THE VISIBILITY REPORT (2019- 2020) - AAPAC

2019 2020

The Visibility Report Racial Representation on NYC Stages

Our Mission

The mission of the Asian American Performers Action Coalition (AAPAC) is to expand the perception of Asian American performers in order to increase their access to and representation on New York City’s stages. AAPAC publishes the only publicly available annual statistics report on racial representation in the NYC area of its kind and has been a leader in discussions and forums

on diversity with artistic institutions and the Broadway community including partnering with allies on national initiatives. While our work remains specific to New York City, we endeavor to have a meaningful impact on representation for Asian Americans in the greater American theatre. www.aapacnyc.org

AAPAC is an Obie Award-winning, volunteerdriven organization with limited resources. If you find these statistics useful, we ask that you make a tax-deductible donation through our fiscal sponsor, Fractured Atlas. Go to www.fracturedatlas.org and search for AAPAC or go to our direct page: https://fundraising.fracturedatlas.org/aapac We thank you in advance for your donation and support!

This report was made possible through the generous support of the American Theatre Wing.

Table of Contents 8

Introduction

20

Non-Profit Theatre Comparison, 2019–2020 Season

22 Actors

10

Actors Across Both Sectors

12

Broadway Actors

14

Broadway Actors in Musicals

Inclusive Casting: How Often Are BIPOC Actors Hired Without Regard to Race?

24

Broadway Actors in Plays

18

Non-Profit Actors

31

Directors Across Both Sectors

32

Broadway Directors

Earnings by race

33

Writers

Designers

27

Writers Across Both Sectors

16

Directors

28

Broadway Writers

29

Non-Profit Writers

37

Broadway Designers by Discipline

38

Non-Profit Designers

39

Non-Profit Designers by Discipline

Non-Profit Directors

35

Designers Across Both Sectors

36

Broadway Designers

40

Broadway Plays & Musicals, 2019–2020 Season

42

Non-Profit Productions by Theatre, 2017–2018 Season

48

Acknowledgments

2019–2020

Introduction

The following report presents statistics for the 2019-2020 theatre season up until the industry-wide closure in March of 2020 due to the Covid-19 pandemic. Although many anticipated shows were canceled or cut-short, we have included all productions that had official openings prior to the shut-down in an effort to document the season for archival purposes. We have refrained from any deeper analysis of the season in consideration of the fact that it was truncated and may not reflect the full breadth and scope of the season as intended. Many shows that were canceled on and off-Broadway were revived in the 2021-2022 season and will be included in the report for that season. It is with deep hope that our industry will never endure another shut-down again and that New York theatre will continue to forge ahead better and more equitable than ever.

8

Pun Bandhu and Julienne Hanzelka Kim Co-Authors on behalf of the AAPAC Steering Committee: Pun Bandhu, Cindy Cheung, Vichet Chum, Angel Desai, Christine Toy Johnson, Peter Kim, Julienne Hanzelka Kim, Kenneth Lee, Eileen Rivera, Lipica Shah and Nandita Shenoy.

9

2019–2020

Overall: Actors Across Both Sectors

Actors

0

White actors

51.5%

Black actors

27.8%

Asian American actors

10.2%

Latinx actors

8.8%

MENA actors

1.7%

Indigenous actors

0%

20.4%

BIPOC actors who identified as Mixed-race 11

Actors

Broadway Actors

2019–2020

49.1% White

31.6% Black

14.1% Latinx

3.8%

Asian American

1.3% MENA

0%

Indigenous

23.5%

BIPOC actors who identified as Mixed-race

12

13

Actors

2019–2020

Broadway Musicals

Lead vs. Featured White actors secured...

Black actors secured...

Latinx actors secured...

50%

25%

25%

31.8%

36.4%

18.2%

of all lead roles

50%

of all lead roles

of all featured roles

of all featured roles

Asian American actors secured...

37.5%

MENA actors secured...

0%

of all featured roles

0%

White

33.3% Black

0%

of all lead roles

4.5%

0%

12.5%

37.5%

of all featured roles

of all featured roles

Principal vs. Chorus 0%

45%

Indigenous actors secured...

of all lead roles

9.1% 12.5%

of all featured roles

0%

of all lead roles

25%

of all lead roles

17% Latinx

4.1%

Asian American

0.6% MENA

0%

Indigenous

23.4%

BIPOC actors who identified as Mixed-race

White

14.6%

Black

Asian American MENA

30.4%

9.4%

Latinx

4.1%

1.2%

50%

24%

12.9%

2.9%

0.6%

Indigenous

14

Principal Chorus

15

Actors

2019–2020

Broadway Plays

Lead vs. Featured White actors secured...

Black actors secured...

75%

25%

58.8%

23.5%

of all lead roles

70%

of all lead roles

of all featured roles

MENA actors secured...

52.5%

0%

of all lead roles

35%

5.9%

of all featured roles

17.5%

Latinx actors secured...

0%

of all lead roles

8.8%

of all featured roles

Asian American actors secured...

0%

of all lead roles

2.9%

of all featured roles

of all featured roles

Indigenous actors secured...

0%

of all lead roles

0%

of all featured roles

0%

60.3%

6.3%

3.2%

27%

3.2%

0%

White

Black

16

Latinx

Asian American

MENA

24%

BIPOC actors who identified as Mixed-race

Indigenous

17

Actors

2019–2020

Non-Profit Actors 52.1% White

25.5% Black

12.1%

Asian American

8.7% Latinx

1.6% MENA

0%

Indigenous

20.3%

BIPOC actors who identified as Mixed-race

18

19

Actors

2019–2020

Non-Profit Theatre Comparison

White Black Latinx Asian American MENA Indigenous

2019–2020 Season Ars Nova

25%

75%

Atlantic Theater Company

45.2%

31%

Classic Stage Company

55%

25%

The Irish Repertory Theatre

22.7% 22.7%

New York Theatre Workshop

50%

Playwrights Horizons

9.1%

33.3%

14.3%

28.1%

18.8%

56.3%

31.3%

Primary Stages

3%

3% 4.8% 3.1%

6.3%

6.3%

100% 40.4%

31.6%

Roundabout Theatre

26.3%

51.5% 24.5%

42.9%

The Vineyard Theatre

11.3% 28.6%

24% 83.3%

50%

1.5%1.5%

17%

28.6% 56%

1.8% 18% 17.6%

27.9%

47.2%

Theatre for a New Audience

20

13.6% 9.1%

47.6%

2.3%

9.1%

84.8%

The New Group

WP Theater

10%

18.2%

54.5%

Manhattan Theatre Club

Signature Theatre

10%

4.3%

47.7%

MCC Theater

Second Stage Theater

2.4%

95.7%

Lincoln Center Theater

The Public Theater

21.4%

16%

4% 16.7%

37.5%

12.5%

21

Actors

2019–2020

Inclusive Casting: How Often Are BIPOC Actors Hired Without Regard to Race?

18%

Racially-Specific Casting vs. Inclusive Casting

OF THE 18%, THIS IS HOW THE INCLUSIVELY CAST ROLES WERE DISTRIBUTED BY RACE:

of all available roles were cast with BIPOC actors without regard to race.

47.7%

BLACK

27.4%

LATINX

19.5%

ASIAN AMERICAN

5.3%

MENA

0%

INDIGENOUS

30%

70%

Black actors inclusively cast

Black actors cast in racially-specific roles

66.6%

33.3%

Asian American actors cast in racially-specific roles

Asian American actors inclusively cast

45.6%

54.4%

45.5%

54.5%

Latinx actors inclusively cast

Latinx actors cast in racially-specific roles

MENA actors cast in racially-specific roles

MENA actors inclusively cast

0% 0%

of Indigenous actors were cast in racially-specific roles

of Indigenous actors were inclusively cast

0%

8.3% Black

4.8% Latinx

16.2%

Percentage of roles that went to BIPOC actors in non-raciallyspecific roles at non-profits.

22.6%

Percentage of roles that went to BIPOC actors in non-raciallyspecific roles on Broadway.

3.4%

Asian American

1%

MENA

0%

Indigenous

40.7%

BIPOC actors who identified as Mixed-race

22

23

Actors

2019–2020

Earnings by race For every $1 spent on White actors... $1 spent on White actors

$0.85 was spent on BIPOC actors

$0.49 was spent on Black actors

$0.18was spent on Asian American actors

$0.15 was spent on Latinx actors

$0.02 was spent on MENA actors

$0 was spent on Indigenous actors

0

24

25

2019–2020

Overall: Writers Across Both Sectors

Writers

74.7% White

12.1%

Black

7.1%

Asian American

4%

Latinx

only 25.3% of all writers hired were BIPOC.

2.1%

MENA

0%

Indigenous

24%

BIPOC writers who identified as Mixed-race

27

Writers

2019–2020

Broadway Writers

Non-Profit Writers

Broadway Plays and Musicals Combined 88.9%

73.8%

White

White

7.4%

11.9%

Black

Black

3.7%

8.3%

Latinx

0%

Asian American

Asian American

only 11.1%

3.6% Latinx

of all writers hired were BIPOC.

0%

MENA

0%

0%

0%

27.3%

BIPOC writers who identified as Mixed-race

28

of all writers hired were BIPOC.

2.4%

MENA

Indigenous

only 26.2%

Indigenous

BIPOC writers who identified as Mixed-race

29

Writers

2019–2020

Overall: Directors Across Both Sectors

Directors

76% White

17.3% Black

4%

Asian American

2.7% Latinx

0%

24% of all NYC theatre productions were shaped

by BIPOC directors.

MENA

0%

Indigenous

11.1%

BIPOC directors who identified as Mixed-race 30

Note: Each sound decibel ( | ) represents one director.

31

Directors

2019–2020

Broadway Directors

Non-Profit Directors

Broadway Plays and Musicals Combined 73.4%

86.7%

White

White

18.8%

6.7%

Black

Black

4.7%

6.7%

Asian American

Asian American

0%

Latinx

13.3%

3.1%

of all NYC broadway plays and musicals were shaped

by BIPOC directors.

Latinx

0%

0%

0%

0%

Indigenous

Indigenous

11.8%

50%

32

of all NYC non-profit productions were shaped

by BIPOC directors.

MENA

MENA

BIPOC directors who identified as Mixed-race

26.6%

Note: Each sound decibel ( | ) represents one director.

BIPOC directors who identified as Mixed-race

Note: Each sound decibel ( | ) represents one director.

33

2019–2020

Overall: Designers Across Both Sectors

Designers

0

White designers

69.3%

Asian American designers

14.4%

Black designers

11.4%

Latinx designers

3.8%

MENA designers

1.1%

Indigenous designers

0%

35

Designers

2019–2020

Broadway Designers

Racial Breakdown By Design Discipline: LIGHTING DESIGN

TOTAL POSITIONS: 20 85%

10%

5%

100%

SOUND DESIGN

TOTAL POSITIONS: 23 100%

75%

50%

TOTAL POSITIONS: 20

SET DESIGN 80%

10%

10%

25%

0%

COSTUME DESIGN

TOTAL POSITIONS: 21 76.2%

90.2% White

3.9% Latinx

36

3.9%

Asian American

2% Black

0% MENA

14.3%

9.5%

0%

BIPOC designers who identified as Mixed-race

VIDEO DESIGN

TOTAL POSITIONS: 9

0%

Indigenous

100%

White

Asian American

Black

MENA

Latinx

Indigenous

37

Designers

2019–2020

Non-Profit Designers

Racial Breakdown By Design Discipline: LIGHTING DESIGN

TOTAL POSITIONS: 54 66.7%

16.7%

11.1%

3.7% 1.9%

100%

SOUND DESIGN

TOTAL POSITIONS: 58 74.1%

75%

15.5%

8.6% 1.7%

50%

TOTAL POSITIONS: 56

SET DESIGN 75%

25%

14.3%

10.7%

0%

COSTUME DESIGN

TOTAL POSITIONS: 60

51.7%

67.1% White

15.4%

Asian American

38

12.4% Black

3.8% Latinx

1.3% MENA

0%

30%

15%

1.7% 1.7%

6.5%

BIPOC designers who identified as Mixed-race VIDEO DESIGN

TOTAL POSITIONS: 11

Indigenous

90.9%

White

Asian American

Black

MENA

Latinx

Indigenous

9.1%

39

2019–2020

Broadway Plays & Musicals

Plays

2019–2020 Season

SLAVE PLAY by Jeremy O. Harris; directed by Robert O’Hara

A CHRISTMAS CAROL adapted by Jack Thorne; directed by Matthew Warchus BETRAYAL by Harold Pinter; directed by Jamie Lloyd FRANKIE AND JOHNNY IN THE CLAIR DE LUNE by Terrence McNally; directed by Arin Arbus SEA WALL/A LIFE by Simons Stephens & Nick Payne; directed by Carrie Cracknell

THE INHERITANCE by Matthew López; directed by Stephen Daldry

Musicals GIRL FROM THE NORTH COUNTRY book by Conor McPherson; music and lyrics by Bob Dylan; directed by Conor McPherson JAGGED LITTLE PILL book by Diablo Cody; music by Alanis Morissette and Glen Ballard; lyrics by Alanis Morissette; additional music by Michael Farrell and Guy Sigsworth; directed by Diane Paulus MOULIN ROUGE! THE MUSICAL book by John Logan; music supervision, orchestrations, and arrangements by Justin Levine; directed by Alex Timbers TINA - THE TINA TURNER MUSICAL book by Katori Hall with Frank Ketelaar and Kees Prins; music supervision, arrangements and additional music by Nicholas Skilbeck; directed by Phyllida Lloyd THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL book by Joe Tracz; music & lyrics

by Rob Rokicki; adapted from the book, “The Lightning Thief” by Rick Riordan; directed by Stephen Brackett WEST SIDE STORY based on a conception by Jerome Robbins; book by Arthur Laurents; music by Leonard Bernstein; lyrics by Stephen Sondheim; directed by Ivo van Hove

40

*Indicates a production produced on Broadway by a non-profit theatre that was not a commercial transfer.

41

2019–2020

Non-Profit Productions

by Theatre 2019–2020 Season

Irish Repertory Theatre (continued from previous page) LADY G, PLAYS AND WHISPERINGS OF LADY GREGORY by Lady Augusta Gregory with additional material by Ciarán O’Reilly; directed by Ciarán O’Reilly LONDON ASSURANCE by Dion Boucicault; directed by Charlotte Moore PUMPGIRL by Abbie Spallen; directed by Nicola Murphy

Lincoln Center Theater Mitzi Newhouse Theater: GREATER CLEMENTS by Samuel D. Hunter; directed by Davis McCallum

Ars Nova

LCT3, Claire Tow Theater:

DR. RIDE’S AMERICAN BEACH HOUSE by Liza Birkenmeier; directed by Katie Brook

POWER STRIP by Sylvia Khoury; directed by Tyne Rafaeli

Atlantic Theater Company Linda Gross Theatre: HALFWAY BITCHES GO STRAIGHT TO HEAVEN by Stephen Adly Guirgis; directed by John Ortiz (co-production with the LAByrinth Theater Company) SUNDAY by Jack Thorne; directed by Lee Sunday Evans

Atlantic Stage 2: ANATOMY OF A SUICIDE by Alice Birch; directed by Lileana Blain-Cruz PARIS by Eboni Booth; directed by Knud Adams

THE HEADLANDS by Christopher Chen; directed by Knud Adams

Broadway, Vivian Beaumont Theater: *THE GREAT SOCIETY by Robert Schenkkan; directed by Bill Rauch

Broadway, Studio 54: *THE SOUND INSIDE by Adam Rapp; directed by David Cromer

MCC Theater The Newman Mills Theater: THE WRONG MAN book by Ross Golan, directed by Thomas Kail; music and lyrics by Ross Golan

Classic Stage Company DRACULA by Kate Hamill; based on the novel by Bram Stoker; directed by Sarna Lapine FRANKENSTEIN by Tristan Bernays; based on the novel by Mary Shelley; directed by Timothy Douglas MACBETH by William Shakespeare, directed by John Doyle

Irish Repertory Theatre DUBLIN CAROL by Conor McPherson; directed by Ciarán O’Reilly

42

The Susan and Ronald Frankel Theater: ALL THE NATALIE PORTMANS by C.A. Johnson; directed by Kate Whoriskey SEARED by Theresa Rebeck; directed by Moritz von Stuelpnagel

Manhattan Theatre Club Broadway, Samuel Friedman:

INCANTATA by Paul Muldoon; directed by Sam Yates

*MY NAME IS LUCY BARTON by Rona Munro from novel by Elizabeth Strout; directed by Richard Eyre (co-produced by The London Theatre Company and Penguin Random House Audio)

KINGFISHERS CATCH FIRE by Robin Glendinning; directed by Kent Paul

*THE HEIGHT OF THE STORM by Florian Zeller; directed by Jonathan Kent

43

2019–2020

Irish Repertory Theatre (continued from previous page)

Manhattan Theatre Club (continued from previous page)

LADY G, PLAYS AND WHISPERINGS OF LADY GREGORY by Lady Augusta Gregory with additional material by Ciarán O’Reilly; directed by Ciarán O’Reilly

Stage I:

LONDON ASSURANCE by Dion Boucicault; directed by Charlotte Moore PUMPGIRL by Abbie Spallen; directed by Nicola Murphy

BELLA BELLA by Harvey Fierstein; directed by Kimberly Senior THE PERPLEXED by Richard Greenberg; directed by Lynne Meadow

Stage II: Lincoln Center Theater Mitzi Newhouse Theater: GREATER CLEMENTS by Samuel D. Hunter; directed by Davis McCallum

LCT3, Claire Tow Theater: POWER STRIP by Sylvia Khoury; directed by Tyne Rafaeli THE HEADLANDS by Christopher Chen; directed by Knud Adams

Broadway, Vivian Beaumont Theater:

THE NEW ENGLANDERS by Jeff Augustin; directed by Saheem Ali

The New Group Daryl Roth Theatre: CYRANO adapted by Erica Schmidt; directed by Erica Schmidt; music by Aaron Dessner and Bryce Dessner of the National and lyrics by Matt Berninger of the National and Carin Besser

The Romulus Linney Courtyard Theatre:

*THE GREAT SOCIETY by Robert Schenkkan; directed by Bill Rauch

BOB & CAROL & TED & ALICE book by Jonathan Marc Sherman; directed by Scott Elliott; music & lyrics by Duncan Sheik

Broadway, Studio 54:

The Alice Griffin Jewel Box Theatre

*THE SOUND INSIDE by Adam Rapp; directed by David Cromer

ONE IN TWO by Donja R. Love; directed by Stevie Walker-Webb

MCC Theater

New York Theatre Workshop

The Newman Mills Theater:

ENDLINGS by Celine Song; directed by Sammi Cannold

THE WRONG MAN book by Ross Golan, directed by Thomas Kail; music and lyrics by Ross Golan

“RUNBOYRUN & IN OLD AGE by Mfoniso Udofia; directed by Loretta Greco and Awoye Timpo”

The Susan and Ronald Frankel Theater:

SING STREET Book by Enda Walsh; directed by Rebecca Taichman; Music & Lyrics by Gary Clark & John Carney

ALL THE NATALIE PORTMANS by C.A. Johnson; directed by Kate Whoriskey SEARED by Theresa Rebeck; directed by Moritz von Stuelpnagel

Playwrights Horizons

Manhattan Theatre Club

Mainstage:

Broadway, Samuel Friedman: *MY NAME IS LUCY BARTON by Rona Munro from novel by Elizabeth Strout; directed by Richard Eyre (co-produced by The London Theatre Company and Penguin Random House Audio) *THE HEIGHT OF THE STORM by Florian Zeller; directed by Jonathan Kent

HEROES OF THE FOURTH TURNING by Will Arbery; directed by Danya Taymor UNKNOWN SOLDIER book by Daniel Goldstein; directed by Trip Cullman; music & lyrics by Michael Friedman and lyrics by Daniel Goldstein

Peter Jay Sharp: THE THIN PLACE by Lucas Hnath; directed by Les Waters WIVES by Jaclyn Backhaus; directed by Margot Bordelon

44

45

2019–2020

Primary Stages THE CONFESSION OF LILY DARE by Charles Busch; directed by Carl Andress

The Public Theater Newman Theater: SOFT POWER book & lyrics by David Henry Hwang; directed by Leigh Silverman; music & additional lyrics by Jeanine Tesori (co-production with Center Theatre Group)

Anspacher Theater:

Second Stage Theater (continued from previous page) Tony Kiser Theater: THE UNDERLYING CHRIS by Will Eno; directed by Kenny Leon WE’RE GONNA DIE by Young Jean Lee; directed by Raja Feather Kelly

McGinn-Cazale Theatre: *OUR DEAR DEAD DRUG LORD by Alexis Scheer; directed by Whitney White ( co-production with WP Theater)

A BRIGHT ROOM CALLED DAY by Tony Kushner; directed by Oskar Eustis

Signature Theatre

COAL COUNTRY by Jessica Blank and Erik Jensen; directed by Jessica Blank; music by Steve Earle

Irene Diamond Stage: CAMBODIAN ROCK BAND by Lauren Yee; directed by Chay Yew

The Martinson Hall: FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE/WHEN THE RAINBOW IS ENUF by Ntozake Shange; directed by Leah C. Gardiner

The LuEsther Hall: THE MICHAELS by Richard Nelson; directed by Richard Nelson

Roundabout Theatre

The Romulus Linney Courtyard Theatre: FIRES IN THE MIRROR by Anna Deavere Smith; directed by Saheem Ali

The Alice Griffin Jewel Box Theatre: THE HOT WING KING by Katori Hall; directed by Steve H. Broadnax III

Broadway:

Theatre for a New Audience

*A SOLDIER’S PLAY by Charles Fuller; directed by Kenny Leon

FEFU AND HER FRIENDS by Maria Irene Fornes; directed by Lileana Blain Cruz

*THE ROSE TATTOO by Tennessee Williams; directed by Trip Cullman

TIMON OF ATHENS by William Shakespeare; directed by Simon Godwin (Co-Production with Shakespeare Theatre Company)

Laura Pels Theatre: SCOTLAND, PA book by Michael Mitnick; directed by Lonny Price; music & lyrics by Adam Gwon

WHY? by Peter Brook and Marie-Hélène Estienne; directed by Peter Brook and MarieHélène Estienne

72 MILES TO GO by Hillary Bettis; directed by Jo Bonney

Vineyard Theatre

Roundabout Underground, Black Box Theatre:

DANA H. by Lucas Hnath; directed by Les Waters (co-production with The Goodman Theatre, Center Theatre Group)

DARLING GRENADINE book, music & lyrics by Daniel Zaitchik; directed by Michael Berresse

IS THIS A ROOM conceived by Tina Satter; directed by Tina Satter

Second Stage Theater

WP Theater

Broadway, Helen Hayes Theater:

*OUR DEAR DEAD DRUG LORD by Alexis Scheer; directed by Whitney White (coproduction with Second Stage)

*GRAND HORIZONS by Bess Wohl; directed by Leigh Silverman *LINDA VISTA by Tracy Letts; directed by Dexter Bullard (co-production with Center Theatre Group) 46

THE YOUNG MAN FROM ATLANTA by Horton Foote; directed by Michael Wilson

WHERE WE STAND by Donnetta Lavinia Grays; directed by Tamilla Woodard (coproduction with Baltimore Center Stage) *Indicates a production produced on Broadway by a non-profit theatre that was not a commercial transfer.

47

2019–2020

Acknowledgments

Data Visualization, Graphic Design, Report Layout by Alyssa Achacoso Database Input by Alyssa Achacoso Report Written by Pun Bandhu and Julienne Hanzelka Kim Statistics Committee Pun Bandhu (report co-chair), Julienne Hanzelka Kim (report co-chair), Cindy Cheung, Vichet Chum, Angel Desai, Christine Toy Johnson, Peter Kim, Kenneth Lee, Eileen Rivera, Lipica Shah, Nandita Shenoy Non-Profit Board Members Data collected by: Lindsay Brill, Ka-Ling Cheung, Josh Doucette, Wayne Duvall, Becca Lish, Alex Neil, Peter Rini, Johnny Sánchez, Vicki Shaghoian, Keith Randolph Smith, Kristin Villanueva.

Coordinated by Peter Kim and Cindy Cheung.

Broadway Producers and General Managers Data collected by: The Industry Standard Group (Rashad V. Chambers, Miranda Gohh, Adam Hyndman, Toni R. Israel, Rob Laqui, Sammy Lopez, Ronee Penoi, Cynthia J. Tong) and Penny Pun. Coordinated by Pun Bandhu.

Designer Data collected by: Wilson Chin, Design Action, Coordinated by Peter Kim. AAPAC original Logo Design by Siho Ellsmore

Special Thanks: Ralph Pena and Ma-Yi Theater Company; Clint Ramos, Actors’ Equity Association, Lisa Gold (The Asian American Arts Alliance), Francis Jue, Jake Manabat, Alex Birnie (The Actors Center), Elena Chang and Ciara Smith from Theatre Communications Group (TCG), Todd London (Dramatists Guild), all members of “Counting Together,” Leslie Ishii and Ariel Estrada (CAATA), Derek McPhatter (Latz & Co.), Mia Katigbak (NAATCO), Yuvika Tolani, Ellen Shadburn, Randi Berry, Raquel Almazan, Karen Brown (The Negro Ensemble Company), Sade Lythcott (National Black Theatre) and especially, Heather Hitchens, David Henry Hwang and Luis Castro from the American Theatre Wing for their ongoing support.

49