A Conversation with Director Anne Mesa and Playwright/Actor Jeffrey Han, “Expect-Asian” at Write Act Repertory at the Brickhouse Theatre, by James Scarborough

“Expect-Asian,” written and performed by Jeffrey Han and directed by Anne Mesa, explores the Asian American experience, focusing on cultural identity and familial obligations. The narrative follows Jack, a young Asian American, as he navigates his father’s rigorous expectations and societal pressures. This coming-of-age story is both a personal journey and a broader commentary on the challenges faced by many young Asian Americans in their search for self-identity.

Mesa skillfully handles the intimacy of a solo performance while addressing the universal themes of cultural conflict and self-acceptance. Her direction ensures that the cultural nuances are depicted truthfully, allowing us to connect with Jack’s internal and external struggles.

The staging and design elements of “Expect-Asian” enhance the storytelling. They provide a backdrop for Jack’s journey. The play prompts viewers to examine their own cultural identities and biases. It contributes to the discourse on Asian American representation in theatre, advocating for greater visibility and understanding. It also challenges us to reconsider our perceptions and embrace the diverse tapestry of American identity.

QUESTIONS FOR ANNE MESA

JS: Can you describe your directorial approach to “Expect-Asian”?

AM: My directorial approach to “Expect-Asian” is collaborative.  It is my job to ensure we hear and see the writer, Jeffrey Han’s point of view, while transcending through the various characters he represents in the play.  In “Expect-Asian,” the characters vary in ages, backgrounds, cultures (Asian and Non-Asian) and various people in the main character’s, life.  Unlike an ensemble piece, a solo performer is responsible for playing all of the characters in the story, making sense of each scene moment-by-moment, and interacting with them, all while driving the narrative and the message, so I discussed elements of the play with Jeffrey and did different exercises during the rehearsal process.

For the direction of the play, I focused on the concept of Yin and Yang, which are depicted as light and dark halves of a circle that are two opposing forces interacting with one another, creating harmony when in balance, and used it throughout the staging of the show to show opposite forces taking place. In this case, it is used to show the contrast between two opposing cultures, the Asian side and the non-Asian side, and was accomplished by staging the actor’s movement, flow, and specific lights. I also placed the main character, Jack, in a centered position onstage so the audience can follow the character’s journey through the 2 different worlds and ultimately see where the character ends up.

The show also incorporates music and sounds to bring the audience into the environment and specific gestures to show different characters.  Jeffrey acts as the narrator, Jack, and does a phenomenal job swiftly switching from one character to the next so audiences don’t feel like there’s only one person onstage.

JS: How did you balance the intimate nature of a solo performance with the broader themes of cultural identity and family expectations?  

AM: The story is told from the character, Jack’s, point of view so we used the playwright’s depiction of his father and personal experiences growing up with Asians in America to portray the Asian American characters onstage.  Jeffrey’s story resonates with those who must pick a cultural side to represent based on environment and who they’re interacting with.

We use Asian mannerisms, gestures, speech, and music to express Asian vs. American experiences.  Jeffrey and I discussed the play to find where the cultural shifts happen.  We explored the universal themes that young Asians go through such as trying to fit into American culture in school and then coming home to traditional Asian parents and learning to code-switch early on just to get along in two very different environments with contrasting mannerisms.   We combined movement and gestures to show the push and pull between two opposing forces throughout the play.

JS: How do you ensure that the cultural nuances and complexities of the Asian American experience are accurately represented on stage?

AM:  I am Asian American and grew up in a Japanese household in America and have Asian friends, so I have a personal understanding of the nuances of Asian culture and identify with many themes in Jeffrey’s play.  I had not come across a story that shows not only the challenges of fitting in with American culture as an Asian, but also trying to get along with other Asians because you’re trying to fit into American culture.  It is a delicate balance, a dance if you will, to fit into both worlds/cultures successfully.  Jeffrey’s play addresses this juxtaposition in “Expect-Asian.” 

This play is specifically told from a Chinese American perspective but has universal themes such as family expectations, social pressures, being an outsider, and struggling with identity.  To help audiences connect with the play, I used Asian music, specific movement/gestures, and personal experiences from the performer. 

For Chinese language, I consulted with Annie Zhang, who speaks Mandarin to ensure the Chinese pronunciation was correct.  She is the musician who plays the erhu (Chinese stringed instrument) during pre-show and the Stage Manager. 

I have also led several AAPI groups throughout the years and used the knowledge gained from working with people from different Asian heritages to ensure the Asian American elements in the play were represented as accurately as possible. 

It helps that both Jeffrey and I are Asian American and we are aware of the behaviors and subtle nuances of Asian culture and mannerisms, as well as the concept of code-switching and its complexity of alternating between two or more languages in a conversation or having to alternate how we present ourselves in different contexts and situations.  The familial theme of high expectations from Asian parents is universal throughout many Asian cultures.  Asians identify with this and understand the pressures and expectations of our parents.

JS: What specific challenges did you face in this regard? 

AM: Some of the challenges of representing the Asian American experience onstage is trying to encompass all Asian Americans, even though the story specifically focuses on the Chinese culture.  Asians are a diaspora, so I wanted to ensure that the themes were universal such as opposite forces (Yin-Yang), harmony, meditation, family values, and social pressures.

This play can resonate with different Asian cultures and have a Korean version, Japanese version, Vietnamese version, Filipino version, South Asian version and so on.  It was challenging trying to stick with the Chinese culture while trying to share the experience of many Asian Americans. There is also a risk of offending someone by using stereotypical behavior.  This play not only shares the experience of being made fun of by people who aren’t Asian, but also by fellow Asians.  It isn’t often that you hear stories being told onstage about how Asians in America treat each other, and sometimes it isn’t always welcoming or inclusive, so “Expect-Asian” addresses a lesser-known issue.

I also didn’t want to fall into the trap of appearing as a victim or misinterpreting the goal of the story, which is to bring awareness to the Asian American experience and break stereotypes and general perceptions of Asians, so I had to be mindful of how Asian mannerisms were used. I wanted to be respectful of how the father was portrayed so it wasn’t offensive to Asians, but rather showing the importance of respecting communication from a parent, even though they may speak a different language or have different gestures from the world you live in. 

It was important to break the stereotypes and perceptions of anyone speaking with an accent and show that there are universal themes, not just for Asians, but for any individual coming from another country.

 The goal is to expand on the definition of Asian Americans and show a more familiar perspective, instead of the ones we commonly see in Film and TV and change how Asian Americans are perceived. 

I also had to be mindful of how offensive Asian terms were used in the play, so non-Asian audience members can understand it.  There are moments where audiences from Asian descent may get offended, but this is part of the experience and important to share with an audience in a way that is open and up for discussion. 

The other challenge was time.  The play went up very quickly, so some decisions had to be abandoned in this version due to time.  This play has legs and can continue to grow, so we are happy with this version, but would like to incorporate more into the next iteration.

JS: Given that Jeffrey Han is both the writer and performer of this show, how did your collaborative process evolve?

AM: Jeffrey is a gem to work with.  As an actor, he comes prepared, makes bold, creative choices and takes direction well and as the writer, he can quickly adjust the script as needed.  Because we both grew up in Asian households in America, we were able to communicate what was needed to tell the story authentically. It helps that we have a mutual understanding of the goal of the play and its message.  The collaborative process evolved naturally and seamlessly.  Were there moments where his dual roles influenced your directorial choices?  Of course.  It was a collaborative process, so we often worked together to ensure the story stayed true to his writing and my job as the director was to ensure his performance reflected his message and the character’s goals. This play and the way it came together is an example of how Yin and Yang works to bring balance and harmony.  There is a mutual respect and purpose from both directions. 

JS: What strategies did you use to engage the audience with Jack’s journey?

AM: Music, lights, addressing the audience, and dividing the stage so the audience can see the balance between two worlds that the character interacts with.  The character, Jack, addresses the audience directly throughout the play, so it feels like you are with him as he is sharing his story, his journey.  The play moves quickly, and Jeffrey (Jack) keeps the energy up to engage the audience.  How do you hope they will connect with the story? The hope is that audiences will be inspired to pursue their dreams, despite what others may say.  The other goal is that audiences will see a different perspective of Asians and have a deeper understanding of the Asian American experience and to see how Asians can be misrepresented or misinterpreted.  For Asians, the hope is that those from Asian descent can trust their own voice and be unafraid to follow their own path/dreams, despite their parents, peers, or external expectations.  The hope also is that there is an appreciation for theatre and its importance in bringing communities together. It’s a reminder to slow down and appreciate the simple act of storytelling from a human perspective.   

JS: How did the staging and design choices contribute to the narrative?

AM: The staging and set design are simple.  With lighting designer, Zad Potter, lights were used to subtly convey characters and create effects for the bare stage.  At times the colored lights are combined to convey several voices at once.  Sound effects were also added with the help of Jonathan Harrison to further contribute to the narrative.  

The stage was kept simple so the audience can use their own imagination to dress the set as the story unfolds and moves quickly.  Since the story shows two worlds and two varying perspectives (Asian vs. Non-Asian, Yin-Yang, interchangeably), the stage was divided in half using lighting and staging to show the character’s journey from one world to the next.  On a deeper level, I utilized Yin-Yang and the importance of the number 3 which is considered lucky in Chinese culture as it has many symbolisms, including life, abundance, Confucianism, Taoism, and Buddhism and can represent creativity, expression, and growth.

JS: Discuss any decisions that were pivotal in enhancing the storytelling. Colored lights are used to represent different characters in some scenes and the culmination of all lights is used to express internal voices in one particular scene.  It was important to ensure the lights flowed quickly through the scenes to enhance the story, along with music and sound. The lights serve many purposes including voice, emotion, and energy in “Expect-Asian”.  Keeping the flow of the story moving was pivotal and the lights helped in expressing thoughts or feelings without words.  Aura comes to mind.  The lighting serves many purposes including voice, emotion, and energy.  Keeping the flow of the story moving was pivotal and the lighting helped.

AM: From the moment the audience enters the theatre, they are already part of the Asian American experience.  American music with Asian references is played overhead. Then live Chinese music comes on played on the erhu by musician, Annie Zhang, to further set the tone. 

The overall staging is simple as this solo performance is meant to tour various stages and be able to go up quickly and continue to grow.

JS: Reflecting on your own background and experiences, how did your heritage influence your direction of this play?

AM: I was born in Japan and grew up in a Japanese household in California.  I am of mixed heritage, half Japanese/half Filipina. As a child, I also lived in Hong Kong, Iran, Guam, Hawaii and grew up in a Latino neighborhood, so I gained an appreciation for mixing cultures at an early age.  There are many themes I can identify with in Jeffrey’s play, which is what piqued my interest in the first place.  I had not come across a play that shows not only the challenges of fitting into American culture as an Asian, but also trying to get along with other Asians because you’re not just Asian, but a mix of cultures.  It always felt like one side was going to like you while the other wasn’t.  I can relate to taking off shoes in the house and other Japanese expectations at home, while being a weirdo at school because of my bowl haircut and weird lunches (spam, onigiri, sushi, rice dishes).  Mannerisms change when I’m speaking in Japanese vs. English. I learned to accept myself as a blend and code-switch as needed, which is reflected in the play.  I used that knowledge and experience to guide the direction and story-telling aspects of the play. Like the character, “Jack”, I had to exist in 2 contrasting worlds.  Were there personal connections that informed your creative decisions? Absolutely! There were many personal connections that informed my creative decisions, such as having parents who speak with an Asian accent, removing shoes at home, or being teased by other Asian kids because I wasn’t aware of how I looked in Japanese school.  Like the main character in the play, I didn’t know where I fit in. I know what this looks and feels like and was able to use this for creative decisions in the play.   It helps to have an Asian lens to understand the Asian American perspective to accurately portray the actions and behaviors of the characters. 

JS: In your opinion, what is the future of Asian American representation in theatre?

AM: Asian American representation in theatre is continuing to grow and evolve.  Although there are plays about Asians and Asian American today, there are still many more untold stories from Asian voices that need to be shared.  Stereotypical roles from old scripts, plays, musicals, and dances need to be updated. Practices such “yellowface,” a tradition in Hollywood and theater where white people were costumed as Asian, due to a lack of Asian actors available need to be eradicated. Now that there are many Asian actors available, there is no need for the use of “yellowface.”  Asian actors can be cast in new roles instead of stereotypical ones viewed from a xenophobic lens or portrayed as caricatures.    

We have people and groups such as East West Players, CAPE, Gold House, and many more who are paving the way and leading the charge for authentic Asian representation.  There are movements being made right now.  Director Jennifer Lin of Ten Times Better just wrapped the feature film, Beyond Yellowface, with Phil Yu which deals with need to get rid of “yellowface” in ballet and present authentic roles for Asian representation.  Asian Americans are breaking the silence, stepping forward, and being visible.

In speaking with Asian colleagues, there is a wide variety, a diaspora of Asian stories to be told.  It’s important to share diverse perspectives from an array of backgrounds, including Asians and other underrepresented groups.  Now is the time to elevate our voices and contribute to the American narrative.  Asians are not invisible, the “model minority,” or a monolith.  The Asian community is diverse with different languages, heritages, cultures, practices, and beliefs. 

I look forward to seeing more authentic Asian American stories and a variety of roles played by Asian actors.  How does “Expect-Asian” contribute to this evolving narrative?  With regards to the definition of “American,” taking a line from the play, it is “something to look into.”  “Expect-Asian” sheds light on the Asian American experience and the perceived expectations from family and external influences.  This play offers a different point of view from what we’ve typically seen in Film/TV. “Expect-Asian” encourages people to follow their own path, listen to their own voice, and be unafraid to go after their dreams, their calling, not what is expected of them from others. What steps can the industry take to further amplify diverse voices?  Hire diverse executives and decision makers at the top to accurately portray the diverse voices that need to be elevated.  Attend plays to get a view of what diverse casting looks and feels like and dig deeper into cultural interpretations without having to go out of the country.  Plays (live theatre) offer storytelling in real time with live, unedited performances, and is a different experience from watching a performance on Film or TV. 

It’s important to change the narrative and offer different perspectives instead of using stereotypical characters or roles. Ensure stories are authentic by using diverse voices, scripts, and stories.  Choose stories that audiences can connect with and identify with.  Don’t just checkmark boxes to ensure there is 1 Asian or 1 Black or 1 Latino in a Film or TV show.  Ensure the story makes sense and accurately portrays the diverse world we live in.  We are looking for engaging stories, not just what is perceived as representation, but actual representation – authentic representation. By sharing diverse perspectives, we can have a better understanding of what others are going through and offer support, understanding, and change.   

QUESTIONS FOR JEFFREY HAN

JS: What inspired you to write “Expect-Asian”? Can you share any personal experiences or stories that influenced the development of Jack’s character and his journey?

JH: The first draft of “Expect-Asian” was my senior honors project at California State University Fullerton. The project is essentially an undergraduate thesis on a subject of your choice. I decided to write and perform a solo show. I had never written anything up until that point. I went through so many different stories and ideas and it was all a mess. And my advisor, Professor Anne James, who teaches voice and movement at CSUF’s theatre department, called me into her office. She just read one of my pieces and was a little concerned. We talked a lot about what I was trying to say in my writing. And we talked and talked and talked, and she finally asked me, “What is the point?” And I got triggered, and I said, “He (the main character) is trying to live in two different worlds, he’s being torn apart, and it’s hard! You don’t understand!” And instead rejecting this crazy outburst, she calmly said, “Okay, write about that.”

JS: How do you address the dual roles of writer and performer? Were there specific challenges or advantages in bringing your own script to life on stage?

JH: I try to separate the roles during the process. There is a point where I take on being the writer. Adapting the script to the specifications of the production. And as a performer I approach the written text like telling a story or performing poetry. I am the narrator and all the characters, so it is a little different then playing one character. You have to know when everything is going to happen in the story without revealing it too early.

The main challenge is the pressure that comes with putting up writing that is yours on stage. All playwrights’ experience that with any play. It is magnified a little bit because I am the only performer. If I mess-up it is all on me. An advantage is that the piece can adapt to whatever parameters is required from production to production because I have the freedom to change it as the playwright. Another thing is that I can rehears any scene that I want at almost any time because I am the only performer.

JS: What message do you hope audiences take away from “Expect-Asian”? How do you envision this play contributing to broader conversations about cultural identity and the Asian American experience?

JH: I hope audiences are inspired to go after what they want. Not what their parents want for them, not what their peers want for them, but what they want for themselves. That your identity or life path can be influenced by others, your environment, and maybe your culture, but it is ultimately your decision.

I hope the play shows what young Asian Americans go through to those who are not a part of that group. I find that the more specific a story is, the more relatable it becomes. I hope the audience can see the similarities between themselves and the characters in the play, and by seeing the similarities, they can form empathy for a group of people that is different from them.

I understand that Jack’s journey is very specific. For those who lived a similar experience, I hope they feel seen. Because that’s important. To know that there are others, like Jack, that experienced the same things, and that you are not alone.

Premiering at Write Act Repertory at the Brickhouse Theatre, the show runs through June 23. Performances are on Saturdays at 8pm and Sundays at 3pm. Tickets are $20. The theatre is located at 10950 Peach Grove Street, North Hollywood, 91601. For more information, click here.