Madam Who? - An Interview with Alexis Wong

Alexis Wong plays Madam Wu, the brilliant but trampled-upon sister of the Emperor. In addition to her day job, she has also worked as a producer for theatre. As you'll read below, she is multi-talented, multi-facted and extremely insightful - and yet so gracious about it all. I was interested to learn more about her performance background as well as how being a producer has helped her as an actor.

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MIN: Can you describe your day job for me again? I know I've asked many times, but I always seem to forget the specifics.

ALEXIS: I'm an online ads campaign coordinator at Warner Brothers Digital Entertainment. Which means I get to look at cool internet properties like Rotten Tomatoes, TMZ, Ellen and Flixster all day long, for work! Originally, I got my degree in architecture and did that for 6 years, mainly working on multiple single home communities for Mount Diablo Habitat for Humanity. Ironically, after getting laid off in 2009, it was my theater hobby that took me in my new path. A friend whom I had done a show with was looking for someone to work with her at Flixster, and I applied and got it! I've been there ever since.

M: Tell me a bit about your performance background/history? How did you get into theatre in the first place?

A: I was your typical quiet high school academic; throughout primary school I played violin, and then swapped it out for viola in middle school. I never joined choir because I was pretty scared of being singled out and I was taking two electives my senior year already. I always loved singing though; while I'm not revealing where you could get it, there's a recorded phone call of me warbling the Lea Salonga part of 'A Whole New World' at 13. And I'm pretty sure I drove my college roommates crazy singing 'Reflection' [from Mulan] ad nauseum. When I was 22, I happened across a vocal class at the, now sadly gone, SF Music Center, taught by Richard Nickol. Richard was one of the few teachers who had the credentials and chops to teach: opera, musical theater, jazz, rock and pop. It was an incredible turning point for me, Richard took the shy, bookish girl who loved to sing and really brought out the true performer and musician. He taught me that anything was possible with patience, training and faith. 

I originally came to Richard because I wanted to sing rock music - but ended up really falling for musical theater. I studied with Richard for nearly 10 years up until he passed away in 2012. Since starting my training, I've been performing in everything from experimental theater, cabarets, new works - I just finished Vienna Teng and Tanya Schaffer's incredible collaboration The Fourth Messenger in March of this year, and now The Song of the Nightingale!

M: You have also worked as a producer for theatre productions. What do you enjoy about working as a producer? Are there any insights you've gained from working as a producer that informs your work as an actor?

A: Yep! I've happily been serving on the artistic production team of Ray of Light Theatre since 2009. First as an Associate Producer, then Executive Producer and then after our reorg last year, Finance Manager. I got into production, initially because I had zero background in theater and I wanted to see how it worked. Production for some people is a chore, but I love it! It's fun and incredibly important to any show moving properly. It must have something to do with the part of my brain that also really loves architecture; the artistic combined with the technical execution. I really enjoy problem-solving and helping to see pieces of a show come together - from the design to casting to rehearsals. It's a wonderful thing to stand at the back of a house on opening night, seeing audience members LOVE your show and knowing all of the intricacies that had to come together perfectly to make that happen. 

I've recommended this to a couple of fellow cast members, but being on the "other side" and sitting in on an audition or casting has helped me in so many ways. I've started to understand how producers, directors and casting directors think. We don't always cast the best singer or the best dancer; we pick people that fit together. A show is a collaborative group of people that have to be able to work both on stage and off. While it doesn't make the audition process any easier, it makes understanding why I didn't get called back or didn't get cast that much easier to swallow. 

One of the most important pieces of advice I've ever received as a producer is: "Never say 'no' outright. Always say, 'We'll look into that.'" I think that mantra has really served me in that I start to really consider the possibilities of something I may think is too expensive, too difficult or too ridiculous to entertain at first. What is theatre, honestly, but entertaining the impossible? Say YES! 

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

A: Uh...awesome? I've been so incredibly lucky to be part of the original stage read cast that was recast for this run. Over the last two years you've also included me in other readings, and I've been so blessed to see all the developments and iterations of the show. I remember coming home from the Altarena call backs thinking to myself how much I really wanted to be a part of the premiere and how important this story is, right now. To be part of an all Asian cast presenting a new piece of musical theater is nearly unheard of, and I think we're very blessed in that way. 

Nightingale is also one of the few productions I've been a part of that I can invite my entire family to! I've even had some family members come twice! There's something about this show that speaks to so many people, the themes are universal and very thoughtful. Speaking of family though, this cast is truly one of the most amazing ensembles I've been a part of; I don't think there was one rehearsal - even during tech week - when I didn't laugh hysterically at something that happened or something someone said. It's so amazing to be around such a positive, cheerful and hard-working group of actors. And on the other side, to have people like Christina Lazo and you leading this group through our paces and still taking time to laugh and acknowledge one another is such a gift. It's an experience that I'll carry with me for a long time. 

M: Describe a little bit about your approach to the character of Madam Wu. How is the character similar to you? Different?

Madam Wu (Alexis Wong), dealing with her brother (DC Scarpelli) again...

A: We've talked about Madam Wu being a throwback to traditional Asian female values; demure, soft-spoken, conciliatory and that she really needed to come across as initially weak. She's the power behind the throne but honoring her mother's dying wishes gives her a bit of a martyr complex. She goes a little too far with kowtowing to the Emperor. Instead of confronting him on what she knows is the right way to run the country, she just does all the work herself. She thinks she's doing the right thing. It's challenging to play someone who actually has a ton of power and say in the court, but isn't supposed to appear powerful. There's a danger of making her come across with modern "lean in" strength values, so I had to learn to pull that way back. I think it's so much harder to do that because of a personal internal struggle to marry traditional Asian values with what is currently being touted in Western Society as the "right" way to get to the top.

In this story, Mei Lin is an instantly recognizable heroine for modern girls - she's feisty and ambitious which Madam Wu responds to and admires. Madam Wu has to go through her own transformation from a placating doormat to her own personal hero. She doesn't really have the room to wear her heart on her sleeve, but I've tried to find moments where her true feelings come through. I think people can relate to having to hide their feelings for the greater good.  I personally admire how much tenacity Madam Wu has to put up with her brother for all those years, which she does out of love - not only for her country and family but also, truly for her brother. 

Madam Wu and I share a lot of quiet strategic thinking. She's the type of person to really observe and reflect on situations before acting. I adore that Madam Wu is so adorably awkward, and I think that's what helps her be so likeable; she's a complete spaz, but as she comes into her own she starts to embrace her own image. I'm definitely one of those people who will trip over her own feet, so that's very me.

M: I'd like to add that Madam Wu truly has a special place in my heart. Her coming into her own reflects a lot of my internal history and story. And, I have gotten feedback from a handful of people who really identified with her. In the scope of the grander story, I do wish we could spend more time with her - but alas, the show is already the length of a pre-1960's musical, and for most audiences today that's long enough.

A: I'm really sad that 'Running the Palace' [Madam Wu's song in previous iterations of the show] was cut. One of these days, I intend to write a one-woman cabaret show and I'll be asking if I can include it. 

M: I'll tell you right now - of course you can include it!  Anything else you'd like to share?

Alexis singing "Running the Palace" for the 2010 staged reading. Unfortunately, the song was cut from the show.

A: Little known fact, I was not the original Madam Wu. I auditioned, but there was another actor cast in the staged reading that eventually left for a long-term gig. I went to see a friend of mine in Altarena's production of I Love You, You're Perfect, Now Change, which you music directed. You saw me in the audience, came down to chat with me and the rest is history! So lesson learned kids: SEE YOUR FRIENDS' SHOWS!! You never know what's going to happen!

It's been something that a lot of other cast members said, but I am so grateful to you, Christina and Altarena Playhouse for including me in this production. An original work, 20+ years in the making that has great story, book and music comes along so rarely. Everyone who's worked on this show has thrown their heart and soul into it; from the crew, designers, to musicians, and the community is really responding! Sold out shows and extensions are the best compliments we could ever receive for a job well done. Here's to you Mr. Kahng and to the many, many more to come. 

M: Don't forget the standing ovations you've all received as well! Thank YOU for being a part of this show and for taking the time to share your thoughts!

"Well now, why can't I?" - An Interview with Ron Munekawa

These interviews have shown me that the cast members of The Song of the Nightingale come from such beautifully varied walks of life! Take Ron Munekawa. He is the Planning Director for the City of San Mateo Community Development Department. Given such a civically-oriented title, you wouldn't think that Ron is also a dancer and performer in musical theatre. He's also the Staff Coordinator and Visual (marching) Caption Head for the Sacramento Mandarins Drum and Bugle Corps. Wow, right? Read on, and get to know Ron a little more...

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MIN: Share a bit about your performance history. How did you get into performing?

RON: I have been performing in musicals off and on for about 25 years. Most of my work has been with Broadway by the Bay (formerly Peninsula Civic Light Opera). I have primarily been in the chorus, so The Song of the Nightingale has given me the opportunity to take on a couple of roles with more speaking lines than is usually the case for me!

Ron with fellow PCLO/BBB alums Deedra Wong (Nightingale) and Edmond Kwong (Head Chef/Fisherman for the 2010 Staged Reading)

I owe my musical theater experience to Berle Davis. I was taking classes from Berle at the time he was also the resident choreographer for PCLO (note: I did not start taking dance classes until I was older than most of the Nightingale cast!).  One day after class, Berle said he was looking for a few male dancers to do a number in an upcoming PCLO musical, and would I be interested in being a Shriner in Bye Bye Birdie? I immediately said yes, although I really had no idea what he was talking about other than it was my first chance to be in a show!  We rehearsed the number for a week before tech, did tech week, the run of the show and from then on I was hooked.

Berle could be very demanding, but if not for him, I certainly would not be in a position to be answering this interview today! While Berle is not actively teaching today, I try to still take a class a week at the Dance Arts Center which I plan to do as the show winds down. 

M: What has your experience working on The Song of the Nightingale been like?

R: It has been a great experience. One of the things that drew me to audition was the opportunity to be a part of an original work. To see the development of the show, particularly with the show’s creator being directly involved, has been very unique, and I am grateful to be a small part of it. The show itself is wonderful as it takes a classic fairy tale, which includes what I would consider to be some universal truths, and tells it in its own very special way.

I came into the show late, after about a week or so of rehearsals.  Everyone in the cast and production team was very helpful and understanding as I had to catch up. Now that the run has started, during warm-ups before every show I look around me and realize how fortunate I am to be working with such a talented, hardworking, supportive group of people.

Also, to be a part of an all Asian cast is an opportunity that does not come by very often.  In part, I think that Nightingale is about going beyond pre-set boundaries that one assumes are the case, resulting in the growth of the show’s characters.  While it is changing, there are not a lot of Asian Americans involved in theater. Hopefully by seeing Asian actors on stage, there may be someone out there who says “Well now, why can’t I?” and thereby take a step they hadn’t imagined themselves capable of before. 

M: You play two contrasting characters: Head Chef & Head Fisherman. Was any of them more of a challenge for you than the other? Why?

R: Well, while they both respond to conflict in a different manner, I do think that both do show different sides of leadership.  The Head Chef is easier to portray since he is very externally driven and shows the worry and concern very outwardly in his expressions and mannerisms.  How is he going to be able to produce three more banquets? How can he manage with his staff?

Head Fisherman is torn between acknowledging how difficult the situation is, but at the same time needing to appear calm and in control as the leader of the village. I think that only Head Fisherman realizes how the dire the situation really is, and that it is far beyond anything the village has ever encountered.  However, if he lets on to others that this is the case, panic may result, so he is walking a very fine line.  This has been, by far, the more challenging role.

Head Fisherman (Ron) has to deal with the well-being of his community as well as the rebellious spirit of his son Xiao Hai (Sean Fenton).

I also think that Head Fisherman knows his time as a leader is coming to an end; he is uncertain as to how to handle the current situation and starts to feel powerless and inept.  He realizes that his son should soon take over.  However, given the turbulent times, Head Fisherman questions whether he is actually handing over a legacy or a burden to his son, and is struggling to make things right.

I think it is this desperation and sense of powerlessness that also leads Head Fisherman to act in a manner more akin to Head Chef when the one real constant in his life, his family, is threatened.  So maybe they have more in common than meets the eye?

M: You're bringing an insight to the character that wasn't on my radar. I love how actors will do that with roles I've written! Anything else you'd like to share?

R: First of all, thank you Min and Christina for allowing me to be a part of this production.  I also have to thank my family who have always supported me in all my activities.

I have found that regardless of my environment – at City Hall, on a football field, or on a stage - I have always been fortunate to be surrounded by such talented, supportive persons that I always appear to be a better person/performer than I really am, simply by virtue of the people I am working with.  Certainly that is the case in The Song of the Nightingale.

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.