Yellow Face – A Mockumentary
Yellowface dates to early forms of minstrelsy when ethnic white actors would darken their faces and use prosthetics and costumes to appear Asian.
In the 1930s, White actor Warner Oland replaced the Chinese lead in Charlie Chan films. In 1937, Paul Muni and Louise Rainer starred as Chinese in The Good Earth. Rainer won an Oscar. Hollywood studios rationalized that audiences were more familiar with relatable White actors. In 1944, Katharine Hepburn played an Asian woman in Dragon Seed. Eleven years later Jennifer Jones played Dr. Han Suyin in Love is A Many Splendid Thing, ostensibly because the Hays Code, then the internal set of film guidelines, prohibited sexual encounter between actors of different races.
Daniel Dae Kim (DHH) and Ryan Eggold (Marcus)
The practice continued. In 1961’s Breakfast at Tiffany’s, Mickey Rooney wincingly played an Asian man as caricature, a role he subsequently declared regretting. Making its point, this production juggles casting like dice. Frances Jue, Marinda Anderson, Shannon Tyo, and Kevin Del Aguila confusingly and often amusingly play multiple roles against sex and race. They do so in a series of boxes (set by Arnulfo Maldonado) emphasizing theme.
The Play: 1991. DHH (Daniel Dae Kim), playwright David Henry Hwang’s alter ego in this semi-autobiographical piece, takes a stand against Jonathan Pryce appearing as an Asian for the incoming British production of Miss Saigon. Actors Equity protests cultural appropriation, then backs up when producers threaten to pull the show. In response, the playwright authors a backstage farce called Face Value, loosely based on the controversy. There’s difficulty finding a suitable lead.
Francis Jue, Marinda Anderson, Kevin Del Aguila, Daniel Dae Kim, Ryan Eggold, Shannon Tyo
Hwang is told an Asian two-hander in California is garnering good reviews for an actor named Marcus (Ryan Eggold). Producers fly him in for an audition only to discover he’s White. At the end of his rope and time, the playwright initially justifies hiring Marcus by concocting a mixed race background with Jewish ancestors from Siberia. Marcus is good in the role, but a betrayal of everything Hwang believes. He’s replaced. It makes no difference to pre-New York reviews. The New York Times wrote: ‘M. Butterfly’ Follow up: ‘M. Turkey’
The playwright’s self-made banker father (Francis Jue) is thrilled for any kind of coverage. Having cut his teeth on American cinema, he aspires to emulate Jimmy Stewart’s roles – in life. “Come work for me!” he says, offering his struggling son figurehead employment. The money’s too good to resist. Later in the piece, there’s considerable side story when dad gets indicted for money laundering. While politically apt (China/US machinations), the tangent seems clunky and irrelevant to the point.
Daniel Dae Kim (DHH) Kevin Del Aguila, Marinda Anderson, Francis Jue (dad)
Meanwhile, Marcus, here a charming opportunist, makes hay with ethnic confusion. Based on his
Face Value reviews, the actor is hired to play the king of Siam in The King and I. Not only do a series
of crossover roles follow, but the thespian gets involved with rights for the Asian community that has welcomed him. He remains a cheery thorn in Hwang’s side throughout, finally addressing him as a character over which his creator no longer has control.
A single interview of Hwang by a New York Times reporter (a terrific Greg Keller – also the narrator) is the best thing in this overstuffed, hour forty-five (no intermission) piece. Pay attention.
Daniel Dae Kim (DHH) and Greg Keller (Reporter)
Part documentary, part mockumentary, Yellow Face is timely and reactive. Quick jokes often provide glue between more serious moments. Acting is fine across the board with Daniel Dae Kim a stand out as the conflicted playwright.
Director Leigh Silverman herds her mercurial cast with a sure hand and excellent timing.
Photos by Joan Marcus
Opening: Daniel Dae KIm (DHH)
Roundabout Theatre Company presents
Yellow Face by David Henry Hwang
Directed by Leigh Silverman
Todd Haimes Theatre
227 West 42nd Street
Limited engagement through November 24, 2024,
