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RUN TIME: Approx 2 hours, with a 15 minute intermission
NOTE TO AUDIENCE: The videotaping or audio and/or visual recording of this production is a violation of United States Copyright Law and an actionable federal offense.
I’m so happy to welcome Bay Area native playwright Lauren Yee to our family of playwrights here at Center REP. Lauren is one of our nation’s most prolific and produced playwrights. Her writing is both incredibly personal and universal. Her ability to tackle big political and global issues through intimate human relationships is unparalleled.
THE GREAT LEAP takes us into the cultural revolution in China through the unlikely portal of basketball and family. The Tiananmen Square Massacre, as well the preceding protests, were pivotal in the history of this world superpower. Lauren captures this monumental moment through a young man’s passion
for basketball, grief over the loss of his mother, and a yearn to connect with something greater than himself. In other words, it’s a deeply personal story that illuminates a historical curve in the world’s order.
The power of live theatre is palpable in THE GREAT LEAP. We are all gathered here to engage with Lauren’s story because we believe in theatre’s ability to connect us with big ideas through intimate experiences. I’m incredibly grateful for this most talented team for bringing Lauren’s work to vibrant life for our community.
THE GREAT LEAP is the second to last production in Center REP’s 56th Season. Which means next season is right around the corner! I can’t wait to share our lineup for Center REP’s 57th year, and my inaugural season with the company. Please join us on April 16th
for our exciting season announcement!
Thanks for being with us for THE GREAT LEAP! I hope you enjoy the show.
Warmest regards,
Matt M. Morrow Center REP Artistic Director
Beginning in 2022, Center REP adopted the use of digital programs meant to be viewed on mobile devices. By cutting our paper use and eliminating substantial printing costs we are sustaining our mission to elevate the arts in the greater Contra Costa region.
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by LAUREN YEE
Directed by
NICHOLAS C. AVILA
Cast
Saul CASSIDY BROWN*
Wen Chang EDWARD CHEN
Manford JAMES AARON OH
Connie NICOLE TUNG*
Understudy VIVIENNE TRUONG
Understudy EDRIC YOUNG
Creative Team
Scenic & Projection Design YI-CHIEN LEE
Lighting Design SPENSER MATUBANG
Costume Design MAGGIE WHITAKER+
Sound Design LYLE BARRERE
Props Design ALYSSA TRYON
Wig Design KEKE VASQUEZ-TAMALI’I
Stage Manager KATHLEEN J. PARSONS*
The Great Leap is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc.
www.concordtheatricals.com
New York Premier
Presented by Atlantic Theater Company
New York City, 2018
The Great Leap was developed with the support of the Playwright’s Center
Developed in the New Strands Residency, a program of the American Conservatory Theater, Carey Perloff, Artistic Director- Peter Pastreich, Executive Director
A workshop production of The Great Leap was presented by New York Stage and Film & Vassar at the Powerhouse Theater, Summer 2017.
OPENING NIGHT MARCH 16, 2024
CENTER REP, LESHER CENTER FOR THE ARTS
Cassidy Brown (Saul) is delighted to return to Center REP where he has been seen in The 39 Steps, Don’t Dress For Dinner, Ella the Musical, and The Underpants. Throughout the Bay Area, he has appeared at Berkeley Rep, Aurora Theatre, SF Playhouse, SF Shakes, Marin Shakes, Golden Thread, Word for Word, TheatreWorks, Capital Stage, PacRep, and San Jose Stage, to name a few. He is the co-host of the Spiritual Comedy podcast “All the Answers”, and a proud union member of Actor’s Equity Association and SAGAFTRA.
Edward Chen (Wen Chang) is a San Francisco Bay Area born actor, Edward Chen, received a collegiate baseball scholarship and attended Cornell University where he discovered a passion for the performing arts. In addition to many roles in television and film, Edward’s received critical acclaim for lead roles at top theatres (Boston Court, East West Players, South Coast Rep, Cygnet, Capital Stage). Backstage. com wrote, “Holding fast to his every character, Chen takes not one false step onstage.” This is Edward’s fourth time playing “Wen Chang” in The Great Leap. Acting conservatory trained in Meisner, voice, movement, animal work, Shakespeare and more, Edward’s first
love is theatre for its tight community, close collaboration with fellow artists, and deep intimacy with the audience. Edward believes theatre is sacred. In a society that struggles to communicate honestly, the theatre speaks the truth.
James Aaron Oh (Manford) (he/ him) is excited to return to Manford and The Great Leap with his Center Rep debut! Recent works include Sanctuary City and The Great Wave with Berkeley Rep, The Great Leap with Oklahoma City Rep, and Antelope Party at Shotgun Players. This May, be sure to catch him at Playground SF with their production of Apertures of Love In
Times of War. When not on stage, he’s lending his voice to video games, local companies, and dubbing foreign films from his custom vocal booth. If you want to keep up with the latest or you want to get in touch with James, find him on instagram @jamesaaronoh or www. jamesaaronoh.com. Much love to his family, partner, and friends for their love and support.
Nicole Tung (Connie) (she/ her) is thrilled to be making her Center Rep debut. A Bay Area native and member of Actor’s Equity, recent acting credits include Him in the West Coast Premiere of Bald Sisters (San Jose Stage Company), Xi Yan in Chinglish
(SF Playhouse), and Thuy/Mui/Danielle in the world premiere of Colonialism is Terrible but Pho is Delicious (Aurora Theatre Company- BATCC nom). Other credits include work with TheatreWorks, 42nd St. Moon, Magic Theater, Theater on San Pedro Square, Sunnyvale Community Players, Foothill Musical Theater, AMTSJ, Palo Alto Players, South Bay Musical Theater, SJ Rep, South Valley Civic Theater, Hillbarn Theater, and Woodminster Theater. On camera work includes commercials for Slack, CA Earthquake Authority, Stanford Children’s Hospital, and CA Olive Oil, among others. She dedicates this show to her Kung Kung (grandfather) who also played basketball in China. www. nicole-tung.com
Vivienne Truong (Understudy) is honored to be back at Center REPertory Company! She is a Bay Area based actress and teaching artist with the Red Ladder Theatre Company, a social justice theatre company working with under-served communities to nurture creativity and change through improvisational workshops. She was last seen in Center Rep as an understudy for Red Bike in their previous season. Vivienne most recently has been involved in farces as she played Annie in The Play That Goes Wrong at San Jose Stage Company and also played Poppy and Tim for The Pear Theatre’s production of Noises Off. Other than acting, she is now working as the
casting director for More Más Marami and is currently casting their More Más Marami Fest in the South Bay. Selected staged reading credits: Leena in The Headlands and Connie in The Great Leap (Contemporary Asian Theatre Scene). Previous stage credits include: understudy for Analyst and Kyoko in Tea Party (One of Our Own Theatre) and Playwright and others in Vietgone (City Lights Theatre Company).
Edric Young (Understudy) is thrilled to be understudying the role of Manford in his first production with Center Rep. He’s previously been onstage with San Francisco Playhouse,
Half Moon Bay Shakespeare Company,
African American Shakespeare
Company, Theatre Rhinoceros, and Stanford Asian American Theater Project. Despite a competitive leaning like Manford’s, Edric is used to getting schooled on the court by his dad who shoots an absolutely devastating threepointer. @edricyz
Lauren
Yee (Playwright) was the second most produced playwright in America for the 2019/20 theatrical season (as per American Theatre Magazine). Her plays include Cambodian Rock Band (South Coast Rep, Oregon Shakespeare
Festival, La Jolla Playhouse, City Theatre, Merrimack Rep) and The Great Leap (Denver Center, Seattle Repertory, Atlantic Theatre, Guthrie Theatre, American Conservatory Theatre, Arts Club, InterAct Theatre, Steppenwolf).
Honors: Doris Duke Artists Award, Steinberg Playwright Award, Whiting Award, Steinberg/ATCA Award, American Academy of Arts and Letters literature award, Horton Foote Prize, include: Fairyland (film) Sundance premiere 2023, Avenue of the Giants (Film) HICC Premiere 2023, Splash Cit (Film), Liminality (Film) Thena (Film), Back Home: Through the Stage Door (Film); Shit and Champagne (Film), Here She Comes (TV); Aurora: Exit Strategy, The Importance of Being Earnest, Eureka Day (World Premier), Leni, A Bright New Boise, The Elaborate Entrance of Chad Deity, Fat Pig (SFBATCC nominee),
Kesselring Prize, Primus Prize, Hodder Fellowship, #1 and #2 plays on 2017 Kilroys List. New Dramatists, Ma-Yi Writers’ Lab, Playwrights Realm alum. TV: Pachinko (Apple), Soundtrack (Netflix). BA: Yale. MFA: UCSD. www.laurenyee. com
Nicholas C.
Avila (Director) is an actor and visual artist best known for his role as Leif Donnelly in Zoey’s Extraordinary Playlist on NBC. You may have also seen him on The Rookie: Feds (ABC), Roadies (Stars), The Fosters (Freeform), or in one of many theatre shows throughout Los Angeles. He is currently recording Storm of
the second outing of the TTRPG actualplay podcast Roll Play Game and having an absolute blast!
Yi-Chen Lee (Scenic & Projection Designer) is a San Diego-based theatre set designer. She has been working with local theatres including Cygnet, Diversionary, Moxie, Old Globe, and Backyard Renaissance. Recent credits include: Sharon (Cygnet), Dragon Mama (Diversionary), On This Side of the World (East West Players), How I Learned to Drive (Backyard Renaisanse), Savoyard Murder (Roustabouts), Future is Female (Flint Rep), King of the Yees (Sierra Madre Playhouse), The Secret Garden (Music Theatre Heritage), The Great Khan (SD rep). She received the Craig Noel Award
2022 for Outstanding Scenic Design for her work on the October Night of Johnny Zero in Backyard Reinassance Theatre. Portfolio: yichienlee.com
Spencer Matubang (Lighting Designer) is a lighting and projections designer currently based in Oakland, California. They received their degree in Theater Arts from the University of California, Santa Cruz in 2020. They are happy to return to the team here at the Lesher Center! Recent credits include Dragon Lady at Pittsburgh Public Theater, Every Brilliant Thing at Center Repertory Company, Dragon Lady at Marin Theatre Company, Little Women with ACT Young Conservatory, The Emissary with Opera Parallèle at the ODC
at Hillbarn Theatre, Edit Annie with Crowded Fire Theater at Magic Theatre, Locusts Have No King at New Conservatory Theatre Center, and Triumph of Love at Shotgun Players.
Maggie Whitaker (Costume Designer) designs for theatre, film, tv, and video games. Their goals as a designer is to develop engaging design in collaboration with directors, actors, and writers. With a background in developing new works for theatre, they have moved seamlessly into designing for award winning narrative feature film. Their costume design work has showcased at Sundance, Hamptons International Film Festival, Miami Jewish Film Festival, and Frameline Film Fesetival. Costume Design Credits
Hero (Dean Goodman Choice Award);
Marin Theatre Company: I and You (world premier); TheatreWorks: Upright Grand (world premiere); Shotgun Players: Nora, Truffaldino Says No; FoxNext Games- Storyscape, Ray of Light Theatre, Magic Theatre, Cutting Ball Theater. She received her MFA in Costume Design from UC San Diego, she is a member of USA local 829 and a co-founder of Repulsive Women. www. maggiewhitaker.com
Lyle Barrere (Sound Designer) is thrilled to be returning to Center REP! He began his theatre career when he was 11 and has now worked over 600 shows as a producer, director, sound or lighting
designer for many professional companies in the Bay Area and Los Angeles. His Sound Designs have been nominated for Bay Area Theatre Critics Circle Award and Shellie Awards and been awarded TBA Awards. Lyle is a graduate of the University of California, Los Angeles, with a B.A. in Physics. When not in the theatre, Lyle enjoys working with his nonprofit trust, hiking, camping and scuba diving. He is the owner of Desired Effect, a full service theatrical production company in the Bay Area. www.DesiredEffect.comv
Kathleen J. Parsons
(Stage Manager) is excited to be back as stage manager at CenterREP. Past CenterREP shows shows include Woody Sez, Freaky Friday, Mamma
Mia, and Communicating Doors.
Other companies Kathleen has stage managed for include The Rubicon Theatre Company, San Jose Repertory Theatre, Shakespeare Sedona, Access Theatre, North Shore Music Theatre, The American Conservatory Theatre, American Musical Theatre of San Jose, Aurora Theatre Company and the National Theatre of the Deaf.
Our mission is to celebrate the power of the human imagination by producing emotionally engaging, intellectually involving, and visually astonishing live theatre, and through Outreach and Education programs, to enrich and advance the cultural life of the communities we serve.
Matt M. Morrow [She, He, They] Prior to joining Center Rep, Matt was the Executive Artistic Director of Diversionary Theatre where she grew the operating budget by 150%, and completed a $2.7 million renovation of its facility. Under Matt’s leadership, Diversionary was nominated for 35 San Diego Critics Circle Awards, and produced and directed numerous World Premieres and second productions of new work. Matt was honored with the inaugural Larry T. Baza Arts & Culture Award from San Diego Pride, and was the Creative Catalyst Fellow with The San Diego Foundation and La Jolla Playhouse. She has developed new work with The Sundance Theatre Institute, The Old Globe, The Banff Centre, Center Theatre Group, American Conservatory Theater, Lincoln Center, PlayPenn, and Page 73 Productions. She served as The John Wells Professor of Directing at Carnegie Mellon University’s School of Drama
(Graduate & Undergraduate Directing programs), and Professor of Directing at UCSD’s Graduate Directing program.
Carolyn Jackson Center REP Managing Director
Carolyn Jackson is the General Manager of the City of Walnut
Creek’s Lesher Center for the Arts and Managing Director of Center REP, overseeing programming including the presentation series, Center REP, Bedford Gallery, venue rentals, and educational programs. She has previously served as the City’s Arts + Recreation Community Relations Manager since 2015, and prior to that as Communications Director for non-profit theater Dance Place and Assistant Director for modern dance company DancEthos, both in Washington, DC. While at Dance Place, her responsibilities included serving on the curatorial team for the annual performance season, as well as creating and enacting comprehensive programmatic and institutional marketing plans for programs in the
theater, school and community. Jackson holds an M.A. in Arts Administration from American University and previously supported the City’s Arts + Recreation Department in interim management roles overseeing the Center for Community Arts and Recreation Classes and Social Services divisions.
From her first published play— Ching Chong Chinaman (2008), winner of the Paula Vogel Award for Playwriting—Lauren Yee has been raising the bar. In this season alone, her work will be seen by audiences at the Oregon Shakespeare Festival, the Guthrie Theater, and New York’s Atlantic Theater Company.
Throughout her work, Yee has consistently drawn on the culture of her hometown, San Francisco. In a note in the script of The Great Leap, she writes, “Growing up, my father played basketball. Every day, all night, on the asphalt courts and rec centre floors of San Francisco Chinatown. It was the
only thing he was good at. He was never good enough that he was going to play for the NBA or even at the college level but for a 6’1’’ Chinatown kid from the projects, he was good. Really good. I know this because even today, people still stop me on the street and try to explain what a legend he was. They tell me his nickname (Spider), his position (center), and his signature move (the reverse jump shot).” We spoke with Lauren Yee and her father Larry to learn more about the stories that inspired her.
Lauren, how did you take these family legends and turn them into a play for the stage?
Those basketball stories were a part of the family lore I never really investigated. It was only when I was thinking about what I might write for Denver Center for the Performing Arts
that I really dug into these tales. And in going back to talk to my dad, I’ve discovered that I wrote some of these things into the script without even knowing it was in his story.
Larry, how did your relationship with basketball begin?
When I was about seven years old, I started playing at a playground in Chinatown. Then I played pickup basketball at the local rec center, which is now called the Betty Ong Rec Center. They used to put on a Chinese New Year tournament. Well, I won a few tournaments, so I was recruited to play in Taiwan in 1977. They were a professional team, we were a pick-up team.
It sounds like you guys were the underdogs.
Larry: We never looked at ourselves as underdogs. [Laughs] We beat their top team. When we played other teams, they’d call it a friendship game. But when the ball is up in the air, game on. One time, one of our guys went right by this heavyset Chinese guy and made the shot and everybody in the stands said, “Wow!” But the next time he did that, he ended up on the floor.
Lauren, when you decided to write a play about basketball, did you know how you were going to dramatize the sport? I didn’t, because in spite of my father being very athletic, all three of his kids never took after him. Basketball is a sport I never really appreciated. So there was a lot of catching up I had to do to write this play because, in addition to it being a play about basketball, it is a play where basketball is reflected in the
storytelling, the vocabulary, the staging, and the visuals. Even though you know you’re not seeing a traditional basketball game played onstage, there’s the same excitement and tempo and rhythm that you get when you’re watching a game. How did you build that into the play?
Lauren: The structure of the acts and how quickly characters get into scenes and say what they want—that feels to me very much like changes of possession in basketball. A lot of the scenes feel as though they happen in transition as one team gets the ball and they’re trying to hurtle down the court to score.
We think of basketball as an American sport, but it’s just as popular in China.
Lauren: China has had basketball almost as long as America has. It was brought
to China in the late 1890s. It’s a sport that in [Chinese Communist Party leader] Mao Zedong’s eyes really reflected communism. Everyone plays with the same goal. And basketball is a great equalizer—all you need is a ball and a hoop. You don’t even need an asphalt court; you can play on a dirt floor or on a road. It’s about people working together— there’s nothing more Chinese than basketball.
The Great Leap had its world premiere at American Conservatory Theater’s Toni Rembe Theater in March of 2019. A.C.T. Director of Dramaturgy and New Works, Joy Mead, sat down with playwright Lauren Yee and her father Larry Yee for this insightful interview about the creation of the play.
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