“Besides their subjects, what all of these pieces had in common (except for Hwang’s Flower Drumrevisal) was that they were written entirely by white composers and playwrights, whose perceptions of Asia (and Asian America) drew on testimonials and secondhand sources rather than personal experience. With no Asian-American viewpoint informing the work, the ensuing dialogue between East and West was entirely one-sided, and the authenticity of the results has varied in relation to these white authors’ intentions and approach.” —American Theatre
Diep Tran 