celebrated author of short stories and plays. The Moscow Art Theater’s stagings of The Seagull, Uncle Vanya, The Cherry Orchard and Three Sisters – under the direction of Konstantin Stanislavsky – secured Chekhov’s reputation as a world-class dramatist. PAUL SCHMIDT edited Meyerhold at Work and has translated writings by Rimbaud, Khlebnikov, Gogol, Kaiser, Mayakovsky and Genet. Recipient of an NEA fellowship and of a doctorate in Russian from Harvard University, his translations, adaptations and original plays have been performed across the country.