The Watchmaker Speaks - An Interview with Jed Parsario

Late in the casting process, we were still looking for a male actor to complete our Nightingale cast. We were so lucky to find Jed Parsario, who is not only a hard-working actor who approaches his roles with great commitment, but also a most pleasant human being. Jed works in retail - as so many artists do and have done in order to make ends meet - but his vocation is as an artist.

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MIN: Describe your performance background. How did you start performing?

JED: I was in band from 4th grade to high school and played flute (dismally), bassoon (phenomenally), and trombone (with mediocrity).  I joined my high school's winterguard group and that's where I had my first experience as a performer. During my years at the Academy of Art, I joined In Motion Winterguard, an independent winterguard organization,  and competed across the country, performing in arenas filled with thousands of spectators. Meanwhile, I was taking acting classes at the Academy to supplement my skills as a film editor. That's when I caught the infamous acting bug. Then, one fateful day in August 2011, I braved an open audition at Bindlestiff Studio where I was offered the principle role for Ignacio Zulueta's José Rizal on Angel Island, a two-man one act about the Philippines national hero's detainment on Angel Island. During the run, my scene partner had a conflict with a production and dropped out. The directors, playwright, and myself decided to then re-stage the script and perform it as a one man show (the supporting character was originally a figment of Dr. Rizal's imagination, so it made artistic sense to have a disembodied voice 'perform' that role).  Talk about diving headfirst in the deep end. After numerous praises by Rizalian's-- it's an actual religion, but in my case, fans of Dr. José Rizal; teachers, professors, historians, and avid readers of his novels; and several death threats made by theatre goers and fellow cast mates after learning I was not, at the time, a serious actor, I decided to follow my gut instincts to pursue acting seriously and put film/video editing in second place.

M: Wow. From death threats to... a musical! And this was your first musical, right? What has the experience been like? Any differences/similarities from non-musical productions?

J: I have learned tons. TONS.  It has been a potpourri of adjectives. Humbling, challenging, scary, and exciting to name a few. I liken this experience to the two Shakespeare productions I've done so far.  There's a technicality to my approach that I don't pay too much attention to when I do non-musical, non-Shakespeare narratives.  I think I tend to be more of the instinctual actor. Or perhaps I still lack experience and training.  This production has taught me that; the importance of the "technicalities" of acting. There's also this performance aspect of it that I think is unique to musicals. I'm allowed to show-off. I don't find this to be true with straight narrative plays.

M: Your scene as the Imperial Watchmaker is undoubtedly a scene-stealer. Can you describe your approach to the character? What makes him so damn funny?

Jed as the cantankerous Watchmaker (sans mustache) 

J: The Imperial Watchmaker is my favorite character of ones that I play.  I love playing character roles. I enjoy the challenge of breathing life into someone that doesn't get to say as much or be on stage as much as other characters.  I ask myself  "Why did the playwright include this person?  Why are they important to keep around? What's their purpose in the narrative?" My answer is always the same. They are the most important character in the play. I try to bring their entire back story on stage. That way, even though they may just say one word, or none at all, they make an impact.  I never wanted him to be funny.  I just wanted to intimidate the entire Imperial Court, and the audience.  The laughter that came from the rehearsals actually threw me off, but I trusted you and Christina so I kept him that way.  One thing I always remind myself prior to his entrance is where he just came from, what he was doing, and "Ain't nobody got time for this!" I was told by an instructor/mentor to never play for the laughs. That'll come if I play the truth of the moment. I hope I'm living up to that.

M: Each time I watch the show, I look forward to his entrance. Even though I've seen it so many times, it doesn't get old. That's a testament to the internal work you're doing as an actor. Anything else you'd like to share?

J: I hope and will make sure that this isn't the last musical I do.  I think it's important to be well-rounded as an actor and as an artist.

The Process of Ted - An Interview with Ted Bigornia

By day, Ted Bigornia is a commercial closer and escrow officer for a large title insurance company. But by Nightingale showtime hours, he is charismatic and hilarious in his role as Bing Wen, and pulls off the Herculean task of leading two of the heftiest numbers in the show. He has also worked as a pianist and music director for theatre productions. Ted shares about his path to and experiences on the stage, as well as what it's like to play the Emperor’s Lord-in-Waiting and the Palace Aesthetician.

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MIN: Describe your performance background. How did you get involved with theatre?

TED: I first became involved in theatre as a piano accompanist for a children’s theatre company in Vallejo during my senior year in high school. Around the same time, I was cast in the ensemble of my high school’s production of Oklahoma!, which was my first time on stage.  I remained with the children’s theatre (which also incorporated adult students as “guest” artists) as both accompanist and performer – primarily in the ensemble or in character roles, working on productions in Vallejo, Napa, Sacramento and Fairfield, for three or four years.  That was my start.  I enjoyed it so much, I’ve been doing it off-and-on ever since. Lately, I have been exploring opportunities to work on the acting side of it more and more, having taken roles in non-musical plays as well.

M: You have also worked as a music director for theatre productions. What do you enjoy about working as a music director?

T: I really enjoy working with singers of various experience levels, and helping to bring out their best.  I also particularly enjoy working with chorus/ensemble sections. This involves a creativity in part breakdowns and dynamics and tempo variety, and is rewarding every time, both in terms of entertainment value of whatever piece I’m working on, as well as in terms of pride of the singers.  I LOVE to see singers feel great pride in their accomplishments, and encourage it. On the instrumental side of things, the challenge is always getting the best sound possible out of a very small combo, deciding what instruments to use given budgetary and availability constraints; this part of it can be stressful, but also very rewarding.

M: Are there any insights you've gained from working as a music director that informs your work as an actor?

T: Yes – very often, I learn just as much from the singers I work with as a musical director as vice versa.  You get an objective perspective on the process, and I have a better understanding of why musical directors I’ve worked with will experiment with part assignments, word pronunciations, dynamics and the like.  When you are singing, whether solo, or with a group, you can NOT really get the full perspective of the effects of what you are doing.

M: What has working on The Song of the Nightingale been like for you?

T: This has been the experience of a life-time.  From the staged reading three years ago, through this current run, I have enjoyed taking on material that is new, that has no existing history of production performance by anyone else.  Kind of forces you to bring your own interpretation to everything.  The material is wonderful, the message is positive and simply “feel-good” kind of stuff, which seems rare in newer shows these days.  Also, it truly isn’t often that you get to work with a group that has this much accumulated talent.  Every single person involved – from the production staff, cast and crew – brings so much value to this production that, altogether, creates a phenomenal experience for me.

M: Describe a little bit about your approach to the character of Bing Wen.

In older iteration of the script, Madam Wu (Alexis Wong) and Bing Wen (Ted Bigornia)  were an item.

T: Three years ago, during rehearsals for the staged reading, I remember a candid conversation we had between some of the cast and yourself, wherein you mentioned that you had earlier thought about creating some kind of relationship between Liu Bing [now named Bing Wen] and Madame Wu – and you got the immediate response from everyone present that it was a bad idea.  Someone went so far as to suggest that Liu Bing HAS to be “fabulous.”  That conversation led me to feel free to try a more flamboyant direction with him.  Cut to the current production and at the first read-through, you explained how this piece was born of your love of Disney films, and that these characters are cartoons and over the top, which led me to decide to take the flamboyance perhaps even a little further and make it rather affected. Is it realistic? Probably not. I do try to bring an over-the-top theatricality to Bing Wen.

M: How is the character similar to you?

T: Bing Wen and I both share a certain pride in our craft, I think.  He is very proud of his designs, and it is important to him what the court members think (this is apparent his great fear of having to present the ugly Nightingale to the court).  I am the same way with performance. When things go well, and when what I do works, then I have great pride in what I do. But I share the same fear of making poor choices and turning in a performance that does not work.  Yes I do have an ego and fully admit it, and we both share a fear of damage to it.

M: How are you different from Bing Wen?

T: I’m not nearly as affectedly flamboyant as what I try to convey in Bing Wen. Outside of yucking it up at a theatre rehearsal, I’m really not that “fabulous.” When I do “turn it on” it’s just that; I do that as a clown.  I also don’t mind being funny, even at my own expense.  I don’t think Bing Wen would ever be comfortable being laughed at. It would hurt him, I think, if he believed anyone were making fun of him.  Bing Wen’s flamboyance is a part of him, and he may not even really consider himself flamboyant, it’s just the way his is.

M: It is actually moving to me that you consider Bing Wen’s feelings. Even with the over-the-top affect, I believe you have brought out an emotional depth to a character that could have been played very two-dimensionally. So, thank you! Anything else you'd like to share?

T: I can’t think of anything further really to say, except to thank you very much for this opportunity to work on this with you.  I know you really didn’t know me when I auditioned for this three years ago, and I think it must have been a bit of a gamble for you to go with me for this role.  But I’m glad you went with it, and continued to keep me a part of it for the purposes of the current production.

Ted, with fellow actors (from left to right) Miyoko Sakatani, Isabel Anne To, Christopher Juan, Lindsay Hirata and Ji-Yun Kim. 

I would like to see your show go even further.  I’d love to be able to see your show, fully backed and fully professional, perhaps in NY or National Tour, perhaps after it has garnered a Tony or two, and be able to say that I was a part of that back when…back when…!

M: I’m very thankful to have you in the cast as well, Ted! Thanks for your well-wishes.

Next Generation - An Interview with Ji-Yun Kim

Ji-Yun Kim, one of our stellar ensemble members, wears many hats in life. In addition to performing on-stage, she has worked off-stage in roles such as props manager and dresser. It is her role as a biology teacher in Oakland, however, that impresses and excites me the most. Ji-Yun was able to invite several of her students, present and past, to see the  preview of The Song of the Nightingale, and I was thrilled that many students were able to watch the show for free that evening. I've asked Ji-Yun to bring us into her world of teaching by sharing her insights.

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MIN: Describe your day job for me. What draws you to work in your current position?

JI-YUN: During the day, I teach high school Biology and AP Biology at Fremont High School in Oakland, CA. Originally, I was thrown into teaching when I elected to join Teach For America, a program that recruits recent college graduates and trains them to teach in low-income neighborhoods. After one summer and five weeks of training on my resume, I entered the classroom thinking it would be a temporary placement, but ended up staying for the love of the job and the kids. When I first started, I had no idea I would stay at Fremont for the six years that I have, but something about the tireless work, the constant personal and professional growth, and the relationships I build with the students and faculty keeps bringing me back. I am grateful to be able to work with the resilient youth of Oakland and support them toward creating their own opportunities for their futures. I find the work I do absolutely exhausting yet completely fulfilling, for truly, there is never a dull day.

M: You were able to invite quite a crowd of your students, current and former, to our free preview night. What was that experience like for you?

JY: I have always invited my students to come watch any productions I'm involved in, but this was by far the largest turn out. Given that the performing arts have become such an important part of my life over the last few years, it was incredible to see so many of my students' faces in the audience. For most of them, the option of watching a stage production is one that is not often presented, and if the opportunity does happen to arise, the location and cost often deter them from attending. The free preview was the perfect chance for them to experience a night at the theater, especially since Altarena Playhouse is less than two miles from where I teach. It warmed my heart to see them in the audience, reacting and responding to everything they were witnessing on stage; I was smiling for hours after they left. It would be wonderful if I could continue to perform more locally so that they have better access to the shows I am a part of.

M: What responses have you gotten from your students?

Ji-Yun Kim (second from the left) with former students (from left to right) Roy Christopher, Tina Tieng, and Rashond Grant .

JY: The kids LOVED the show!! For the majority of them, Song of the Nightingale was the first stage production they had ever seen. They were completely enthralled by it - the costumes, the music, the story-telling - it was all so novel to them. One actually texted me during intermission to tell me how much he was enjoying the performance, having cried before even the end of Act I. By the end of Act II, all my students wanted to meet, get autographs from, and take photos with as many of the cast members as possible. Even a week after the fact, students were coming up to me to tell me how much they had enjoyed the show and how glad they were that they had watched us perform.

M: Your students have also begun to post their responses on Youth Voices. Can you explain a little about what Youth Voices is?

JY: Youth Voices is an online blogging platform designed and managed by a group of teachers who believe in creating space for students to read and write about their passions. The site is designed to encourage discussion between students both nationally and globally, allowing individuals to post blogs online where readers are welcome to respond, and thus create dialogues with each other. Our English teacher requires her students to post blogs as assignments to push for feedback on their ideas. In fact, she is having the students who attended The Song of the Nightingale post about their reactions to the show, and for extra credit, analyze it through a critical literary lens of their choice. One of our seniors, Maria Ramos, wrote of her favorite part of the show and analyzed it through the Marxist theory. This is what she had to say:

 "One of my favorite parts, would have to be when the main character who was the son of the fish worker and a fish worker himself, decided to lead a revolt against the Emperor. It was one of my favorite scenes because it showed the realism of the Marxist theory, in where, the working class will eventually seek a change in power for the common good when provoked by harsh inequality that is being experienced. I also liked it because there will always be that leader, who stands up for what he believes and knows how to attract people’s attention and help them understand that there are rights that people have that should be respected and that there is an obvious violation of those rights."

The rest of her post can be found at http://youthvoices.net/discussion/song-nightingale-1.

M: Any other insights/thoughts you'd like to share?

JY: I'd just like to take the time to say that being a part of The Song of the Nightingale has been a truly phenomenal experience. I only have the utmost gratitude for being a member of this exceptional cast and am humbled by the loads of talent I am surrounded by. So, thank you, Min, for writing such a beautiful show. Thank you to Christina Lazo for directing it with such grace. And, thank you to Fred Chacon and Altarena Playhouse for allowing me to share this experience with my students. It is one thing to be able to impart Biology knowledge to my kids, but to be able to share performance art with them has brought me a completely new level of fulfillment and joy. I can only hope that having seen this show opens my students' minds to the creative, and inspires them to seek out opportunities that allow them to exercise their imaginations.

My 'second act' career - An Interview with Miyoko Sakatani

It is such an honor to have Miyoko Sakatani  as a cast member in The Song of the Nightingale.  Her spirit and determination are a force to be reckoned with, and as I've now watched the show several times, she certainly grabs the audience's attention when she performs! Below, she shares her performance background and then some.

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MIN: Please tell me how you got into performing.

MIYOKO: In 2008, after a 40 year career as a critical care nurse and health educator, I heard about the Stagebridge Theatre Company in Oakland. Within months of enrolling in a singing class, I auditioned for their musical comedy troupe Never Too Late, and got cast. I never seriously considered pursuing anything theatrical, so this was quite a surprise to me and my family. But now, I guess you could say I've entered into my “second act” career!

Over the last 5 years at Stagebridge, I have had the great opportunity to be cast in several of their premiere musical productions. But the shows that I am most proud of are the multicultural, inter-generational musicals offered annually to the Oakland Unified School District. The one that was most significant for me was “Grandfather's Journey,” based on Allen Say's wonderful children's book recounting his own personal story about his Japanese immigrant parents, their cultural and family struggles and their experience during WWII. A story very near and dear to my heart with my own family history. I was thrilled to dress in a traditional kimono and honored that “Grandfather,” wore a kimono that belonged to my father. I also incorporated a beautiful kimono that my mother wore as a child. It was a very emotional experience for me.

After getting some courage and stage experience from Stagebridge, I began to audition for some of the Bay Area theatre companies and was very fortunate to be cast in several plays and musicals. I also felt the disappointments of traditional casting. Then last year, by a chance encounter, I was cast in a supporting role for an independent feature film called “East Side Sushi.”

But, despite all this good fortune over the last 5 years, I must say that the most fulfilling part of what I do is performing regularly for the elderly in Bay Area senior care facilities with Never Too Late and with a little ukulele band I belong to. So much love and appreciation given and received.

MIN: Are you still working right now? Tell me some more about your work in medicine.

MIYOKO: Since leaving the hospital, I continue to work as an independent nurse consultant. But my real passion is and always has been in integrative medicine. While continuing my work in critical care, I began to pursue a degree in naturopathy in 1985. I shifted from teaching critical care nursing, to offering workshops on holistic health with my husband Richard, who is also an RN. I realized early on how vital it was to bring these healing practices into the hospital and apply them at the bedside. Richard currently works at SF General Hospital and gives Reiki treatments and massage to his patients with phenomenal results.

MIN: What drew you to audition for The Song of the Nightingale?

MIYOKO: I was attracted and inspired to audition for the show on many levels. First, the characters were all Asians and inter-generational. Next, it takes place in Asia (China), and finally, there were roles for “older females of all ethnicities.” This is always a good incentive to audition! While I was waiting and hoping for a call back, I began to read more about you and your process of writing this musical, and viewing the 2010 workshop videos. I thought to myself, “OMG, I have to be a part of this show, any part!” And now imagine, all these years later, as a young girl being profoundly impacted by seeing Nancy Kwan in the Flower Drum Song, to be given this opportunity to sing and dance in equisitely choreographed production numbers. A dream come true. Thank you to Christina Lazo [director]. You're the best! And yes, I really do “enjoy being a girl!”

MIN: What are some mottos you live by?

MIYOKO: I would say my Buddhist roots run deep within me, so I try to bring peace and understanding into every situation. I also try to live by the practices of the Four Agreements (don Miguel Ruiz).

MIN: Anything else you'd like to add?

MIYOKO: I'm feeling I'm a part of something so rare and beautiful and inspirational with The Song of the Nightingale, and incidentally, I am feeling the same about my mother just turning 100 years old. She is one of the last of Issei (first) generation surviving a lifetime of hardships and I am humbled and so deeply grateful.

Miyoko Sakatani (left) with fellow cast members from L to R: Isabel Anne To, Ted Bigornia, Chris Juan, Lindsay Hirata, Ji-Yun Kim and Deedra Wong.

Up-and-Coming - An Interview with Alec Zhang

Alec is the youngest member of the Nightingale cast. I thought it'd be fun to interview him about his experience in the show. You'll find his 13 year-old responses charmingly astute and insightful.

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MIN: How long have you been doing theatre?

ALEC: I have been doing theatre for about 2 years now, ever since I was in 6th grade.

M:   What do you love about it? 

A: I really love the rush of excitement you get when you're about to go onstage. To me, it's kind of like a drug. Well, a good drug, I guess. It really keeps me up on my beat and ready to act! I also love the reactions you get while the audience watches the show. It always exhilarates me when the audience reacts the "right" way to a scene or line. The whole experience bonds you with others that share your love for theatre with.

M: What has it been like to work on The Song of the Nightingale? What was your favorite part? What has been the most challenging part? 

A: Working with everyone on The Song of the Nightingale has been very exciting and interesting, especially because I was the only child. It seemed awkward at first, but after getting to know everyone, I made plenty of friends, and felt like we were just friends, not cast members. My favorite part was when we all got to know each other and ran through for the first time. It gave everyone a chance to see how the show basically ran, and I got the grasp of what kind of person my character was. The hardest part was probably trying to find a good balance between school work and this. You guys did try to help a lot (and thank you for that!), but it was just those few days where I didn't quite get all my homework finished and I would be exhausted. But hey! It all worked out in the end!

Alec Zhang (Tai Yun) being harassed by co-star Lindsay Hirata (Mei Lin).  

M: Are you striving to be an actor when you get older, or do you have other path(s) in mind?

A: Acting is something that I would like to try later on in life, and I may take it professionally, depending on my skill level by then. It's not a clear decision, however. I may strive to become an artist, an entrepreneur, or even a lawyer someday.

I'm still young. I've got time.